Counteracting Trivialization
"Heimatfilme (homeland films) from the 1950s and 1960s are the starting point for Petra Egg's miniatures. The artist uses these films to approach analytically the principles of construction and suggestive effects internalized by viewers that lead to both emotionalism and mental reassurance when watching Heimatfilme. To achieve this, she has chosen significant scenes, processed and assembled them into a continuous loop as if to counteract, through repetition, the diffusion and internalization of the film's narrative, prompted by the appearance of ever-recurring clichés, in the viewers' perception. She thus focuses on the manipulative effect of such films by manipulating them herself. ..."
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Rainer Fuchs (translation: Anne Heritage)
deutsch >
miniatur 2
(wer die heimat liebt)
künstlerhaus graz 2008
1 min 25 sec (loop) photo: n. lackner
related to photo/untitled (peace ...) >
"Heimatfilme (homeland films) from the 1950s and 1960s are the starting point for Petra Egg's miniatures. The artist uses these films to approach analytically the principles of construction and suggestive effects internalized by viewers that lead to both emotionalism and mental reassurance when watching Heimatfilme. To achieve this, she has chosen significant scenes, processed and assembled them into a continuous loop as if to counteract, through repetition, the diffusion and internalization of the film's narrative, prompted by the appearance of ever-recurring clichés, in the viewers' perception. She thus focuses on the manipulative effect of such films by manipulating them herself. ..."
more >
Rainer Fuchs (translation: Anne Heritage)
deutsch >
miniatur 2
(wer die heimat liebt)
künstlerhaus graz 2008
1 min 25 sec (loop) photo: n. lackner
related to photo/untitled (peace ...) >
