Every hammer blow evokes a memory of the past, while simultaneously connecting to all other forms of decision-making processes that have been formalized with the rather arbitrary ritual of hitting a hammer on a wooden block.
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Every hammer blow evokes a memory of the past, while simultaneously connecting to all other forms of decision-making processes that have been formalized with the rather arbitrary ritual of hitting a hammer on a wooden block.
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But in spite of these formal methods - which are reminiscent of earlier avant-garde films - there is no trace in Van Brummelen's work of any optimism regarding the opportunities created by mechanisation, technology, and social reconstruction.
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These, the primary colours of reproduction - and colour photography - optically merge in the photograph with the Papuans' skin colours, leading to formal, analytically and more socio- politically charged meanings that shift across each other.
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Fischer / El Sani’s project on the South Axis of Amsterdam also concentrates on the complex relationship between the formal language of a building, the psychological effects that has, and the political-economic reality which forms its setting.
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The environments surround the visitor; within these spaces narratives unfold, based on images and structures that are derived from the architectonic formal language of security, such as hoardings, roadblocks, specific lighting fixtures, fences and cages.
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Here Magid directed a whole institute that we usually associate with the formality of the police and therefore political paternity and secrecy - which defines the panoptical state of today’s society - to make evocative fiction in which she herself is starring.
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The informal economy is that part of commercial and the service sector that operates outside of the circuit of formal financial transactions – and thus is hidden from the sight of the Revenue Service and other governmental institutions that control business and economic affairs, and the banks themselves.
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In their film, inspired by Hitchcock's Vertigo and Piranse's carceri images, Fischer and El Sani concentrate on the complex relationship between the formal language of the building, the psychological effects triggered by its neomodernist architecture and the free market ideology that radiates from the setting in Zuidas.
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If performance was originally intended as something to be observed - almost like an object on a wall or plinth - with the aim of making its audience conscious of its own presence - perhaps making it feel extremely uncomfortable - then Kruip’s work for Bureau Amsterdam could formally be described as a performance in which the audience is simultaneously performer and performance, within the framework of the surroundings in which it finds itself.
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