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In this work, the technical-formal characteristics of the work of reMI link up with
the hyperbolic images of the splatter-horror films from the 1970s. Computer-generated
sound and image disruptions descend on the fast, rhythmically edited sequence of
images whose content is deranged enough in itself. The context of cinematic film,
for which the audience buys a ticket - or which can be rented as a video - at least
ensures that all that blood splashing about remains more or less bearable. Which is
probably to do with quenching our thirst for sensation. In Seciron-RA, we are presented
with isolated 'highlights' of extreme sadistic massacres, accompanied by a sampling
of faces distorted by fear. In reMI's work, the images generate different relationships
with the viewer, who possibly also feels jumped upon. The speed of the image bombardment
gives you no room to identify with either victim or slayer, and moreover, compared to
that of a film, the soundtrack is more autonomous - that is to say, it hardly follows,
supports or explains what is happening. Due to this, the video can be regarded more as
a whole, with the human being, the body and sheer and utter fear as subject matter.
Being recruited by art, the image of a skull that is being pierced via an eye has become a symbol.
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