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mare acuratefle, curatorul argentinian Jorge Glusberg aræta deja acum treizeci de
ani, forfla vizionaræ nu a pierdut pînæ acum din caracterul sæu subversiv: „dacæ dorim
sæ cercetæm ce este mai profund øi mai de prefl în experienflele lui Lamelas, e necesar
sæ ne situæm în afara standardelor impuse de conotafliile øi codurile instituflionalizate
øi condiflionate cultural, precum øi a tradifliei cu valoare de mærturie […]. Lamelas
depæøeøte sistematic aceste coduri øi, chiar mai mult, el depæøeøte folosirea folosirii
instrumentelor pe care le foloseøte“. Concret, pentru cineast aceasta semnificæ renunflarea
la narafliunea liniaræ, abandonarea suspansului în creøtere, experimentarea pe
larg a interrelafliilor neconvenflionale între partea vizualæ øi coloana sonoræ, alegerea
unor unghiuri de filmare extreme, cum ar fi prim-planuri luate de la depærtare sau
perspective surprinse de sus, printre altele, ale unor zone periferice ale Berlinului,
nespectaculoase, dar interesante din punct de vedere urbanistic, dezvæluirea
elocventæ a tæieturilor de montaj, pentru a pomeni doar cele mai frapante dintre
strategiile lui Lamelas. Dar aceastæ deconstrucflie a convenfliilor semantice imanente
filmului nu se petrece de dragul analizei structurale, ci în scopul unui efect direct
asupra privitorului, pentru a-i permite spectatorului sæ perceapæ øi sæ conøtientizeze
schimbærile prin intermediul unor factori de iritare imediafli øi neaøteptafli. În mod
ironic, aceastæ situaflie nu l-a împiedicat pe Lamelas sæ fie reprezentat periodic în
instituflii consacrate precum Whitney Museum din New York sau Festivalul de Film
de la Berlin, dovedind atît calitatea extrem de subversivæ, cît øi cea avangardistæ a
operei sale.
Tempus agere est – Sankt Gallen (2007) e cel mai recent film al lui Lamelas din
cadrul proiectului Time As Activity, un film pe 16 mm creat în strînsæ colaborare
the equation of time equals labour equals resource. But if Lamelas
decides on a thematic level to film, for example, the street corner
of a subway station in New York, the immediate common determinate
of labour is not given, but rather arbitrary and simultaneously
highly multifaceted. If we want to understand and appreciate David
Lamelas’ “pragmatic“ conceptualism, we have to let us carried away
by the beauty of structural simplicity. As the Argentinean curator
Jorge Glusberg accurately pointed out already some 30 years ago,
the visionary strength hasn’t lost of its subversiveness to date:
“if we wish to delve into what is deepest and most valuable in
Lamelas’ experiences, it is necessary to place ourselves outside
the standards imposed by the institutionalized and culturally conditioned
connotations and codes, as well as the tradition of a testimonial
value. . . . Lamelas systematically oversteps those codes, and
what is more, he oversteps the usage of the usage of the technical
instruments which he uses.“ Concretely, for the filmmaker this
signifies the abnegation of a linear storyline, the surrender of
an arch of suspense, the experimental in extension unconventional
interrelations between visual track and sound track, the choice of
extreme camera angles like long-run close-ups or bird’s eye view
of rather unspectacular, but on an urbanistic level interesting, peripheral
areas of Berlin among others, the indicatory disclosure of the
cutting edit, to mention only the most striking of Lamelas’ strategies.
But this deconstruction of film-immanent semantic conventions are
not undertaken for the sake of structural analysis, but with the goal
of a direct effect on the viewer, to allow the spectator to perceive
and get aware of the alternations by immediate and unexpected
irritation factors. Ironically, this circumstance didn’t hinder Lamelas
to be periodically represented in established institutions like the
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