This month, Multimedia Duo Nathalie Djurberg and Hans Berg have converted the Gallery Kanyanya Makdar to a attractive earthquakes full of sweet letters. In the dream like a gallery restored in the gallery, a mysterious visual and mysterious images.
“Only for the bad ones,” we put the tone of the exhibit, awakening a particular reply. “Only a bad exhibition,” said Djurberg only if we met a couple of few weeks after the opening. “Anyone enters a show should be no worries since that’s the theme, which made us laugh. First, it was all of us;
Hobbies lies in the heart of the Duo practice, which is possible in descriptive, good conditions built by their thinking characters and viewers themselves. Their work is thriving in connection between installation, mathematical installation and a falling video, creating a place where the audience and the works of art regularly meet. “We are playing this idea in all situations. You have your role you have to play, and don’t play it, however, and you have no control over your actions,” Djurberg said. “Even if your intention may be a simple, you know what the outcome will be or your partner, for example, will interpret it.”
This role framework – where heroes and anti-heroes fails to each other – are important for a human duo test. “Everybody is the hero of their stories, or sometimes you’re an anti-hero in your story,” he adds iberi. “The title shows the roles of these roles, inspected from seven large idols expressed in the show, where different letters play more distant roles that will find themselves in.”
Dreaming from myths, Duo spent the colorful, variety of letters and material statistics, which work within the printing and metaphor, are like encouraging issues. The news was a constructive part of Dfurberg: “Then, growing, when my mother was gone, when the fantasy was clear as Hollywood Movie, and they were built with a large family.” In video images. DUO, the good letters play the accounts that come somewhere between comics and the satyr playing, and they are beautiful in the dark fungus.
How these video recent and psychological issues recall “The humor of the famous” jokes of “famous habits in the 17th century, using entertainment as a form of regular fields, social codes and public problems. “When I started in a pupai, it was an unknown desire to understand the world, and I and I and the foundation of faytales and the art, I don’t feel like I should be happy,” said Djurberg. Their inspired pictures have been developed into a critical tool to investigate human existence – one who does not always do in comfortable view. “An Hans futhi angikwenzi lokhu ukujabulisa, kepha ngoba kufanele ulandele umbono nokuphefumulelwa lapho kubumbana kithi, futhi ku-ART, kunenkululeko yokuthi ungabi nesiqalo, maphakathi nesiphelo, awunaso isiqalo, Kudingeka abophe ifindo lokuqeda ekugcineni, futhi ejabulisayo, noma ngabe kumnandi kangakanani, akuyona inhloso . “
Djurberg characters and BRG characters occur in existing characters, which produce tensions between the desire, fear and anxiety while acting as a symbolic thinking of one’s defenses. Their wonderful creatures containing negative thoughts in viewing under the face, is seen by additional types and gossue conditions. Usually playing negligently, their amazing accounts interfere with any real sense, by tapping in human presses and joints. Their characters, said Djurberg, not sensible but showing reality. “Life and people are very unreasonable than anything we can. “It’s hard to see life because it is always a brilliant dream, or we don’t always ask that this life allows guests to look in,” Polish away from our eyes every minute daily . “
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He has shown the world – including Venice Biennale – from unsuccessful, Duo has been in the beginning of the implementation of modern arts, accepting it as an account and art. While 3D-translated 3D images began to rule the cinema, they remain committed by handmade hands on higher animation techniques, preserving the genetic quality separating their work. Dfjurberg says: “Before the flow is, it is a fool, such as a ban, which appears to be a serious idea to make an unfair sense of medium play. It enables you to endure that something that can be viewed and, at the same time, keeps you unnoticed because the mind will not get frustrated as other mediums, such as when you look at the news. “While the suspension it lends carved materials and painting, you continue to argue, remains a form of formal art, provides some freedom.
At the same time, the absence of documents and discussions protects the security of specific stories, leaving their video account open and free to interpret. “It is aimed at your own feelings; passing from a few filters in your brain that translates what you see and hear and to hit you directly,” BRG.
By inserting tricky drugs, unrealistic and seemingly imperfect situations.
For this reason, their narrative increases, renovated for more experiences that promote the viewer to set aside from the fifticiciciComoli, and find something personal focus on internal and overseas. “Our work is a type of research – how to understand something inside us, and during that study, the desire to be bitten on something to understand, to deal with it,” said Berg. “We want to feel, hear and touch something to understand and see you fully.”
Over the past two decades, Nathalie Djurberg and Hans Berg have worked in illegal partnership – handmade and photographed colors and sets while the one called music associated with and a loud music. “We worked so long now as the process has no seamlessness (almost always). “The visual conversations around something they want to be viewed, and slowly they like, and we are directly about the work it is, but we’re in the best way to vote for it, find Essence,” adds Berg. This is the background of organic, which is marked by the difficulty, juxtapoships and decisions, drawing their process, using their work by applause.
The new job is almost always from this play with play. Dfjurberg also: “I probably would remember if we were in the world now not at the end of the project, but I thought it was a good idea.” The true key to their creation process, however, space Collaborative partnerships – units not by solid basis but self-defense. “The work is like a large area between us, where we both add different things, thoughts, ideas, and forms; or our roles is clearly explained, the process is a compatible place.”
Compliance and adding another emotional depth of Dfurberg’s recreational areas, Bergs of Bergs find a major drama or create a huge figure, increases the sensation of discount. This Interplay allows them to cope and examine their understanding, translating unparent tendencies in all different media.
Throughout the conversation, both artists always agree that the moral investigation and power of society is the driving force after their work. But why? The BRG is a cause in the end, only concluding that no reliable response – most human behavior is shaped by subcovic, investical senseless motions empowering farming, creating and transformation. “I find it very interesting that we have all these laws and programs and behavior, but then, half time, everything we do.” It is in Auto-Pilot or something we have learned. The mysterious understanding of ourselves is handling we know nothing about it. “
Nathalie Djurberg and Hans Berg ” s “wicked” reflected in Tshenya Bakdar to February 21.
