My thesis experimentally submits Olafur Eliasson’s — what I dub — watery projects frame ongoing motion or changeability similarly to the cinematic image, particularly the selected projects Big Bang...Show moreMy thesis experimentally submits Olafur Eliasson’s — what I dub — watery projects frame ongoing motion or changeability similarly to the cinematic image, particularly the selected projects Big Bang Fountain (2014), Still River (2016) and Fog Assembly (2016), yet transgress the customary image. I ask how to transgressively read the projects by their cinematic potential, or, how to analyze how constructed watery splashes, melting ice cubes or evaporating foggy clouds amplify the viewer’s sense about temporality, and space and self-existence. I set my experiment against a cinematic backdrop constructed by multiple considerations and analyses on Anthony McCall’s ‘solid light film’ series (1973 - 1975). My thesis experimentally demonstrates the cinematic potential productively inquires into the selected watery projects.Show less
In the first part the base of my research will be the landscape and more specifically the nuclear radiated landscape as visualized in the artistic medium of film and video. The post human landscape...Show moreIn the first part the base of my research will be the landscape and more specifically the nuclear radiated landscape as visualized in the artistic medium of film and video. The post human landscape caused by nuclear radiation has alienated man from nature will be discussed by framing this landscape in the ecological rethinking of T.J Demos and Timothy Morton. Their focus is on the eco-critical debates by Felix Guattari, Bruno Latour and Michel Serres who started these debates in the 90s. I will content that these debates are able to contribute to a changing perspective, a better understanding of our relation with the Earth and the value of sustainability. Art is able to offer innovative ways to communicate important insights into human relationships with the radiated landscape. I will analyse the object-subject relationship between the observed landscape and the observer. How consciousness is attained by the construction and deconstruction of subjectivity in cultural practices that enables awareness and provokes action. In the first part I will analyse two critical art practices, realized by Diana Thater and the Otolith Group, that research the consequences of the radiated landscape of Chernobyl and Fukushima. As such, I will contend that the medium of film as used in the analysed artworks has the ability to construct and deconstruct subjectivity, overcoming the gap between object and subject, whilst creating consciousness and awareness that makes an appeal to activism. In the second part of this thesis, the artistic statement of my film installation will be expressed elucidating the decontaminating activities of the landscape in Fukushima three years after the nuclear disaster struck this area in Japan. As a visual artist I realized the film installation aware/哀れ consisting of a short experimental film with a composed soundscape that illustrates the subjective experience of the landscape and an interview film in which the relation of the Japanese cleaners with the contaminated landscape is expressed. The installation researches and questions the complex mutual engagement between the man-made landscape and a sustainable future. Next to the film installation two photographs are exhibited, cyanotypes portraying a landscape that is inflicted by the nuclear now. My theoretical research as described in the first part of this thesis is at the base of this installation. The film installation was shown in an exhibition in the Japan museum SieboldHuis in Leiden, The Netherlands from 10 till 22 February 2015 as part of this thesis.Show less
