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An interview with

Rafael Garrdo Rafael Garrdo's experimental cinema takes at heart Harry Smith's lesson "Film frames are hieroglyphs, even when they look like actuality. You should think of the individual frame, always as a glyph, and then you'll understand what cinema is all about". In his video “The end of a clockwork orange” he uses processes like superposition and desynchronization in order to deconstruct the final credits of Kubrick's masterpiece. Rafael, as a mixed media artist you have analyzed and rearranged Kubrick's credits in various form and perspectives. We want to take a closer look at the genesis of your film: how did you come up with the idea for “The end of a clockwork orange”? Could you tell us a particular episode who has helped the birth of this project? Interesting you mention Harry Smiths quote, reminds my last year at art school I did an analysis of the Shroud of Turin, not in a video manner but with pictures found on the web. I started to zoom up into the Shrouds image, erasing its context and turning it into an abstract image, almost like a Rothko, something very metaphysical started to occur. To extract one pixel out of one very historical and relevant image, blow it up and transform it into a hieroglyph. Something like in the movie “Blow-up” by Michelangelo Antonioni from 1966. I got really interested about decontextualizing an extract of a piece, and stumble upon interesting pieces of abstract art. I mean in contrast to the movie I fantasized about the power of such images without knowing their origin, and find it by zooming out. I found it as interesting as the controversies around the Shroud itself. About the video “The end of the clockwork orange” it started right after I finished school. It was somewhat triggered by a movie still image I stumbled upon in the web where Alex stands in front of their parents and says “I’m completely reformed”, I saved it the image, did some arrangements, and thought it was potentially good, if it stood beside other works

Rafael Garrdo

thematically alike. It was not autonomous enough though, because it pointed towards two big entities that have a lot of space to explore, namely the content of the whole itself and the other being the whole Stanley Kubrick oeuvre. So little by little ideas started to gather around, video sequences, photos and sculptures sketches, works that could fit together and relate to each other. The credits came somewhere in this phase. I mean Kubricks works and sounds have I been using since way back, here and there, randomly. For instance the “Second waltz” from “Eyes Wide Shut” (1999) composed by Dmitri Shostakovich I used as a background song for opening hardcore punk shows. You used a meticulous use of montage techniques in this work: could you introduce our readers to your editing process? I don’t use a specific set of rules on my work, on the contrary. Sometimes I believe it gets too

Profile for Stigmart Artpress

Stigmart Videofocus Special Issue NRT  

Stigmart Videofocus Special Issue NRT