A 2004 Beta-Sp 20 Min
Realisation: Dariusz Kowalski
Sound: Stefan Németh
Mastering: Martin Siewert
Kamera: Dariusz Kowalski, Norbert Paffenbichler
Ortem text by Dariusz Kowalski.
Translation: Helga Droschl
Theme of the film: Topic of the work is the subway traffic system, which creates, through its underground architecture, a specific space- and perception situation. The film as abstract essay focuses on phenomena such as speed, perception, architecture, memory and analyses the fleeting and anonymous aspect of the every day experience. The debate on the representability of spaces and locations meets real architecture. The cinematographic reflection of social & cultural dispositiva of the urban space explores the intersections fabricating this space.
Underground network: The underground station is a transit space which does not claim another meaning, except being a channel, a point of intersection within a traffic-network. It is a terminal, a space ‚without features‘. Its definition is a road traffic-related task, a space co-ordinate of the urban grid of lines.
Movement, perception, space: The increased speed of means of transport within the underground tunnel system - the narrowness of space - creates a specific perception, which lacks the visual relation to the space outside - contrary to traveling by train or flying, where high speed always has a reference point to the landscape. ‚Traveling by the underground‘ means to be already at the aiming destination. The journey itself remains a blind spot in the perception of the change in locations. The increased speed creates an ambivalent situation; the body in motion is dependent on the view (see traveling on motorways), on the other hand, there is nothing to see. The reduction of the world outside the tunnel triggers the imagination or memory.
Film & architecture: The architectural organization of urban and technical movement in the twentieth century was continued by the central-perspective position of the film camera (Lummiere’s films) and created thus a real, comprehensible experience value in the reception of the viewer.
In the underground system the central-perspective is led ‘ad absurdum’; everything strictly is aligned with the vanishing point - the tracks meet at the vanishing point, at its end, however, now space emerges, but an endless grid - never to be graspable as a whole. The stops, elevators, transits and tunnels form an ‚organless body‘, where the passenger instead of ‚space‘ experiences its proper co-ordinates within the network . The characteristics of space are rather marked through movement and space transitions.
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