An audiovisual essay that summons imagination through a travelogue of constructed and anonymous landscapes. A note about the future. Narratives that intertwine in the interstices between the visual, the auditory, and the expressed, speaking about loss, responsibility, struggle and freedom.
Human progress and ecology do not share the same values. The human factor was introduced into the spectrum of nature as a natural force and asset through the conditions of resource exploitation conditioned by geoeconomic and geopolitical dynamics. The internal mechanisms of ecology, which put the environment first, are based on dimensions beyond our human values, ethics, and vision. A film which reflects on the transmission and preservation of the value of traditional and permanent ways of being and surviving. At the same time, an experiment that is aware of the materiality of film. Namely film as a body, which contains the duality of spirit and matter. (Emil Vasilache)
Davor Sanvincenti (b. 1979) is specifically interested in a field of audiovisual phenomenology and anthropology of visual culture, particularly focused on the conditions and forms of human senses and perceptions. His practices find form in a variety of media – film and video, photography, physical light and sound installation and live media performance. His work plays with the concept of illusion, exploring the possible boundaries of perception and the construction of experience. His filmography includes: Almost Nothing: So Continues the Night (2017), Disintegration of unprocessed film within the magnetic loop (2016), Blue Arpeggios (2012), The River (2009), Ana is Gone (2009), V-AV Winter (2008), En el Nadal (2008), Water Portrait (2007).