Time Sticks to the Walls (co-authored with Tsvetelina Hristova)

  • 2024
  • essay film
  • 15:15 min, UHD 4K, colour, sound
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[synopsis]

As I breathe, as I sleep, as I eat, as I swim, as I shiver - I am haunted. I am haunted by places and times. I am haunted by other mes that have refused to stay quietly in the domain of the past and are clinging to memories of corridors, laughter, fear, the deep sadness of a present that slowly sinks into the cold dark swamp of a futureless past.

Transitions leave landscapes of abandon. Decommissioned factories, plots of land that have changed ownership several times - from private to public, to private to public, erasing and disorienting the identities of built environments, creating fragmented and traumatic urban landscapes that leave the materiality of spatial infrastructure raw and punctured with the wounds of political and economic abuse.

Buildings embody a narrative of inhabitation, a temporality of use that marks a sequence of events, a line of progression, an awareness of the passing of time. Opening hours, scheduled maintenance, last entry, аll recording, with each sign of wearing down, each chip, each scratch, an archive of utility and a memory of function. 

Now that this structured temporality of function is suspended, time sticks to the walls like mud, thick and inert. A concrete floor that flickers through each step, browsing through all possible times, all memories of a place and time, all the memories of joy and abandon. A door that is every door, screeching in all their little haunted voices, a tile cracked like all tiles, a smell of everything and nothing.

In the aftermath of a failed concession, a water park in Blagoevgrad, Bulgaria, abandoned years ago, still looks like it was evacuated yesterday in a panic escape from unknown cataclysm, leaving everything behind scattered around.

 

[credits]

project by Krassimir Terziev & Tsvetelina Hristova

script: Tsvetelina Hristova

photography & editing: Krassimir Terziev

voice: Charlotte Smith

 

[directors intent]

The approach in this essay film is twofold.
Traditionally, in filmmaking, the image moves with the motion of the camera. Here, we try to achieve movement inside the still image in two ways, challenging the stability of the opposition between still images (photography) and moving images (film). We do that, first, by perpetually modifying the properties of the digital image: its hue and saturation and, second, by overemphasising the moment of transition between images through double exposure, creating a disorienting and un-still mutations in the image, where each frame is always in transition between two distinct images. This visual technique correlates with the voice-over narrative, which dwells on the instability of transitions and the mutations of reality, time and space in their aftermath.
The voice over is in a similar seamless flux between recording subjective experience and providing sparse insights of the spatial urban setting that is the subject and object of the film. A place that emanates the melancholia of a never ending transitional period between ideologically driven etatism and destructive neoliberal grabs.

 

[biographies]

Krassimir Terziev is an interdisciplinary artist whose work spans a diversity of media, including video/film, photography, painting/drawing, and text, questioning the boundaries between reality and fiction, while exploring the manifold transitions and tensions between a globalized world, dominated by overwhelming multiplicity of symbolic imagery, and its material groundings in technological, physical and human ‘hardware’. He holds a Ph.D. in Cultural Anthropology from Sofia University (2012), where is lecturing since, and an MA degree in Painting from the National Academy of Arts, Sofia (1997), where he lectured from 2009 to 2016. His work is part of the collections of Centre Pompidou/MNAM, Paris;  Arteast 2000+ Collection, Moderna Galerija  Ljubljana; Sofia City Art Gallery, Sofia; Art Collection Telekom, Bonn; Kunstsammlung HypoVereinsbank, Munich; Gaudenz B. Ruf Collection, Zurich/Vienna; Vladimir Illiev Collection, Sofia; Art Project Depot, Sofia; Dana and Georgi Voynov Collection, Sofia/Bucharest; among others. Born 1969 in Dobrich, Bulgaria. Lives and works in Sofia. Member of the Institute of Contemporary Art - Sofia.
Krassimir Terziev protrait, photo Boryana Pandova
Krassimir Terziev protrait, photo Boryana Pandova
Dr Tsvetelina Hristova is a Teaching Fellow in Global Media Managemt at the University of Southampton. She holds a Ph.D. in Cultural Studies from Western Sydney University (2021), MA in Cultural Anthropology from Sofia University (2013) and MA in Medieval Studies, Central European University (2006). Tsvetelina works on topics that interrogate the political significance of digital technology through the prism of Marxist studies, science and technology studies, and political science. Her research draws on analysis of specific cases such as the digitalisation of digital imaging diagnostics, the introduction of Aadhaar in India, automation in the Australian banking sector, the reconceptualization of privacy through encryption technologies, and the genealogy of different media of control in contemporary automation technologies. She has published in Big Data and Society and the International Journal of Communication, as well as academic and political journals in Eastern Europe. She is currently doing research on the intersection of temporality and visuality and its role in the automation of warehouse operations and white collar labour.
trailer (HD, 2:36 min, colour, soud)

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