http___www.kontejner.org_projekti_galerija-mocvara_izlozbe-u-galeriji-mocvara_damir-ocko-hr-the-moon-shall-never-take-my-voice__1.xml
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The Moon shall never take my voice (2011) In his latest film, Damir Očko presents three songs in an interesting interpretation through sign language. A deaf protagonist performs the songs in the solitary darkness of the stage, with sound and light as the sole interlocutors. Using sign language, she interprets episodes from the lives of three historical figures. Although words remain unspoken, their meaning is revealed through the interaction of movement, sound and light. In his latest film, Damir Očko presents three songs in an interesting interpretation through sign language. A deaf protagonist performs the songs in the solitary darkness of the stage, with sound and light as the sole interlocutors. Using sign language, she interprets episodes from the lives of three historical figures. Although words remain unspoken, their meaning is revealed through the interaction of movement, sound and light. The first song takes us back to New York in 1910 where Gustav Mahler is observing a funeral procession from his hotel window. The unsettling rhythm of the military drum leaves a strong impression on Mahler. The long intervals of silence between drum strokes would later form a prominent part of his unfinished Tenth Symphony. At the centre of the second song is John Cage’s visit to Harvard’s anechoic chamber where there is no reflection of sound waves, as the walls, floor and ceiling absorb all sounds. Amidst complete silence, Cage unexpectedly heard the sound of his own body – his nervous and circulatory systems – and realized that absolute silence does not exist. Inspired by that knowledge, he composed his revolutionary piece 4’33’’. The third song launches us to the Moon & ndash; the quietest place man has ever been to. We follow the fragments of rare and partly fictional interviews with Neil Armstrong who talks about his failed attempts at shouting, in other words at producing any kind of sound, on the desolate surface of the Moon. It could be said that Očko’s film as such functions as an anechoic chamber, thus providing a direct response to and commentary on Cage’s experience. Since the space in which the film is shown can never be completely quiet, the viewers are compelled to concentrate and sharpen their senses. In this way they perceive not only Očko’s meticulous and sophisticated orchestration, but also the sounds of the actual space that surrounds them. Silence is impossible, Cage would say. The Age of Happiness (2009) “There will not be a single spectator. All will be participants.” (Alexander Scriabin) The key component of this film is Očko’s research into Mysterium, an unfinished work by the Russian composer Alexander Scriabin. Mysterium, conceived as a performance in the foothills of the Himalayas that would last several days, was to consolidate Scriabin’s philosophical vision of the world and achieve complete synesthesia. The viewers would become participants and through simultaneous stimulation of all the senses, followed by the end of the world, they would reach a higher level of consciousness. The protagonists of Očko’s film, in which the narrative emphasizes the theme of a failed utopian vision, are stripped of their sense of sight, which is why they can feel the world only through hearing. It is an eerie soundscape in which silence becomes almost deafening. Acoustic illusions culminate by forming into a fantastic device that destroys the protagonists, leaving nothing on the screen except the crystalline sound of Mozart’s piece for glass harmonica. organizers: Culture Development Association (URK) + Mochvara Club & KONTEJNER | bureau of contemporary art praxis concept: KONTEJNER curators: KONTEJNER | Tihana Bertek & Ivana Jelača technical director: Marko Matošić supported by: Zagreb City Office for Education, Culture and Sport; Ministry of Culture of the Republic of Croatia media partners: net.hr, kulturpunkt, radio student, music biennale zagreb
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The Moon shall never take my voice (2011.) U svom najnovijem filmu Damir Očko donosi tri pjesme u zanimljivoj interpretaciji znakovnim jezikom. Gluha protagonistica izvodi pjesme u osamljenoj tami pozornice sa zvukovima i svjetlom kao jedinim sugovornicima. Jezikom znakova ona interpretira epizode iz života triju povijesnih ličnosti. Iako riječi ostaju neizrečene, njihovo se značenje otkriva kroz interakciju pokreta, zvuka i svjetlosti. U svom najnovijem filmu Damir Očko donosi tri pjesme u zanimljivoj interpretaciji znakovnim jezikom. Gluha protagonistica izvodi pjesme u osamljenoj tami pozornice sa zvukovima i svjetlom kao jedinim sugovornicima. Jezikom znakova ona interpretira epizode iz života triju povijesnih ličnosti. Iako riječi ostaju neizrečene, njihovo se značenje otkriva kroz interakciju pokreta, zvuka i svjetlosti. Prva pjesma vraća nas u New York 1910. godine gdje Gustav Mahler s prozora svoje hotelske sobe promatra pogrebnu povorku. Uznemirujući ritam velikog bubnja na Mahlera ostavlja snažan dojam. Dugi intervali tišine između udaraca batova kasnije će postati prepoznatljiv dio njegove nedovršene Desete simfonije. U središtu druge pjesme je posjet Johna Cagea harvardskoj gluhoj komori u kojoj nema refleksije zvučnih valova jer zidovi, pod i strop upijaju sve zvukove. Okružen potpunom tišinom, Cage je neočekivano začuo zvukove vlastitog tijela – živčanog i krvožilnog sustava – te shvatio da apsolutna tišina ne postoji. Potaknut tom spoznajom skladao je svoj revolucionarni komad 4’33’’. Posljednja pjesma lansira nas na Mjesec – najtiše mjesto na kojem je čovjek ikad bio. Pratimo fragmente raritetnih i dijelom zamišljenih intervjua s Neilom Armstrongom koji prepričava neuspjele pokušaje vikanja, odnosno uopće proizvodnje zvuka, na osamljenoj površini Mjeseca. Moglo bi se reći da i sam Očkov film funkcionira kao gluha komora, pružajući na taj način izravan odgovor i komentar na Cageov doživljaj. Budući da prostor u kojem se film prikazuje gotovo nikad ne omogućava potpunu tišinu, gledatelj je prisiljen koncentrirati se i izoštriti svoja osjetila. Time ne otkriva samo Očkovu promišljenu i sofisticiranu orkestraciju, već i zvukove stvarnog prostora u kojem se nalazi. Tišina je nemoguća, rekao bi Cage. The Age of Happiness (2009.) “There will not be a single spectator. All will be participants.” (Aleksandr Skrjabin) Ključna komponenta ovoga filma je Očkovo istraživanje Mysteriuma, nedovršenog djela ruskog skladatelja Aleksandra Skrjabina. Mysterium, zamišljen kao višednevni performans u podnožju Himalaja, trebao je objediniti Skrjabinovu filozofsku viziju svijeta i ostvariti potpunu sinesteziju. Gledatelji bi postali sudionici te bi kroz istovremene podražaje svih osjetila, a nakon smaka svijeta, došli do višeg stanja svijesti. Protagonistima Očkova filma, čiji narativ ističe motiv neuspjele utopijske vizije, oduzeto je osjetilo vida, zbog čega svoj svijet mogu osjetiti samo pomoću sluha. Sablasni je to zvučni pejzaž u kojem tišina postaje gotovo zaglušujuća. Akustičke iluzije kulminiraju uobličavajući se u fantastičnu napravu koja uništava protagoniste, ne ostavljajući na zaslonu ništa osim kristalnog zvuka Mozartova komada za staklenu harmoniku. organizatori: Udruženje za razvoj kulture “URK” + Klub Močvara & KONTEJNER | biro suvremene umjetničke prakse koncept: KONTEJNER kustosice: KONTEJNER | Tihana Bertek & Ivana Jelača tehnički direktor: Marko Matošić projekt podržali: Grad Zagreb – Gradski ured za obrazovanje, kulturu i šport, Ministarstvo kulture Republike Hrvatske medijski partneri: net.hr, kulturpunkt, radio student, muzički biennale zagreb