An Afternoon Without Gravity

“An Afternoon Without Gravity” / “POSLIJEPODNE BEZ GRAVITACIJE”
Nadija Mustapić, 2010
Two-channel video installation with four-channel sound
HD video, PAL, color, 16:9, 14’41’’, loop, 4.0 surround sound
(Each projection is minimum 3 m x 1.68 m size. The videos are projected onto two screens stretched on erected scaffolding that constructs a 90-degree-angled architectural corner. Scaffolding is rusty and used.)

Synopsis:
A curious game occurs in an abandoned industrial setting, an old Torpedo factory in Rijeka, Croatia. A logical action in an actual space becomes transformed into surreal. The sounds we hear start to unwind the time of this building’s past. Under the afternoon sun, we are taken on a journey through waves of fiction and reality to join a (perhaps) imaginary protagonist in a game of discovery.
Ivana Meštrov: from her text for the exhibition catalogue at SC Gallery (08.12.-22.12.2010.)
“A sense of discovery is being introduced through a curious game, in this space where location’s hermetic quality and the porosity of time continuously alternate. The two-channel image sometimes function as a mirror reflection, depending on the representations of the heroine’s symbolic appropriation of space. The sound is also treated as a “symphonic” reflection of spatial impressions of the industrial building, where documentary sound recordings of launched torpedoes, sounds of wind and of functionless space, and the sounds of author’s presence, simultaneously exchange. Nadija Mustapić captures the spatial dynamics in a way that could be linked to the Situations practice of psycho-geography. She threads visual strategies to research urban and geographical environments, and measures how much spaces transform individual and collective actions and vice versa, how the individual actions transform spaces – in the time of neo-liberal reality.”

Dalibor Pranjčević: from his text for the art magazine Kontura
“The architectural frame for “An Afternoon Without Gravity” (2010) is the launching station of the Torpedo factory in Rijeka. The levitational component suggested by the title of this two-channel video installation is visually present in the skeleton of this dilapidated abandoned industrial building, in which the upper, heavier part stands on rusty metal columns, which are visually weakened by the pulsating surface of the sea. The narrative problematizes the current moment, but also the past times. Different “timely” components are being distinguished by different sounds. The author’s exploration of found objects, relics of functional items from the past, is in a dialogue with the sounds of nature, confirming the unity of the place and time in which the narrative is situated. The field of divergences in this piece is described by the swinging action that seems to move not only the static devastated architecture, but also the mental “time machine”. The sound then becomes artificial and reminiscent of sliding and launching of torpedoes, while the time-lapse method enables the visualization of the “enveloping” of time. It becomes clear that Nadija Mustapić references the places of her own identity. In this context, the artist shifts her work from previously used non-descriptive spaces into a recognizable architectural location, and by doing so questions the stability of her geographic origin.”

Ksenija Orelj: from her text for the exhibition catalogue at Gallery MKC (05.11.-19.11.2010.)
”We swing on the waves of fiction and reality, maybe in an imaginary building, maybe with an imaginary character. The experience of a logical action in a real time is being baffled by the use of close ups, inserted sequences and double editing, and cedes in front of an overall sense of parallel development of different events, interpretations of two-folded meanings – simultaneous immersion and distancing of the actors and the scene. These passages through time are being used to interrupt the one-dimensional level of representation, and point at the author’s thoughtful use of the medium. They disrupt our frames of view and our frames of personal reference. The internal world of the character lives in the internal world of the video medium, the very immaterial reality, which is experienced in the mind of the subject, and exists as a lucid reminder of the answer to the question where does “I” live.’
Production specifications:
Nadija Mustapić: director, producer, performer, camera, editing, image/color correction
Marin Lukanović: camera
Toni Meštrović: camera, quadriphonic sound editing
Marin Alvir: sound composition
Co-financed by:
The City of Rijeka Office for Culture
The Ministry of Culture of Republic Croatia

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