We are Each Other's Past
Single channel video
23min 51sec
2023
Taking the form of short story, the film consists of three short stories: Talkie - You don´t have to mean it every time - The speed of light. This video, which deals with topics such as language culture, translation, the daily anxiety of immigrants, and the constant state of mental migration of modern people, does not feature a specific voice from beginning to end, and only subtitles continue the narrative. Subtitles that replace the speaker´s voice do not suggest a specific voice, but allow the viewer to read the subtitles with their eyes and mind, providing the viewer with the experience of empathizing with the position of a different speaker. The viewer experiences a state of segmented viewing in which he or she misses the image while focusing on the subtitles, or misses the text while looking at the image. The scenes that flow regardless of the narrative contained in the subtitles are read as an attempt to find memories that cannot be reduced to a single continuous narrative in the memories of others and in the present. This is an experiment to reconstruct the memories through the the memories of others.
Physical mobility, depicted through various modes of transportation like trains, trams, and ferris wheels, alongside the mental mobility facilitated by social media and the internet, underscores the continuous state of migration characterizing modern existence. As the narrative unfolds from start to finish, it veers away from realism, embracing pronounced distortion and editing effects, culminating in the revelation that the entire story is a fabrication or a novel crafted by someone.
We are Each Other's Past
Single channel video
23min 51sec
2023
Taking the form of short story, the film consists of three short stories: Talkie - You don´t have to mean it every time - The speed of light. This video, which deals with topics such as language culture, translation, the daily anxiety of immigrants, and the constant state of mental migration of modern people, does not feature a specific voice from beginning to end, and only subtitles continue the narrative.
Subtitles that replace the speaker´s voice do not suggest a specific voice, but allow the viewer to read the subtitles with their eyes and mind, providing the viewer with the experience of empathizing with the position of a different speaker. The viewer experiences a state of segmented viewing in which he or she misses the image while focusing on the subtitles, or misses the text while looking at the image.
The scenes that flow regardless of the narrative contained in the subtitles are read as an attempt to find memories that cannot be reduced to a single continuous narrative in the memories of others and in the present. This is an experiment to reconstruct the memories through the the memories of others.
Physical mobility, depicted through various modes of transportation like trains, trams, and ferris wheels, alongside the mental mobility facilitated by social media and the internet, underscores the continuous state of migration characterizing modern existence. As the narrative unfolds from start to finish, it veers away from realism, embracing pronounced distortion and editing effects, culminating in the revelation that the entire story is a fabrication or a novel crafted by someone.