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Aglaia Konrad


Das Haus (ausgestellt)

Exhibition view, Aglaia Konrad, “Das Haus (ausgestellt)“, 2014, © Rainer Iglar

“Das Haus“ is a new work that deepens the exploration of sculptural architecture that Aglaia Konrad conducted with the series of 16mm films Concrete and Samples. Shot in the house of architect Juliaan Lampens in Sint-Martens-Latem (Belgium), the film resumes the artist’s interest on the possibilities of the cinematic medium to generate – rather than capture – an architectural experience. An experience, which, in this film, surpasses the visual to mobilize bodily perception and even desire.
Konrad’s editing carefully measures the doses of perceptual information it provides to our orientation drive in a process that departs from an initial willingness to orient oneself towards the pleasure of surrendering to disorientation and fragmentation. A disorientation that could be called “perverse” in the sense that Freud bestowed to the word –perverse pleasures are those which linger in the detour; in the resistance to result in a productive goal– insofar as the film replaces the production of a representation of space in favor of perceptive defamiliarization and tactile pleasure.
Architecture and film are constantly looking at each other in a piece in which “angle“, “transition“, “cut“, “sequence“, “frame“, “joint“, “fold“ and “rhythm“ are notions that are spread from one discipline to the other as if the camera and editing would be reading the space as a composition score.
There are two architectural comparisons that are often applied to filmmaking: the idea of cinema as a “window“ and as “mirror“. Das Haus, entangles and complicates those comparisons by treating windows as interfaces that blur the inside and outside and whose transparency acquires materiality, and by using mirrors as devices that disrupt form pushing it to a state of potentiality.


Aglaia Konrad, Filmstill from: “Das Haus“, 2014

In “Das Haus“ the screen is no longer a window but rather a skin: for it is a body interface, a tactile surface and a membrane that is neither safe nor transparent because it reveals its inner cinematic compositional strategies.
(Text: Anna Manubens)

“Das Haus“ is on show at the FOTOHOF as part of a spatial installation. The exhibition architecture was created in co-operation with the Belgian architect Kris Kimpe.

The film was produced by Auguste Orts (Brussels) and co-produced by Courtisane (Ghent), with Aglaia Konrad (editor) and Sébastien Koeppel (director of photography). The project was supported by the Flanders Audiovisual Fund, Netwerk / Centre for Contemporary Art, UGent (Vakgroep Architectuur & Stedenbouw, Afdeling Communicatie, Afdeling Facilitair Bureau), LUCA Sint-Lukas Brussels, Stichting Juliaan Lampens, FOTOHOF Salzburg, and Provincie Oost-Vlaanderen.