Video, MiniDv, Hi8, 25 Min, 2005

2 x Poster: DIN A1Papier, Siebdruck, Lack + Farbe

3 DIN A1 Holzplatten mit Stahlrahmen, Siebdruck, Lack + Farbe

Photoserie: 6 Photoprint (25x17), 2005

My motivation for making this video starts by understanding than there is a lack of clarity when referring to the definition and the difference between documentaries and films based on fiction. By the use of these terms I am leading to the notion of what is real and unreal in film. I was interested in figuring out the elements and factors which contribute to this difference. Therefore, I also use the technique of defragmentation in the narrative level and in the dramatized parts as well. As a background for this defragmentation, I use the landscape of Bucharest in 2005. This society symbolize the degradation and tenuousness of human values on the social, cultural and political level. By using ordinary people as actors, the gap between reality and fiction becomes smaller. The film uses Philately as the vehicle to convey these concepts, and the actors in the movie talk about “the Bison" - it’s really known as ´the Aroch’s Head’ or ‘Bull’s Head’ or ‘Cap de Bour’, which is one of the first Romanian stamps to be printed, it´s actually the second oldest stamp in the world - a british stamp being the first ever printed, and is greatly prized by philatelists. The film deals with human frailty as well as the artistic aspects of the stamp. The film deals with this problems but also about the artistically issues. The poster attempts to show this element as a part of the film. So, sit back and enjoy my film, and if you find it original, interesting and enlightening, we should talk. Please feel free to contact me.

DEU.

Leitmotiv des Films ist die Auseinandersetzung mit dem Spannungsverhaeltnis von Fiktion und Realitaet. Das spontane Moment ist von geplanter Handlung nicht zu unterscheiden. Die narrative Seite wird in Zimbru wirf nur punktuell bedient, die Protagonisten werden mehr oder weniger kausal darin eingebunden. Die Visualitaet der Grosstadtkultur dient als dekonstruktive Lektuere einer Seite der Filmgeschichte. Der Auerochse benutzt vielerlei verfuegbare Technologien fuer seine kuenstlerischen Zwecke und opponiert gegen die Begrenzungen und Formatvorgaben apparativer Bedingungen. Der Ton hat parallel zu den Bildern eine autonome Funktion, die keineswegs dramatische Akzente setzen soll. Die graphischen sowie die fotographischen Objekte haben innerhalb der Arbeit eine autonome Funktion und schaffen dennoch durch ihren Inhalt, ihr Material und ihre Form das Werk in seiner Komplexitaet zu staerken.