4AM meandering around things that’ve been on my mind lately
i’ve been very caught up in thinking about recontextualisation and repetition recently. mostly in terms of embodiment, how the body obtains new meanings, and how we re-enact the same movements in new settings. very related is this strand about projection and mapping, with regards to bodies. like the remapping of an ex-lovers body atop a new one, or maybe several people’s, overlapping.
Střed Světa - Oboustranně dvoudílný (ZamZam, 2015)
When I first heard Střed Světa - after his friend sent us his demos - I was on a train embarking on another monotonous ride through picturesque environs of the Czech and Slovak landscapes - from valleys and plains of Southern Slovakia to the green hills, woods, flickers of sunshine and small industrial towns of the Czech Republic, passing by like flickers of visual hallucination. It was probably sometime in 2011. I vividly remember listening to his twisted, liquid electronics, a lysergic, very organic melange of his own recontextualisations - lot of his work is a “rework” of his own older material, amassed over ten years of bedroom experimentation. The skittering narrative provided the perfect backdrop for the scattered visual stimuli arising and disappearing in the very same moment. It was like a revelation. He had been making this music for more than ten years some twenty miles away from both me and my Easterndaze/Baba Vanga partner in crime gnd, and we didn’t have the slightest clue…
Elements of IDM are obvious, but mashed and twisted in an idiosyncratic way - slap dash.
Two years have passed since we released his self-titled debut album on Baba Vanga. As his live sets have proven, his music has been increasingly leaning towards rhythm and repetition, one simply feels compelled to move and groove, to loose oneself during the journey. Introversion has been replaced by a need for communion - a wholesomeness of a forest, where animals, insects, trees and greens coexist to create an ecosystem that communicates in its own language, but does so harmoniously and happily.
Střed Světa, similarly to his sonic collages, also makes visual ones and does the cover art for his own records - and always hits the nail. The Dada-esque track titles remain. It is as if they were the secret language, a key to get to the other side of the mirror.
Taking place over the course of a lavish banquet, this short provides a dark and sinister look into the questionable morality of those blinded by wealth and class. Follow Vincent, the host of the meal, as he dissects the egos of his dining companions and delves deep into the world of capitalist villainy and morally oblivious hedonism. While Vincent’s stance on his party’s vulgar indulgences is considerably apt, it does perhaps reveal more about his own personal reservations and misanthropic tendencies than those of his company.
Serving as a narrative recontextualisation of the ‘Vanitas’ art movement, this short film explores the transiency of human life, with strong aesthetic references to Willem Kalf, Harmen Steenwyck, Michelangelo Merisi Da Caravaggio & Rembrandt. Vanity, gluttony, temporary knowledge and greed all form a rigid scaffold on which to pin Freudian ideals about the human drive, as well as more subtle ones surrounding religion and sociological hierarchy.
Vincent - Mateo Oxley
Eli Westphal - Adam Woods
Clarice Spinoza - Ella Balinska
Mr. Powell - Ollie Norton-Smith
Mrs. Powell - Alice Lucy
Written/Directed by - Edward Zorab
Produced by - Edward Zorab & Sarah Vargeson
OST composed by - Tommy Bradly
Assistant Director - Kostadin Stoimenov
Script Supervisor - Grace Bahari
Costume & Styling - Jessica Venn
Production Design - Penny Zorab
Storyboard Artist - Grace Lee
Sound Recordist - Kostadin Stoimenov
Special thanks to - Digby thomas, Turner & George, Les Mirabelles, Sam Wilkins, Janaki Chengalath, Lyndsay Moore, Ben Ramshaw, Daisy Woollard & Fraser Wilson.
To try another technique, I also cooked the heart and presented it as a meal. Although a heart may be confronting to eat, this is not confronting to look at as a photo. It looks like a normal roast and could even be appealing to the viewer if they didn’t know what it was perhaps. Cooking the heart doesn’t just create a different affect, I think it recontextualises the work. This could be a different approach: portraying something grotesque as something desirable (but that wouldn’t be confronting). Photo taken with iPhone 4