{"id":30,"date":"2008-09-15T09:54:39","date_gmt":"2008-09-15T13:54:39","guid":{"rendered":"http:\/\/www.jeffdanielsilva.com\/main\/?page_id=30"},"modified":"2021-11-12T12:01:28","modified_gmt":"2021-11-12T17:01:28","slug":"installations","status":"publish","type":"page","link":"http:\/\/www.jeffdanielsilva.com\/main\/installations","title":{"rendered":"installations"},"content":{"rendered":"

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\"SplitSecond Sight\/Split Seconds<\/strong>\u00a02010<\/h3>\n

Challenging notions and perceptions of time and the relationship and tension between stillness and motion. Silva\u00a0filmed quotidian gestures that lasted for one\u00a0second\u00a0 recording them at 2000 fps with the Edgerton Lab high speed camera transposing them into 3 minute extreme slow motion films of non-events or non-actions.<\/p>\n

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\"\"<\/a>Epic Measures<\/strong><\/h3>\n

2009<\/strong>
\nEpic Measures unravels the episodic film \u00a0Balkan Rhapsodies: 78 Measures of War <\/em>(2008), to interrogate it\u2019s construction as a documentary and to mine potential alternate readings, ways of experiencing, and interacting with its physical substance. Silva became \u00a0interested in exploring and contextualizing the actual objects within the film that carry significance and represent the fundamental armature that drives the film.<\/p>\n

The core conceptual object of Balkan Rhapsodies\u00a0<\/em>is the postcard (see image). This postcard functions within the film on many levels as an outcry, as a joke, and as a tool for investigating a complex set of questions that the film wrestles with throughout its seventy-eight episodes. What does this postcard actually signify? What is Slivovitza? Who and What is Serbia and Kosovo? And how do American people relate?<\/p>\n

N\"Nine<\/a>ine Down Beats: Neither from nor towards; at the still point, there the dance is<\/strong><\/h3>\n

2009 | 180 minutes | Video<\/strong><\/p>\n

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NDB makes use of a single 45 second piece of archival footage of a 1997 police attack of Serbian anti-Milosovic protesters in Belgrade. A rendition of the original material also features prominently in Balkan Rhapsodies as the first image of the film, where it is presented in reverse at regular speed with slowed down synced sound. This backwards image sets an unsettling tone for the piece that signals and foreshadows an interrogation of the documentary form and the content of its images and sounds. The footage is preceded by the films first inter-title with three lines of a T.S. Eliot\u2019s Burnt Norton:<\/p>\n

Time present and time past
\nAre both perhaps present in time future,
\nAnd time future contained in time past.<\/p>\n

The Eliot quotation and the gesture of reversing footage makes the image less vulgar but at the same time makes it more claustrophobic and intolerable. As the viewer watches the officer violently snap back their batons away from the people whom have just suffered the tremendous blows one ponders the residue of the ineffable violence perpetrated throughout history and the difficulty of escaping its cyclical motion through time.<\/p>\n

\"\"<\/a>Anthem Anathema<\/strong><\/h3>\n
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