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In the Outskirts of Venice II | Dans les faubourgs de Venise II Alla periferia di Venezia II

Rina Sherman

Vidéo, 30 Min, 2017


When crossing the Via della Libertà causeway that links Venice's centro storico with the Italian mainland, especially at night, I am always overcome by a strong sensation of melancholy as I enter this old and beautiful world built on water that seems to have been there forever and yet on closer inspection shows distinct signs of its future disappearing. On my first visit to Venice in 1989, I wandered off into the far-off streets of the Castello sistieri. There, at terrace eatery looking more like a private home than a restaurant, the owner served me the most delicious and unforgettable pasta dish. She spoke no English and stood nearby watching me with a look of intrigue as I enjoyed the meal. Then there is the ebb and flow of the water ever present and changing in the milky green of the lagoon and the opaque turquoise of the canals. A world of mariners, travelling to and from the islands in gondolas, water taxis and vaporetti. In Venice I stick to the outskirts and the islands, I stop here and there in the insulate corners of the city floating landscapes, where the eroding movement of time stopped seems to be eternal.

In the Outskirts of Venice I

Rina Sherman

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On a walk through the outskirts of Venice, Rina Sherman stops here and there in the insolate corners of the floating city and its islands, where the movement of time stopped seems to be eternal.
Lors d'une promenade dans les faubourgs de Venise, Rina Sherman s'arrête ici et là dans des coins insolites de la ville flottante et de ses iles, là où le mouvement du temps arrêté semble être éternel.

Cities & Elsewhere | Villes & Ailleurs

Tableaux Mouvants

Rina Sherman

In Cities & Elsewhere, a collection of tableaux mouvants, I draw on the traditions of the tableaux vivants of Louis XIV, Delsartean ‘Living pictures’ and the later poses plastiques performance activities, as well as landscape painting and early landscape photography. My work as a performance artist with Possession Arts in Johannesburg in the early 1980s further informs the live still scenes filmed in Cities. Our living tableaux such as ‘Schreber’s Chicken’ and ‘Rain, Steam and Speed’ were set on stage and drew on the transformation of everyday scenes and duration performances, inspired by artists such as Philip Glass, the Wooster Group, Elizabeth LeCompte, Spalding Gray, Benjamin Patterson.

In the first two pieces of Cities, the images present everyday landscapes with little or no movement and minimal sound: a door closing, the cry of a seagull passing, footsteps going by… In time, the counterpoint between film, painting and photography, the reference to everyday reality interchanges with references to other dimensions of reality. The tableaux vivants come about in this transformation to create a living narration of the still landscape into a choreographed gesture in real time.

In this collection, Rina Sherman explores her love for landscape in a collection of urban and rural cine-poems. In the river of Heraclite's river, the water is never the same. So, here too, the movement of these landscapes are pronlonged to the infinite.
Dans cette collection, Rina Sherman explore son amour pour le paysage dans une collection de ciné-poèmes urbains et rurales. Dans la rivière de Heraclite, l'eau n'est jamais la même. Ainsi, ici également, le mouvement de ces paysages est prolongé à l'infini.
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