LETTING FILMS THING THEMSELVES (2018)
camera, motorized pan tilt, 130cm x 220cm reproduction of the Cedid Atlas (page 46), monitor, speakers
 

Why is it that images acquired at high altitudes are seen as more objective than those taken from the surface of the Earth? In her work Marina Papazyan presents viewpoints of a cartographer and the choreographed movements of a mechanical eye. Knowledge is not acquired by the immersion in an environment, but from the position of a detached rationale in which humans are absent. By dissecting this position, Papazyan reveals how dominant narrative constructions take over the mediation of space. The elements that constitute a selective perspective on the world are pulled apart, de-synchronised, so that the representation of territory opens up to new interpretations. We are invited to engage in this process of re-editing by either tuning-in on each component of the installation, or by watching the entire production as if from 'back-stage'. Here, the information that is normally trapped in maps and video essays can migrate more freely and transmit insights along new lines of inquiry.
 
-Text by Jasper Coppes  
 
 

script for sound channel I
 
Taking away the question of how
How was it filmed
How did she film it
I can't make images constitute
Constitute what
A critical distance
I am at a critical distance from a point
I mirror this distance with my voice
Locating my voice as it is mirrored by surfaces
That are not filmed yet
I substitute these surfaces with images of surface
Surfacemaking to orient
Wayfinding at the expense of surface
 
 

script for sound channel II
 
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility
The longer the take the higher the fallibility


 
 

script for sound channel III
 
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance
Critical distance