Flugs
Video work about the storytelling of dreams
1992
With: Nikola Weisse, Nicola Bischoff, Sarah Derendinger, Ursula Andermatt,
Julia Reichert, Pascale Spada,Elisabeth Masé, Tiziana Jelmini und Gilli Stampa
Camera: Helena Vagnières
Light: Bruno Gabsa
Sound: Ingrid Städeli
Mask: Diane Ritsch, Ronald Fahm
Editing: Nives Widauer, René A. Zumbühl, Paul Avondet
Thanks to: Erika Salzmann, Fee Liechti, Simone Widauer, Wolfram Berger,
Andreas Tschui, Museum f. Gestaltung Basel
Julia Reichert, Pascale Spada,Elisabeth Masé, Tiziana Jelmini und Gilli Stampa
Camera: Helena Vagnières
Light: Bruno Gabsa
Sound: Ingrid Städeli
Mask: Diane Ritsch, Ronald Fahm
Editing: Nives Widauer, René A. Zumbühl, Paul Avondet
Thanks to: Erika Salzmann, Fee Liechti, Simone Widauer, Wolfram Berger,
Andreas Tschui, Museum f. Gestaltung Basel
In many video works by Nives Widauer, the relationship between image and language is investigated with a semiotic, cross-media system, which focuses on a complex, multi-layered intertwining of image and text, image and sound. An early film work by the artist – flugs (1992) – already has its sights trained on the relationship between the flow of images and narration.
Nine women talk about their dreams. They are in a dark room, all wearing an identical black T-shirt; their busts move across the screen from right to left. The dream stories rise up out of the dark, often before the bright faces of the women come into the picture. A visual rhythm becoming faster and faster, melting the talking mouths together into a wild maelstrom, also allows the fragments from the dreams to blur into one another into a crazy narrative involving sea waves, diving suits, green cat hair and wide-open, laughing mouths.
The composition ends in silent laughter – it is just a dream ...
(Sybille Omlin, DO I DREAM OR AM I ALIVE)
Nine women talk about their dreams. They are in a dark room, all wearing an identical black T-shirt; their busts move across the screen from right to left. The dream stories rise up out of the dark, often before the bright faces of the women come into the picture. A visual rhythm becoming faster and faster, melting the talking mouths together into a wild maelstrom, also allows the fragments from the dreams to blur into one another into a crazy narrative involving sea waves, diving suits, green cat hair and wide-open, laughing mouths.
The composition ends in silent laughter – it is just a dream ...
(Sybille Omlin, DO I DREAM OR AM I ALIVE)