SANTIAGO SERRA, “PROVMYZA”, “BOUNDLESS EXPANSES” :: Film catalogue :: Moscow International Film Festival

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SANTIAGO SERRA, “PROVMYZA”, “BOUNDLESS EXPANSES”

Santiago Serra (Spain). “Lucia and Prisoners” (2014, 12’36'')
Sierra's oeuvre strives to reveal the perverse networks of power that inspire the alienation and exploitation of workers, the injustice of labour relations, the unequal distribution of wealth produced by capitalism, the deviance of work and money, and racial discrimination in a world scored with unidirectional (south–north) migratory flows.

In his work “Lucia and prisoners” Santiago Sierra addresses structures of power that operate in our everyday existence. Sierra's work intervenes into these structures exposing situations of exploitation and marginalisation, famously hiring underprivileged individuals who, in exchange for money, are willing to undertake pointless or unpleasant tasks. Sierra's work never repeats reality, but challenges it exposing its intrinsic mechanisms. In April 2014 sessions were facilitated for 5 inmates of the Justizanstalt Stein prison in Krems, Austria to use the Lucia N°03 light apparatus developed by two doctors, Dirk Proeckl and Engelbert Winkler. Lucia N°03 is a lamp-system that combines a stroboscope featuring variable speed and intensity with a constant light operating in different brightness levels. Various experiences, including vivid perception of colour and form, disembodiment etc., are activated by the computer controlled interplay of these light sources

Art-group “Provmyza” and art-group “Boundless expanses” (all - Russia). Project presentation“Canons and Eves” (2015, 45’00'')
Premier work will be presented by artistic duo “Provmyza” (Galina Myznikova and Sergey Provorov) and their co-authors, art-group “Boundless expanse”. The project “Canons and Eves” refers to a complex of notions based on the binary opposition of "high and low" culture. Image of "grotesque body" which compilates in itself postulates of "sublime" and "humiliated" stands in the centre of the piece as an ethical element of overcoming naked man's shame and obscenity. "Canons and Eves" thus becomes the expectation of suffering in subjects, excluding the possibility of empathy between those who look and those who show.