10x10: I Dreamed I Was a Movie Star

Mojca Jug


photo: Maša Cvetko, przedmioty z archiwum WFF; objects from WFF archives

In the context of the 10x10 project, Mojca Jug, a producer and curator of various artistic events based in Lublana has invited two architects and designers from the Slovenian group prostoRož, Maša Cvetko and Alenka Korenjak to take part in the “I dreamed I was a movie star” project. The point of departure for their action will be the historical venue of the Four Domes Pavillion and Feature Films Studio in Wrocław (WFF), where the 10x10 exhibition will take place.

They will use the archival materials, such as costumes, props, old machines found in the Feature Films Studio magazines to create an unique set design. It might also become an inspiration for the further activities related to the cult Polish movies like “Ashes and Diamonds” (1958) by Andrzej Wajda, that were shot right here, in Feature Films Studio. Each visitor of the exhibition will have an opportunity to stand in front of a camera and recreate a scene from Wajda’s movie: play either a male or female character within the space of a specially designed mini movie-set.

Filming will take place each day from 14:00 untill 18:00. Your first chance to become a movie star will be during the project vernissage, on September 8 at 19:00.

Boris Beja on the  project “I dreamed I was a movie star” by prostoRož collective:

On the first sight it seems as if contemporary society was determined by the massive use of technology, which actually introduced the notion of a virtual, intangible and fictive world into social systems. Invention of motion picture gave art a parallel simulated space of new illusions, which was further on supplemented by a procedural framework and a temporal component in the production of art.

The axis of this project, designed by prostoRož collective, is constituted by nothing other than film space itself. The concept explores the issue of space in a broader horizon, which sees space not only as a constructional dimension, but also as a social register. It takes into account the complex role that a space is to play in relation to both, other spaces and its users likewise when designing installations in space. The subject of space design is therefore architecture with its former content, which – instigated by temporal and technological distance – once again comes to inhabit the sphere between art on the one hand and space as elaborated in old film production’s architecture on the other, together with its full accompanying equipment. The project combines the existing elements with contemporary technical accessories and the synergy thus formed gives birth to an interactive piece of art.

The project raises as well as answers several questions related to a specific space, which is undergoing construction towards a new film-and-space-embedded content with contemporary flavour, whereas the construction itself is triggered as the collective introduces a new element in the repetitive act of placing together film equipment. The project’s emphasis is placed on perpetual fluidity between interior and exterior, between filling up and emptying out, while on the other hand it also represent a gesture of construction in its effort to bridge the old and the new, order and disorder, useful and useless, real and illusory, individualistic and collective. With interior installation and a video document as its final forms, the visual language used invites the audience to contemplate upon virtual space. The use of technology in relation to an object of art results in setting up the historic and architectural context in order to address the audience through facts; facts about what we can create and store in both, digital as well as personal memory.

Two mutually complementing and connected spaces are inhabited in the project. The larger space is covered with old objects used anew, functioning as designer items and artistic objects likewise. The larger space is accompanied by an interactive room, where each visitor coming from the real world is invited to enter the cinematic space and to live his unfulfilled dream of being an actor there. The spectator may take active part in the archival video documents and thus incorporate a new and different space into them. The video document connects the virtual, technological space and language with real and tangible space, which is also where the old technological video devices are placed. Even though the visitor-spectator tries to somehow evade the virtual world, which offers him the possibility of living his second life there, he also remains in constant contact with the material dimension of technological accessories, which enables him to create this identical artistic document of the illusory and fictive life.

The film technology acts as the project’s connecting force, thus bringing together space, artistic object and the spectator himself. The project functions even better with a subject inhabiting and using it by the application of the “blue screen” technology in order to explore the opportunity of reliving what is otherwise beyond his reach or experience in real life. The project is constantly under the sway of change and upgrading itself with new contents as the subject’s image comes to inhabit the image and space of the video. The film medium, which is the most distributed and popular art genre beside music, allows the project to build a bridge between science and art, between the active and passive role of the spectator, between the objective and the subjective, between the verifiable and the non-verifiable and this process is constantly accompanied by space of fine arts, where technological accomplishments meet new creative possibilities.

Just as one cannot deny that space exists, one can equally no longer deny the existing influences of progress in the contemporary society. By bringing old objects back to life, the project does, however, seemingly deny the existence of the present day economy and consumerism, which is why it is ecologically-social, ethnographic and psychological at the same time. It embeds the long-gone architecture with unique aesthetics of beautiful and reusable engineering material, the artistic nature of which is this time pronounced much more than its functionality. The fact that technology also took over the arena of art opens the opportunity for the visitor to live his own silver screen dream.

Boris Beja

Maša Cvetko (born in Kranj in 1979, lives and works in Ljubljana, Slovenia)
Alenka Korenjak (born in Kranj in 1976, lives and works in Ljubljana, Slovenia)
Both artists are members of the artistic group prostoRož, a long term project of cultivating the public space, that aims at developing methods of revival and restoration of degradated public spaces in the city centre. The three young architects and designers organize space interventions and stimulate public discussion by organizing lectures and workshops.

Curated by Mojca Jug

Partner: Bunker
Project is supported by Wrocławska Szkoła Filmowa Mastershot.

listen to the content print version

TAGS: Mojca Jug, 10x10, Bunker, prostoRoz, Masa Cvetko, Alenka Korenjak

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