The Set

(Single channel Video, 8':46")

Screen Shot 2020-07-15 at 2.11.53 PM.png

Screen Shot 2020-07-15 at 2.10.46 PM.png

Screen Shot 2020-07-15 at 2.11.20 PM.png

Screen Shot 2020-07-15 at 2.11.40 PM.png

Screen Shot 2020-07-15 at 2.12.24 PM.png

Screen Shot 2020-07-15 at 2.13.34 PM.png

Screen Shot 2020-07-15 at 2.14.26 PM.png

Screen Shot 2020-07-15 at 2.14.54 PM.png

Screen Shot 2020-07-15 at 2.15.30 PM.png

Screen Shot 2020-07-15 at 2.16.04 PM.png

Screen Shot 2020-07-15 at 2.16.23 PM.png

Screen Shot 2020-07-15 at 2.16.50 PM.png

Screen Shot 2020-07-15 at 2.18.41 PM.png

Screen Shot 2020-07-15 at 2.19.18 PM.png

Screen Shot 2020-07-15 at 2.22.39 PM.png

Screen Shot 2020-07-15 at 2.19.52 PM.png

Screen Shot 2020-07-15 at 2.20.30 PM.png

Screen Shot 2020-07-15 at 2.21.50 PM.png

Screen Shot 2020-07-15 at 2.21.17 PM.png

Description
The Set takes In An American countryside, the camera looks into a fragmentary constellation of perspectives; the first three of which appearing as divisible geographical locations, in which the camera remains stagnant subjecting the viewer to a stormy field of signs and objects. With the camera taking on a walk in the last part of the film, it will be unveiled that these fragments belong to one geo-cultural whole. The text on the screen constructs an obfuscating state of probability between “subtitle”, “inaudible narration”, or “montage”, exposing the viewer to possibilities of conceptualization that surpass the customary interplays between the visible and the sayable, as well representation and signification.

Statement

The [artistic] modality through which The Set is formed, benefits from the postulation that every concept is a multiplicity – in the sense that it is a totality of its components – and that “all concepts are connected to a problem without which they have no meaning.”

Intervening into the customary interplays and connections between the visible and the sayable, The Set examines the possibilities for “conceptualizing” a problem (set). It attempts to attain such a task by constructing visual and pensive situations founded on disturbing the autonomy of both image and language.

The historical conjunction of language and image in the cinematic or commercial forms renders the viewer conceiving of a natural/semantic connection between language/text and image, signification and visibility, on the screen and posits the former is to confer meaning upon the latter. By way of usurpation of the information value of images (stadium), and displacement of the signifying power of language, The Set creates an assemblage in which the relationships between text and image surpass the bounds of representations and significations. In generating these conjunctions and disjunctions – that is, to create semantic expectations for the viewer and to simultaneously abolish them –– The Set seeks to aesthetically help construct a concept, one, whose concomitant “problem” resides in "the elsewhere" of the screen’s temporality.

Watch the Full Video