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Habitar el cuerpo, la casa, la mirada y la imagen
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Inhabiting the body, the house, the gaze and the image
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SINOPSIS
Corta Una mujer explora las formas de una casa en construcción. Hasta que todos los cuerpos involucrados (el de la mujer, el del camarógrafo, el de la casa y el de la cámara misma) se entremezclan y habitan la imagen. TRIO es una pieza que transita entre el documental, la videodanza y el cine experimental. |
SINOPSIS
Short A woman explores the forms of a house under construction. Until all the bodies involved (the woman's, the cameraman's, the house's and the camera itself) intermingle and inhabit the image. TRIO is an audiovisual piece that moves between documentary, dance- and experimental cinema. |
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TRIO es una exploración audiovisual y performativa de la experiencia de habitar. Habitar el espacio, habitar el movimiento, habitar la mirada, habitar la imagen. En el cuerpo convergen los caminos y las búsquedas. Un realizador audiovisual y una coreógrafa se encuentran para registrar el proceso de construcción de una casa en medio del bosque. El pacto radica en no actuar necesariamente en pos del otro. Ambos se relacionan con el espacio como forma de relacionarse entre sí. Finalmente, el encuentro se propicia a través del movimiento que involucra todos los cuerpos: el de las personas, el de la casa, el de la cámara.
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TRIO is an audiovisual and performative exploration of the experience of inhabiting. Inhabiting a space, inhabiting a movement, inhabiting a gaze, inhabiting an image. The body is a place of convergence of paths and searches. A film director and a choreographer get together to record/capture the building of a house in the middle of the forest. Their pact is not necessarily focused in the necessity to act in pursuit of the other. Both of them relate to space as a way to relate to each other. Finally, their encounter is fostered by a movement in which all of the bodies are involved: those of the people, that of the house, that of the camera.
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TRIO - Trailer from neibors producciones on Vimeo.
TRIO
Is an experimental short film that is part of the collaborative research and creation process between documentary filmmaker Oscar Molina and choreographer, performer and philosopher Brenda I. Steinecke Soto. Steinecke Soto. The artistic searches of both are found in the question of belonging: to the body, to the territory, to the gaze. It is based on a recording and performance device that has three premises: 1. the framing is not necessarily centered on the body. 2. The movements and actions of the performer are not necessarily dedicated to the camera. 3. The time of the filming is determined by the construction of the house in whose space the encounter between bodies and gazes is generated. It proposes two ways of inhabiting the future domestic space: from the actions of each individual in his or her artistic field and from the interaction that invites the observer - also the spectator - to sensorially participate in what is happening.
The inhabiting happens from the actions of each professional field: moving, investigating with the body and observing, looking for 'powerful' frames. The material proposes a reflection on the relationship between architectural construction and bodily construction, both mediated by the gaze. The body is molded to the spatial conditions and to that extent also constructs the space. The gaze captures in stillness this process of adaptation (of the body to the space and of the space to the body) until it begins to participate in the movement, revealing the presence of the other body, invisible until now. By linking the cameraman's body to the actions in the captured spaces, the quality of the image goes from being a 'portrait' to revealing 'other' qualities of what it captures: dynamics, temperature, tactility, among others, define what is recorded.
The inhabiting happens from the actions of each professional field: moving, investigating with the body and observing, looking for 'powerful' frames. The material proposes a reflection on the relationship between architectural construction and bodily construction, both mediated by the gaze. The body is molded to the spatial conditions and to that extent also constructs the space. The gaze captures in stillness this process of adaptation (of the body to the space and of the space to the body) until it begins to participate in the movement, revealing the presence of the other body, invisible until now. By linking the cameraman's body to the actions in the captured spaces, the quality of the image goes from being a 'portrait' to revealing 'other' qualities of what it captures: dynamics, temperature, tactility, among others, define what is recorded.
