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The artwork’s primary concern is deconstruction of the conventional film language while questioning the form and materiality of a film frame. Spectators are invited to move freely around the installation and subvert the projection with their shadows. The subversion creates random film frames of different shapes and sizes made by chance and audience interaction.
The photosensitive spheres are interactive in relation to both the audience’s touch and the light from the video projection. They control both the video projection and generation of random sounds while establishing spectators as collaborators in the creation of the artwork. The expanded cinema of the artwork propagates the creation of an immersive community of spectators. While sharing the spheres and shadows, the audience not only completes the artwork, but becomes its integral part.
The interactive spheres are placed on glasses filled with water and translate the immateriality of the video images to a real physical object while questioning the notions of what is real. The spheres act as portals that connect real and unreal and bring them in a position of equilibrium through a creation of random audiovisual language in situ. By removing the constraints of a spoken language, the audience is encouraged to establish a more empathetical approach to the artwork that propagates the creation of equality within the spectators’ community.
The artwork is a reflection of the artist’s personal experiences conceptualized in the videos of the sea shot at their ancestral island of Pag in Croatia. In the artist’s opinion, a shared artwork is like water without pollution, a stream of raw consciousness that allows the emergence of equality and freedom through diversity.
The artwork’s primary concern is deconstruction of the conventional film language while questioning the form and materiality of a film frame. Spectators are invited to move freely around the installation and subvert the projection with their shadows. The subversion creates random film frames of different shapes and sizes made by chance and audience interaction.
The photosensitive spheres are interactive in relation to both the audience’s touch and the light from the video projection. They control both the video projection and generation of random sounds while establishing spectators as collaborators in the creation of the artwork. The expanded cinema of the artwork propagates the creation of an immersive community of spectators. While sharing the spheres and shadows, the audience not only completes the artwork, but becomes its integral part.
The interactive spheres are placed on glasses filled with water and translate the immateriality of the video images to a real physical object while questioning the notions of what is real. The spheres act as portals that connect real and unreal and bring them in a position of equilibrium through a creation of random audiovisual language in situ. By removing the constraints of a spoken language, the audience is encouraged to establish a more empathetical approach to the artwork that propagates the creation of equality within the spectators’ community.
The artwork is a reflection of the artist’s personal experiences conceptualized in the videos of the sea shot at their ancestral island of Pag in Croatia. In the artist’s opinion, a shared artwork is like water without pollution, a stream of raw consciousness that allows the emergence of equality and freedom through diversity.
Vladimir Kanic
MIRROR WITHOUT ORGANS, 2021
Immersive Participatory Video Installation
60 x 240 in
152.4 x 609.6 cm
152.4 x 609.6 cm
Vladimir Kanic
Further images
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