Chronicle of a Fall: Nadav Assor & Tirtza Even
Chronicle of a Fall is an immersive, feature-length video installation depicting the fragmented, transient experience of a group of immigrants in the US. Chronicle of a Fall confronts a period in which interpersonal relationships, the experience of home, and one鈥檚 sense of presence and belonging have all been transformed and fragmented by global capital and electronic media, as well as by government policy. Chronicle of a Fall begins with a simple question asked of a group of six immigrant cultural workers, primarily from the Middle East and the Global South: 鈥淲hat is home to you?鈥�
Many of Chronicle of a Fall鈥檚 immigrants or immigrant-born subjects (including the artists themselves) have left one country in which democracy is cast in shadow, for the US, only to find it too cast in a shadow of its own making. The work鈥檚 multiple videos convey the disjointed, partial nature of the immigrant subjects鈥� experiences, providing an intimate and visceral insight into their daily lives and domestic environments. Chronicle of a Fall extends its referent, the 1960s documentary Chronicle of a Summer by Jean Rouch, into the 21st century, and updates the former film鈥檚 cinema verit茅 approach by using emerging technologies such as parallel body worn cameras used by both subjects and filmmakers, as well as through volumetric capture and projection mapping.
Like Chronicle of a Summer, Chronicle of a Fall considers how its participants negotiate the concepts of home and happiness in an increasingly fraught social and political landscape. As in the earlier film, the subjects interview each other, gather for dinner, work, or wander with only the filmmakers as company. Unlike its predecessor, however, Chronicle of a Fall is created in a period in which electronic media itself has become a space to be navigated, a nonplace in which the protagonists are immersed, often experiencing two places at once, or one place from multiple perspectives. In an echo of that dislocation, the videos depicting the participants鈥� daily life and private conversations are immersed in a pointillist 3D environment created from interconnected fragments of the immigrants鈥� shifting domestic spaces, as well as the public environments they navigate. Created by means of an architectural laser-scanner that converts places into 3D 鈥減oint-clouds,鈥� the encompassing semi-abstract animations depict intertwined, constantly slipping spaces鈥攕paces that envelop and conceal the more intimate point-of view stories of love, loss, and longing.
Chronicle of a Fall is an immersive, feature-length video installation depicting the fragmented, transient experience of a group of immigrants in the US. Chronicle of a Fall confronts a period in which interpersonal relationships, the experience of home, and one鈥檚 sense of presence and belonging have all been transformed and fragmented by global capital and electronic media, as well as by government policy. Chronicle of a Fall begins with a simple question asked of a group of six immigrant cultural workers, primarily from the Middle East and the Global South: 鈥淲hat is home to you?鈥�
Many of Chronicle of a Fall鈥檚 immigrants or immigrant-born subjects (including the artists themselves) have left one country in which democracy is cast in shadow, for the US, only to find it too cast in a shadow of its own making. The work鈥檚 multiple videos convey the disjointed, partial nature of the immigrant subjects鈥� experiences, providing an intimate and visceral insight into their daily lives and domestic environments. Chronicle of a Fall extends its referent, the 1960s documentary Chronicle of a Summer by Jean Rouch, into the 21st century, and updates the former film鈥檚 cinema verit茅 approach by using emerging technologies such as parallel body worn cameras used by both subjects and filmmakers, as well as through volumetric capture and projection mapping.
Like Chronicle of a Summer, Chronicle of a Fall considers how its participants negotiate the concepts of home and happiness in an increasingly fraught social and political landscape. As in the earlier film, the subjects interview each other, gather for dinner, work, or wander with only the filmmakers as company. Unlike its predecessor, however, Chronicle of a Fall is created in a period in which electronic media itself has become a space to be navigated, a nonplace in which the protagonists are immersed, often experiencing two places at once, or one place from multiple perspectives. In an echo of that dislocation, the videos depicting the participants鈥� daily life and private conversations are immersed in a pointillist 3D environment created from interconnected fragments of the immigrants鈥� shifting domestic spaces, as well as the public environments they navigate. Created by means of an architectural laser-scanner that converts places into 3D 鈥減oint-clouds,鈥� the encompassing semi-abstract animations depict intertwined, constantly slipping spaces鈥攕paces that envelop and conceal the more intimate point-of view stories of love, loss, and longing.
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