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Doplgenger [Videonale.16]

Isidora Ilić
* 1979 in Novi Sad YUG, lives and works in Belgrad SRB
Studied at the University of Belgrade and at Belgrade Women's Studies and Gender Research Center SRB

Boško Prostan
*1979 in Belgrad SRB, lives and works in Belgrad SRB
Studied at the University of Belgrade SRB

Dop

2016 Performing the Museum, Koroška Galery of Fine Arts, Slovenj Gradec SLO
        ABSTRACT SOCIALISM, Fundació Antoni Tàpies, Barcelona ESP
2015 Archive and Power, Museum of Contemporary Art Novi Sad SRB
        Resolution 827, Stedelijk Museum Bureau Amsterdam NED
        Notes from Elsewhere, Node Gallery, Helsinki FIN
2014 2014 55th OCTOBER SALON (Disappearing Things), Belgrade City Museum SRB
        La Bande Video, Centre de création en arts médiatiques, Québec  CAN 

 

Doplgenger, 2015 x

Fragments untitled #3, 2015, 06:20 [extract: 1,05] min., colour, sound [Videonale.16]

Artist duo Doplgenger create video works which bring together art and politics. Their video Fragments untitled #3, which reworks excerpts from the 35th Eurovision Song Contest which took place in what was then Yugoslavia in 1990, is no exception. In their Fragments untitled series, Doplgenger employ the method of manipulating mass media images, as can be seen here. The work begins with various shots of a loudly applauding audience. The camera pans across the stage, showing a performance of the winning song, »Insieme«, Italian for ›Together‹. With the lines »unite, unite Europe«, the background music kicks in. A passage from the pop song is repeated over and over at reduced speed. This corresponds to a slow-motion effect on the visuals, which gives the whole scenario a threatening air. As journalists try desperately to capture a photo of the singers, the auditorium is plunged into chaos. We hear the repeated clicks of cameras, and see the corresponding flashes of light. Towards the end, the pitch of the music is drastically increased until it is little more than an almost inaudible crackling sound. Just before the moving image itself slides out of focus, we are shown close-ups of faces which resemble abstract patterns.

Doplgenger’s manipulation of the material gives rise to a turbulent, warlike atmosphere. The images of a show meant for entertainment are transformed into its opposite by Doplgenger’s manipulations. There is no pleasure in viewing the images, but rather a certain sense of unease.

Randi Camille Terjung

Doplgenger [ Videonale.16 ]