speaking with great fun and derision, Jordi Colomer depicts characters facing situations tragicomic which question the relationship we have with our environment.
Jordi Colomer is a Catalan artist, who through his installations, videos and pictures probe the notion of space in our environment. It places particular emphasis on the perception of this space, that environment. It thus implements a mechanism for focusing particularly on the latter. On the other hand, the influence of cinema occupies a major part in its work.
"As regards architecture, habit determines to a large extent even optical reception"
Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction
Jordi Colomer is a Catalan artist, who through his installations, videos and pictures probe the notion of space in our environment. It places particular emphasis on the perception of this space, that environment. It thus implements a mechanism for focusing particularly on the latter. On the other hand, the influence of cinema occupies a major part in its work.
"As regards architecture, habit determines to a large extent even optical reception"
Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction
"Anarchitekton" Barcelona In "Anarchitekton", a character with no short apparent purpose, it passes through the urban landscapes of major cities around the world, holding at arm's length such banners, reproducing in miniature models of buildings belonging to the setting in which the character evolves
Race ridiculous where the character wields as much as 'flags to build our vanity. Models in boxes that recall the architectural models but also the fragility and precariousness of any building
human race ... or pathetic demonstration desperate to make a real awareness of our environment? Through this character
agitated, leading what Colomer serves as the backdrop for our daily actions. It draws our attention to what surrounds us and we do not see or that we no longer see, lost in our eyes distracted.
For that, he plays a different scale, we focus on these banners because, paradoxically, these selected pieces of architecture attract their share of cuts and their confrontations with the original models.
The use of models also refers to the movies, the sets of boxes, pasta, big studios like Cinecitta or Babelsberg. Deformations of these models refer to the imperfect Expressionist cinema and unstructured settings, "the Office of Dr. Caligari, "for example ...
"The Cabinet of Dr. Caligari"
In the video "Jordiciudades" quote from Harold Lloyd film "Get on it," a woman hanging on a ledge located on a wall trying to reach an open window. A background in diving, moving set of a megalopolis treated animation is evolving second by second throughout the duration of the video.
Harold Lloyd in "Safety last" Colomer still poses the problem of focus.
In fact, this video offers us two versions simultaneously and split-screen action. In one, the woman reached the window, in the other it falls into the void. Colomer plays the multiplicity of viewpoints; difficult to embrace the light and follow a single glance the two versions, too difficult to follow the evolution of the city in the background. Our view is unbalanced, lost in the multiplicity of events to follow.
"In the Pampa" Jordi Colomer
metaphor perhaps a deeper imbalance on our benchmarks delivered profligacy of cities with more and more mutations, transformation , more and more sprawling ...
Babel Kamer "refers to his performance as the same issues.
Two women, one Walloon and one Flemish are sitting opposite one another inside a trailer located in the shopping arcade of a hypermarket. Above each of the two women, two screens simulcast "The Dawn" by Murnau. A dialogue between them. A special dialogue. They begin a dialogue from the film in sign language each in their respective languages, Flemish and Walloon. The debate was broadcast on two monitors with sub-titles in French and Flemish.
Multiplicity of languages, translation problems: transcription gestures, shifts, subtitles in French and Flemish inevitably recall the biblical story of the Tower of Babel and the human vanity to build still more. This facility also brings us back to the same problem of focus, choices in "Jordiciudades"
A double reference to German expressionism: first with the choice of the film "L'Aurore" the last great silent films and the title of the installation "Kamer Babel," which refers to the studios "Babelsberg" but also Kammerspiel (Theatre Room) by Max Reinhard, but also on the side of the messianic and expressionist double attraction and repulsion for cities.
"On the Pampas", another video is treated as a road movie.
A man and a woman. Their unlikely meeting in a desert. They decide to walk together.
Estate sequences without pre-established order, separate sequences on both media, differentiated, each sequence is an autonomous entity. Jordi Colomer bursts of narration, the reading, giving free rein to play the spectator.
They met on a paved road crossing a pampa, the place is so deserted, traces of occupancy, sign,
The man and woman engage in a dialogue form of small talk, the camera on the leaves away a road receding in the distance. The pampas
becomes vacant lot into a playground where there are bullets, tire, ridiculous waste of our society, neglected, both the characters reappropriate. Share child who gets over ...
car wash in front of a cemetery made of odds and ends.
cemetery, tombs, mausoleums skeleton made of planks of recovery, stick, windswept seems barely stand in the arid and dusty minerality.
"In the Pampa" Jordi Colomer cleaning a car in this world of dust, absurdity of the situation that reminds us of our condition and treatment that we inflict on the planet; The cemetery where the car and eventually where will the two characters ... Most of these scenes are filmed in long clips to executives cared ...
In "Father coconut", a man, apparently a tramp, picking up various objects found in the fortunes of a Urban and nocturnal wandering. He carries a large bag, evoking the figure of Father Christmas.
"Father coco" Jordi Colomer
The image of this deliberately degraded video is reminiscent of the surveillance cameras where each of our travel is monitored, recorded in the urban universe in which we live. Against "In the Pampa" consists of footage, editing proceeds here in jump-cut that adds to the bitterness of the video. Again Jordi Colomer exploits the possibilities offered him the film.
"Father coco" also refers to this sequence "In the Pampa" in which man and woman playing with objects lying around the desert ... almost similar situations, urban spaces are deserted as is apparently the Pampas.
"In the Pampa" Jordi Colomer
Again, this quest objects brings us back to our ridiculous, urban wandering and wandering in the desert are also an ironic critique of surrealism like this quote from Guy Debord Jordi Colomer rehearsed like a litany to his male character from "In the Pampa" in a sequence where ridiculous, he's carrying a tree in the desert.
"Wandering in open country is naturally depressing, and the interventions of chance are poorer than ever"
Colomer's characters would not they kind of Conrad Veidt Modern Comedy (de) owned, disjointed, launched in frantic races they no longer control? Characters in our image launched into the absurd, blind to our world ...
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