DARIUS G. RODRIGUES
English artist, filmmaker and poet living and working in London
Milk
installation - television, two chairs, black cloth, video (18.15)
‘Milk’ is expanded cinema, dislocating the first scene of Tarantino’s ‘Inglourious Basterds’ to create an unnerving physical experience.
With similar intent to Pierre Bismuth’s rework of ‘The Jungle Book’, something that was intended to be understood by all has been made relatively incomprehensible. The installation and video manipulate the viewer’s focus to heighten their sensitivity to and change their perspective to replicate that of the Jewish families under the floorboards in the scene. To emphasise the labour and enduring tension of the character’s context, the bottom of the crate has been painstakingly coloured in black using pens and pencils.
The 18-minute scene’s dialogue has been replaced by a mix of the film’s French, German and Spanish language trailers. The installation subverts the importance of language and communication in the creation of immersive cinema and transcends the impact of atmosphere and tension. The only sounds kept from the scene aside from background noise are the family’s names when they are read.
The new dialogue mix is extremely loud whilst the original background noise is almost inaudible. This frustrates and forces the viewer to physically navigate the small space as they attempt to negotiate and settle in their new environment.
Milk
video (18.15)
‘Milk’ is expanded cinema, dislocating the first scene of Tarantino’s ‘Inglourious Basterds’ to create an unnerving physical experience.
With similar intent to Pierre Bismuth’s rework of ‘The Jungle Book’, something that was intended to be understood by all has been made relatively incomprehensible. The installation and video manipulate the viewer’s focus to heighten their sensitivity to and change their perspective to replicate that of the Jewish families under the floorboards in the scene. To emphasise the labour and enduring tension of the character’s context, the bottom of the crate has been painstakingly coloured in black using pens and pencils.
The 18-minute scene’s dialogue has been replaced by a mix of the film’s French, German and Spanish language trailers. The installation subverts the importance of language and communication in the creation of immersive cinema and transcends the impact of atmosphere and tension. The only sounds kept from the scene aside from background noise are the family’s names when they are read.
The new dialogue mix is extremely loud whilst the original background noise is almost inaudible. This frustrates and forces the viewer to physically navigate the small space as they attempt to negotiate and settle in their new environment.
Taste Gold
performance, 6.56
Similar to the obstruction method presented to Jorgen Leth by Lars Von Trier and employing the concept that ‘creativity feeds on limits,’ the performance is the result of my own limitations from the starting point of the found phrase ‘Taste Gold.’
Without eating or drinking for 24 hours, I repeatedly attempted to self-induce vomit in an attempt to test my own dedication to being an artist. This motion was inspired by Kandinsky’s claims in ‘Concerning the Spiritual in Art.’ Firstly that artists are ‘priests of beauty’ and secondly, we do not have the ‘right to live without duty’ and that the task of creation is ‘painful’ and a ‘heavy cross to bear.’
I Do The Cooking In My House
installation - print on card, 12.5x12x0.5cm
On BBC Breakfast, presenter Charlie Stayt was told in conversation by his guest he would have to ‘tell the cook in his house’. His response was ’I do the cooking in my house.’ I noticed a vulnerability in his voice and in his moment of reflection that followed.
Subsequently, I investigated Charlie Stayt’s personal life and managed to speak with him briefly on the phone, but not long enough to ask questions.
The installation is my exposition of that single moment of sadness. The reason why he was sad is unimportant, what became more important was the act of revealing the vulnerability of a normally strong ‘character.’
The diminuitive size of the installation induces sympathy whilst the minimal presentation allows the viewer to focus on his vulnerability only. Stripped of his studio background and slightly lifted off the wall, fragility is implied as well as presenting him as a ‘sculpture’ with whom I have interacted and have a relationship with, rather than a 2D ‘profile.’
Taste Gold
video recording of performance, 6.56
Similar to the obstruction method presented to Jorgen Leth by Lars Von Trier and employing the concept that ‘creativity feeds on limits,’ the performance is the result of my own limitations from the starting point of the found phrase ‘Taste Gold.’
Without eating or drinking for 24 hours, I repeatedly attempted to self-induce vomit in an attempt to test my own dedication to being an artist. This motion was inspired by Kandinsky’s claims in ‘Concerning the Spiritual in Art.’ Firstly that artists are ‘priests of beauty’ and secondly, we do not have the ‘right to live without duty’ and that the task of creation is ‘painful’ and a ‘heavy cross to bear.’
Naked Man In Colour Box
performance, 8.21
The culmination of a year of work based on articifial light and emotive colour, ‘Naked Man in Colour Box’ was a performance featuring a man inside the ‘Colour Box’ a sculpture built from mdf and timber, with each side covered in a different coloured sheet of acetate.
The man spent eight minutes in silence spending two minutes with each colour, responding in an unrehearsed, intuitive sequence of movement.
Naked Man In Colour Box
performance, 8.21
The culmination of a year of work based on articifial light and emotive colour, ‘Naked Man in Colour Box’ was a performance featuring a man inside the ‘Colour Box’ a sculpture built from mdf and timber, with each side covered in a different coloured sheet of acetate.
The man spent eight minutes in silence spending two minutes with each colour, responding in an unrehearsed, intuitive sequence of movement.
