Programme saison vidéo 2007 #31

S a i s o n V i d é o 2 0 0 7
MS: It’s much easier if you have a certain landmark. Then it does not matter whether it is light or darkness. You just have to
follow the line. There is a straight-line direction. It is obvious what is going on and what to do. But things are more complex and
strange than that. The world is complex. There is no white, no black. That is why it is dramatic and beautiful. Like a flying
arrow which never reaches its target. As if you are the iron and feel a terrible magnetic pull but never reach the magnet.
And like a moth you never know where your light is. Is it real or just reflection, or even a reflection of reflection? There are
no answers, only questions, only questions.
MG: In your videos, you are involved in performance. Why? There is an historical tradition of performance; do you feel concerned
with it? What would be your references?
MS: I remember how it all began. Once I had an idea to make a video. It was one of my first videos, Fragility. I needed an
actress and I asked my friend to help me but it took a long time and we could not find time to meet. So it annoyed me and
at last I just physically felt the craving to make the story at that very moment. I could not wait a minute longer and decided to
do everything myself. Tripod, remote control… and I could manage everything. And then as I stood before the camera and
told the story without words, with just my body, I felt a strange feeling, very exciting, emotional and inspiring. All of me
was outside of reality. It was a very special experience, and more than that I felt the taste for it. But I must say it is not me.
I am not saying here am I, look at me. No, it is not me. I am just an instrument which I use. From one side I am very detached
from my person and from everything else, but from the other I am digging deeply into myself. I just didn’t realize at all that
I was involved in a performance in some way. But when I looked back I was astonished, yes, it looked like performance.
I was really surprised. You can ask me why? Because I am a shy person! One of the most terrible moments of my life was
when I was a child and I had to play the piano at a concert in a music studio. In a terrible consternation I mechanically
pushed the keys with shaking fingers, in a big panic. Like a robot I tried reaching the end, but on the way I lost a melody
and twice tried catching it, but then I just stood up and quit the stage. I hated myself for that panic but could do nothing
about it. Now sometimes I also have panic attacks when I am nervous. Sometimes I am very astonished how I can show my
works. Unfortunately I am not very familiar with the performance tradition. I would like to see more.
MG: You promote emotional research and the spectator cannot stay indifferent. You realise very short videos, is it because
you want to concentrate emotions and touch him?
MS: I have never thought they are very short. No, I cannot say that I want to concentrate in order to touch more. Don’t
know; just feel exactly how much it must last. You know, when I am writing I also usually use short sentences. I love sentences
which consist of one word. They can be much deeper than a long one and freer for the imagination and for interpretation.
And, yes, one minute is not very short for me - it is so much.
* The original title of the book is Jizn nassekomykh.
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