A GREEK TRAGEDY

Tiong Ang
Feb 19, 2014 11:06PM
Courtesy of the exhibitor:

About the work: A GREEK TRAGEDY is the first collectively produced film in the context of Pavilion of Distance, an experimental collaborative learning platform. As a collective project it was initially informed by the current social unrest in contemporary Greece.

However, actual information and literal reference to the crisis have been kept at distance in the film production.

Instead, the film focuses on a small group of young artists (two of them being Greek) who retreat in a dark studio in what seems to be a therapeutic session of bodily enactments and performative experimentation. Scenes of classical Greek tragedy are enacted by the participants as if to personify current states of numbness, despair, rage or collapse. Instead of opting for a documentary perspective on a national situation, the film explores a multitude of emotive postures and speculative gestures in staged, repetitive and ‘educated’ enactments. The film was conceived as a compound of different perspectives and

levels of engagement by allowing differentiated voices and narrative styles into the abstract of the production process. The participating artists each contributed in the film with their own individual component (e.g. sound track, voice over narration, production design, script development, second unit) and performed both as actors and as crew during the shoot. The film’s expression and mood, born from this distant multitude, is a distinct exercise how to navigate between pathos and apathy and how to relocate creativity to collective and critical environments.

The notorious film Medea (1969) by Italian director Pier Paolo Pasolini functions as a visual and narrative anchor point in the film production.

Pavilion of Distance (PoD) is an experimental collaborative platform initiated by Dutch artist Tiong Ang to develop a multitude of subjective strategies and methodologies of artistic discourse and production, in the light of current social, political and economic developments in a globalized art world. The platform incites questions about the instrumentalised status of autonomy and authenticity in contemporary art practice and the speculative dilution of national representation, being replaced by t he (evenly) problematic presentation of a particular yet seemingly undefined group of collectively operating artists.

Produced for the exhibition project Offside Effect, the 1st Tbilisi Triennial, CCA Tbilisi / Georgian National Museum, Tbilisi, Georgia 

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Tiong Ang
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