Soundrugs I | Soundrugs II

Yiannis Isidorou at Dr. Sorovits' lab

Yiannis Isidorou, Kidwalkin, video installation, 2006

And then one day, very rarely, you wake up having, for no reason at all, climbed through to the apex of your senses and suddenly the wings of birds are knife blades tearing up the air, the grass is speaking with its thousand tongues, the sliding bus doors are roaring, the crowd is shifting in the manner of a gigantic beast, your ears are humming and you are thinking this is it, this is it, you can feel it between your teeth you want to brake it, this crystalline thing.

Katerina Iliopoulou

I have a habit of recording my routes in the city using my camera in real time. Sometimes I do this full of intent and others almost mechanically. Sometimes I am on foot and other times I do it from the trolley or a moving car. One day I wandered how might this constantly enraged and bleating and overwhelming city universe, look from the height of a child. I lowered the camera to my waist and I walked on. Watching those recordings later, I had the feeling of experiencing a nonexistent world, a made up universe or the memory of a dream.

A slight shift is often enough to activate poetry within things, a false step, the abruption of continuity, a blind look. I kept on shifting other things- the speed, the color, the sound.

The parrallel projection where the movement of the camera is in two different axes, is interesting for me, as a device of visual orchestration and also because it creates the illusion of a three-dimentional enviroment.

Noise, visual clatter, the worn out, trivial human figures are all elements of this work, but I would wish to go a step forward. Under the surface, the concern for life is moving, for the next step, the next door which will open and close. Not the concern for survival as such, but the concern for the fleeting thing, which only the observer retrieves.
The observer is interpreting the world, the gaze is the inventor of reality. Reality as mere succesion of facts is a neutral formless space, inside which the gaze establishes its domain.

Part of the video "Kidwalkin", 2006
Music by Thanos Chrysakis and Dario Bernal Villegas.

 

Roughcuts, VJ SET, 2006

A series of random images, fragments of a work in progress, where the key role is played out by the serendipity of succession and the simultaneous selection of music. The music to be selected live, originates from different "areas" and "trends" that appear in the 20th century and have as their common component, the experimental attitude, the upbringing of the accidental, the improvisation, the playful mood and the obvious mingling and exchange of elements from other art forms.

Rough Cuts / Video stills