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GUARDA L'INDICE |
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PIRKER, Sasha
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Angelica Fuentes. The Schindler House [risorsa elettronica] / regia Sasha Pirker ; soggetto Sasha Pirker ; fotografia Sasha Pirker ; montaggio Sasha Pirker
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AT : , 2008
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1 file mkv (329.68 Mb) (10 min.) : color., son.
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Cortometraggio. - Altri formati: mp4.
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1. Architettura.
2. Museologia.
3. Arte.
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Abstract: Più di qualsiasi altro esempio della prima architettura moderna in California, la Schindler House a Los Angeles incarna "il ruolo dell'architettura come arte critica, sia come commento su come viviamo in questa città, sia come modello per come potremmo farlo". La sua fama risiede non solo nell'espressione architettonica di uno stile di vita sperimentale, ma anche nel modo in cui funzionava come "oggetto utilitaristico" per una pratica di vita quotidiana estetica. Oggi, a circa 85 anni dalla sua costruzione, la Casa Schindler funge da documento storico in più di un modo: come ex spazio residenziale (privato) convertito in una 'casa museo' (pubblica), svolge contemporaneamente il ruolo di essere il principale pezzo forte del museo. Situata tra l'autonomia e l'autoreferenzialità, la casa Schindler fornisce il quadro per visualizzare l'ideale architettonico della prima modernità di integrare arte e vita. Nel film sono presenti due narrazioni parallele. Una voce fuori campo che racconta la storia personale e privata di una donna di nome Angelica Fuentes è contrapposta a una sequenza di immagini che ritraggono la Casa Schindler come la mostra museale autoreferenziale che è diventata: mentre il monologo di Angelica Fuentes dà conto delle varie fasi della sua vita, la Casa Schindler è ritratta attraverso varie viste esterne, così come dal vuoto che le stanze interne accuratamente arredate trasmettono.
More than any other example of early modern architecture in California, the Schindler House in Los Angeles embodies "the role of architecture as a critical art, both as a commentary on how we live in this city and as a model for how we might do so". Its fame lies not only in its architectural expression of an experimental lifestyle, but also in the way it functioned as a "utilitarian object" for an aesthetic daily living practice. Today, some 85 years after its construction, the Schindler House serves as a historical document in more than one way: as a former (private) residential space converted into a (public) 'house museum', it simultaneously fulfils the role of being the museum's main highlight. Situated between autonomy and self-referentiality, the Schindler house provides the framework to visualise the early modern architectural ideal of integrating art and life. There are two parallel narratives in the film. A voice-over narrating the personal and private story of a woman named Angelica Fuentes is juxtaposed with a sequence of images that portray the Schindler House as the self-referential museum exhibition it has become: while Angelica Fuentes' monologue gives an account of the various stages of her life, the Schindler House is portrayed through various exterior views, as well as from the emptiness that the carefully furnished interior rooms convey. These days, some 85 years since its construction, the Schindler House serves as a historic document in more than one way: as a former (private) residential space converted into a (public) ‘museum house,’ it simultaneously performs the role of being the museum’s primary showpiece. Situated between autonomy and self-referentiality, the Schindler House provides the framework for visualizing the early Modern architectural ideal of integrating art and life. As such, it plays a leading role in this timeless scenario: an ever-present heroic figure of modernity perpetually haunting the stage of its own conservation, the site of its own everyday occurrence. The video Angelica Fuentes, The Schindler House presents two parallel narratives. A voiceover recounting the personal and private story of a woman named Angelica Fuentes is set against a sequence of images depicting the Schindler House as the self-referential museum exhibit it has now become: while Angelica Fuentes’ monologue gives an account of various stages of her life, the Schindler House is portrayed via various external views, as well as by the emptiness which the carefully furnished interior rooms convey. The camera wanders through interior spaces, past architectural details and intentionally displayed architectural substance, strays into the garden’s vegetation, then turns and reorients itself, stops and returns inside. The result is a series of visual and acoustic impressions that interweave the distant, institutional presentation of the building with narrative fragments of Angelica Fuentes’ life story. Accompanying this disjointed biography, the cautious and clumsy camera movements disrupt any analysis of the object of our gaze, causing it to disintegrate into an incoherent landscape of partial and differing images. Just as speech act and image tend to refer to one another while themselves coming undone: even as a relationship between Angelica Fuentes’ narrative and the building gradually becomes apparent, and the history of the Schindler House inserts itself into her biography again and again (and again) — virtually revived by the re-telling — there is still the fact of the institutionalization of the Schindler House to be considered, the disparity between an everyday-life and a museum-like structure, which returns in the form of a sound and image montage in the video Angelica Fuentes, The Schindler House and which casts the two narratives incongruently against each other. The dynamic of speech and image traces a difference and opens a gap in which the ‘nowhereness’ of the representation of the commonplace can be seen, in which architecture shapes itself as social object and comes alive. (Johannes Porsch)
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| Lingua: Inglese. |
Genere: Documentario.
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VISIONABILE IN MEDIATECA SENZA PRENOTAZIONE
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