Item 1 of 97
001a / The OTHER EYE - a passage through India
Movies
MOV4314-IND1997-03-01-AAC0001
Eyesharpener
SP Beta Sony
SP-Beta / divicam
29:30
1997-03-01
Bombay, India
Indien
English
The OTHER EYE – a passage through India – 1998 Prix de Bâle, Prix de la SSR, 36ème Séminaire de l´UER pour la Télévision éducative. In cooperation with B. R. Studio at the movie city Bollywood in Bombay, India. creative documentary duration: 29min.30sec, camera 1: Malhotra camera, camera 2: Urutjan, editing: Sándor Gréczi, Sándor Novobáczky, Jürg Da Vaz, music: Jürg Da Vaz, directed by Jürg Da Vaz, filmed on site in Bollywood, a handmade Da Vaz production© 1997
Da Vaz in Bombay, 1997 shooting his first film The Other Eye, at Philomenas House. Da Vaz pursues archeology in the sense that he reconstructs places in his memory by drawing without any intention (Marie-Theres Stauffer). Life moves in a subtle corkscrew pattern with a kind of axis of orientation running through space (Jürg Da Vaz).
The works of Da Vaz, as mentioned many times in previous texts, are not representations of appearance, but of inner structural phenomena, of an inner reality. They are representations of what takes place on the stage of life. India is the world's largest stage of sensual experience. Its vision of colour and gorgeous splendour, the complexity of its multi-faceted human individuality; the inconceivable wealth of diversity in the makeup of its people forming a colossal entity; all this diversity as well as the intensity of its fragrances in everything: all these impressions set in motion an overwhelming emotional experience. The garbage heap recorded in the film in the city of Bombay suddenly turns into a surface shot of a Da Vaz drawing. What seems to the observer to be waiting for its final disposal in various containers suddenly turns out to be a surprise of structured tonality, a wonderful piece of poetry drifting by in a smell. It is as if the excess of waste is providing the necessary gamut of devices from which unforgettable epics, songs and stories are created. All of a sudden no interior or exterior exists any more. Before us matter disolves and destructs itself. A glance at Philomena's House reveals: the transformation of matter cannot be arrested. Phenomenological truth is fugitive. It comes and fades away, constantly emerging in a different form. The transitions are blurred, the contours indistinct. Viewed in conceptual, logical terms, this is indeed a visually portray of fuzzy logic, which we can call emotional logic. Precisely this induces the feeling of weightlessness, of motionlessness, about which Da Vaz says: My feelings are in the highest state of velocity when they are without emotion, like the sail in the wind. Ursula Davatz , Prix de la SSR, 36ème Séminaire de l´UER pour la Télévision éducative. In cooperation with B. R. Studio at the movie city Bollywood in Bombay, India. creative documentary duration: 29min.30seccamera 1: Malhotra camera camera 2: Urutjan editing: Sándor Gréczi, Sándor Novobáczky, Jürg Da Vazmusic: Jürg Da Vaz directed by Jürg Da Vaz filmed on site Bollywood a handmade Da Vaz production© 1997 Da Vaz in Bombay, 1997 shooting his first film "The Other Eye" at Philomenas House.Da Vaz pursues archeology in the sense that he reconstructs places in his memory by drawing without any intention (Marie-Theres Stauffer). Life moves in a subtle corkscrew pattern with a kind of axis of orientation running through space (Jürg Da Vaz). The works of Da Vaz, as mentioned many times in previous texts, are not representations of appearance, but of inner structural phenomena, of an inner reality. They are representations of what takes place on the stage of life. India is the world's largest stage of sensual experience. Its vision of colour and gorgeous splendour, the complexity of its multi-faceted human individuality; the inconceivable wealth of diversity in the makeup of its people forming a colossal entity; all this diversity as well as the intensity of its fragrances in everything: all these impressions set in motion an overwhelming emotional experience. The garbage heap recorded in the film in the city of Bombay suddenly turns into a surface shot of a Da Vaz drawing. What seems to the observer to be waiting for its final disposal in various containers suddenly turns out to be a surprise of structured tonality, a wonderful piece of poetry drifting by in a smell. It is as if the excess of waste is providing the necessary gamut of devices from which unforgettable epics, songs and stories are created. All of a sudden no interior or exterior exists any more. Before us matter disolves and destructs itself. A glance at Philomena's House reveals: the transformation of matter cannot be arrested. Phenomenological truth is fugitive. It comes and fades away, constantly emerging in a different form. The transitions are blurred, the contours indistinct. Viewed in conceptual, logical terms, this is indeed a visually portray of fuzzy logic, which we can call emotional logic. Precisely this induces the feeling of weightlessness, of motionlessness, about which Da Vaz says: My feelings are in the highest state of velocity when they are without emotion, like the sail in the wind. Ursula Davatzwhich unforgettable epics, songs and stories are created! Filmed on site in Bollywood, Bombay, India a handmade Da Vaz production 1997.
bollywo.com 05/01/2010
Da Vaz in Bombay, 1997 shooting his first film The Other Eye, at Philomenas House. Da Vaz pursues archeology in the sense that he reconstructs places in his memory by drawing without any intention (Marie-Theres Stauffer). Life moves in a subtle corkscrew pattern with a kind of axis of orientation running through space (Jürg Da Vaz).
The works of Da Vaz, as mentioned many times in previous texts, are not representations of appearance, but of inner structural phenomena, of an inner reality. They are representations of what takes place on the stage of life. India is the world's largest stage of sensual experience. Its vision of colour and gorgeous splendour, the complexity of its multi-faceted human individuality; the inconceivable wealth of diversity in the makeup of its people forming a colossal entity; all this diversity as well as the intensity of its fragrances in everything: all these impressions set in motion an overwhelming emotional experience. The garbage heap recorded in the film in the city of Bombay suddenly turns into a surface shot of a Da Vaz drawing. What seems to the observer to be waiting for its final disposal in various containers suddenly turns out to be a surprise of structured tonality, a wonderful piece of poetry drifting by in a smell. It is as if the excess of waste is providing the necessary gamut of devices from which unforgettable epics, songs and stories are created. All of a sudden no interior or exterior exists any more. Before us matter disolves and destructs itself. A glance at Philomena's House reveals: the transformation of matter cannot be arrested. Phenomenological truth is fugitive. It comes and fades away, constantly emerging in a different form. The transitions are blurred, the contours indistinct. Viewed in conceptual, logical terms, this is indeed a visually portray of fuzzy logic, which we can call emotional logic. Precisely this induces the feeling of weightlessness, of motionlessness, about which Da Vaz says: My feelings are in the highest state of velocity when they are without emotion, like the sail in the wind. Ursula Davatz , Prix de la SSR, 36ème Séminaire de l´UER pour la Télévision éducative. In cooperation with B. R. Studio at the movie city Bollywood in Bombay, India. creative documentary duration: 29min.30seccamera 1: Malhotra camera camera 2: Urutjan editing: Sándor Gréczi, Sándor Novobáczky, Jürg Da Vazmusic: Jürg Da Vaz directed by Jürg Da Vaz filmed on site Bollywood a handmade Da Vaz production© 1997 Da Vaz in Bombay, 1997 shooting his first film "The Other Eye" at Philomenas House.Da Vaz pursues archeology in the sense that he reconstructs places in his memory by drawing without any intention (Marie-Theres Stauffer). Life moves in a subtle corkscrew pattern with a kind of axis of orientation running through space (Jürg Da Vaz). The works of Da Vaz, as mentioned many times in previous texts, are not representations of appearance, but of inner structural phenomena, of an inner reality. They are representations of what takes place on the stage of life. India is the world's largest stage of sensual experience. Its vision of colour and gorgeous splendour, the complexity of its multi-faceted human individuality; the inconceivable wealth of diversity in the makeup of its people forming a colossal entity; all this diversity as well as the intensity of its fragrances in everything: all these impressions set in motion an overwhelming emotional experience. The garbage heap recorded in the film in the city of Bombay suddenly turns into a surface shot of a Da Vaz drawing. What seems to the observer to be waiting for its final disposal in various containers suddenly turns out to be a surprise of structured tonality, a wonderful piece of poetry drifting by in a smell. It is as if the excess of waste is providing the necessary gamut of devices from which unforgettable epics, songs and stories are created. All of a sudden no interior or exterior exists any more. Before us matter disolves and destructs itself. A glance at Philomena's House reveals: the transformation of matter cannot be arrested. Phenomenological truth is fugitive. It comes and fades away, constantly emerging in a different form. The transitions are blurred, the contours indistinct. Viewed in conceptual, logical terms, this is indeed a visually portray of fuzzy logic, which we can call emotional logic. Precisely this induces the feeling of weightlessness, of motionlessness, about which Da Vaz says: My feelings are in the highest state of velocity when they are without emotion, like the sail in the wind. Ursula Davatzwhich unforgettable epics, songs and stories are created! Filmed on site in Bollywood, Bombay, India a handmade Da Vaz production 1997.
bollywo.com 05/01/2010
