Jul 6, 2012

Ifigeneia Liangi



30 MAY 2012

The Lover's Tree House _ a little bit of monument for poetry




Somewhere in a Film’s map, in the Future of 2013

It's six o'clock in the morning, or silence past six, I can't remember.

The drawing of the city has one line on it and is now left without any passengers whatsoever.

It seems that light forgot the time of day and shadows search for their identities.

Horizons are hiding themselves from the sky,

a beam of light leans on the wall of a Giant

and proposes to him a walk in the city.

In the middle of it all sits a future without an umbilical cord,

whose aim is to inhabit the shadows on 300mm ochre walls,

use the rain as a means of communication

and keep all the tables of the city out into the light.

The drawing of the city has one line and a staircase on it.

But I'll put a ramp.

The sun might be disabled tomorrow.


Athens 2013

https://vimeo.com/39081021

Please copy-paste the link to watch the animation on vimeo.

This is a short story about Athens in magic realism.
A film i made in the frame of my thesis in the diploma course at the Bartlett.

In Athens 2013, a primary school inhabited by 300 students
has formed its own ways of ruling one of the most devastated
neighbourhoods of the city, and is about to expand its boundaries
in the following years. The school’s architectural rules
demand obligatory cooperation between the neighbourhood’s
inhabitants for the production of a jam made from oranges found
on neratzies, trees that grow throughout the city and that can
withstand its pollution.

Obligatory cooperation is applied equally to each of the twelve
political teams formed within the school. Motivation for the
school’s rules to be obeyed comes from the potential unlocking
of closed playgrounds, guarded by the giant tree-man. These
playgrounds are supported by the columns of the National Bank of
Greece, which now make watermelon ice cream.

Allegory is researched as a tool for an anti-propagandistic
approach to socio-political criticism in uncertain times, and is
designed through a porous, ruinous and magic realist approach.

The notion of porosity is expressed in the unstructured boundaries
between the private and public realm, while the ruin is seen as an
essential fragment for the appropriation of the present. In order
to design for a city in crisis, I am using a magic realist narrative:
this is not a detailed projection of the future, but a socio-political
poetic critique of the present, forming potential ways of dealing
with it through possible but improbable realities.

18 APRIL 2012

Politics of the Imagination









The orange tree entry of the school, the building's plan and diagrams of the film's camera movements.

25 JANUARY 2012

Introduction to the project: Still Life

Please copy paste the link to watch the animation on vimeo.

http://vimeo.com/35638292

12 JANUARY 2012

E-house

The e-house is the house of the ex-general of the army of Turkey that lived during the dictatorship of the 80s. He loves earthquakes (as a reference to the greek-turkish relationships that have been constructive only during periods of earthquakes) and the house is becoming an extension of Ilyas Celebi street in Istanbul, that is the main playground of the area of Beyoglu. There are elements from my work in fourth year, but this time the "playground" is gradually going to become a site for reflection on character, choice and identity. The project will be explored through animation and the little house I designed is going to start becoming a character itself. Next step: to design the monster (!!!) as part of the house. The monster is going to be designed through a combination of architectural elements from the area of the site which in a further socio-political analysis I believe that keep the city's identity imprisoned in the past. It will also incorporate elements from the house itself, for example the colours and shapes that echoe the idea of institutionalisation, (church, flag etc..). Possibly the whole synthesis of the monster is going to be anthropomorphic as a reference to my belief that the only true monsters are humans. Maybe a little bit of a cliche, but I think it's true.






09 DECEMBER 2011

Diagram of the story i am writing.
As i wish to start developing "spatial propositions for characters", at the moment i am looking at the artist Ilya Kabakov, whose work i find fascinating.
In the end of the year I want to get rid of this diagram, so that the ideas within it will be articulated in my film or drawings rather than in words.


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