Those That, at a Distance, Resemble Another

V'19

Those That, at a Distance, Resemble Another

Jessica Sarah Rinland
GB/Argentinien/E, 2019
Features, 67min, OmeU

© Viennale © Viennale © Viennale

Those That, at a Distance, Resemble Another

Jessica Sarah Rinland
GB/Argentinien/E, 2019
Features, 67min, OmeU

Sa
02
Nov
21:00
Metro, Historischer Saal
So
03
Nov
13:30
Urania
Mit: 
Jessica Sarah Rinland
Luis Arnías
Joel Seidner
Ton: 
Philippe Ciompi
Kamera: 
Jessica Sarah Rinland
Luis Arnías
Schnitt: 
Jessica Sarah Rinland
Produktion: 
Filmika Galaika
Weltvertrieb: 
FiGa Films
Format: 
DCP
Farbe

Die Kopie des Stoßzahnes eines Elefanten kommt aus einem 3D-Drucker und wird auf mannigfache Weise bearbeitet. Die Bemalung einer uralten Keramik wird mit größter Vorsicht abgepaust. Die beschädigten Intarsien eines kostbaren Kästchens werden sorgfältigst ergänzt. Allüberall wird geschmiergelt, gesägt, geschnitten, gepustet, getupft und gemalt. Es wird hantiert, gezeigt und kaum erklärt. Details, Details, Details ergeben ein großes Bild von den menschlichen Tätigkeiten Konservierung, Restaurierung, Rekonstruktion. To prevent the death of an object, heißt es an einer Stelle. Wer sich da wo mit welcher Arbeit dem Tod entgegenstellt, verraten die Endcredits.
(Alexandra Seitz)

In Anwesenheit von Jessica Sarah Rinland.

 

Not all reproductions are mechanical, even in our age of digital imagery, 3D printing, and instantaneous communication. It is still necessary to create physical facsimiles of various artifacts of material culture, such as fossils, ancient pottery, and tools. These objects are, after all, documents, and must as such be backed up, like any archive. There is too much global knowledge at stake to make a fetish of the original.
Jessica Sarah Rinland’s debut feature could be considered a “museum procedural.” Focusing intently on the process of reproducing an elephant tusk, the film moves out in multiple directions, examining the processes by which cultural objects are duplicated, displayed, and restored. While these processes are highly technical, there remains an artisanal aspect to these efforts, which Rinland emphasizes with her frequent close-ups on the activities of hands. Exhibiting affinities with the late Harun Farocki, Rinland attends to the intimate details of work, showing us that the production of cultural memory is, ultimately, a process of collective labor. (Michael Sicinski)

In the presence of Jessica Sarah Rinland.

Jessica Sarah Rinland: BOSQUE (2007, K), DARSE CUENTA (2008, K), FOG (2008, K), THE LAUGHING MAN (2008, K), TO ROCK AND TO CEASE (2008, K), NULEPSY ATTACK (2009, K), THE BIG FISH THEORY (2009, K), NULEPSY (2011, K), ELECTRIC OIL (2012, K), A BOILED SKELETON (2013, K), DESCRIPTION OF A STRUGGLE (2013, K), ADELINE FOR LEAVES (2014, K), NOT AS OLD AS THE TREES (2014, K), NECROPSY OF A HARBOUR PORPOISE (SEEING FROM OUR EYES INTO THEIRS) (2015, K), Ý BERÁ: AGUAS DE LUZ (2016, K), EXPRESSION OF THE SIGHTLESS (2016, K), THE BLIND LABOURER (2016, K), SCHOOLS INTERIOR: THE FLIGHT OF AN OSTRICH (2016, K), BLACK POND (2018, K).