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The action cuts back and forth from the woman braving the crossings to the musicians rehearsing passages from Tchaikovsky's 6th symphony. Both films were first presented at the Whitworth, The University of Manchester from 2 July until 4 September , and have subsequently been shown together in London, Barcelona and Istanbul. You can also watch this video on Vimeo and YouTube.

Also available to view on Vimeo and YouTube. Interviewer: What was your role in Days without Red? How did it come about? ABM: Anri and I had worked together before. Actually we first worked together here at the Manchester International Festival, in , on a project called Il Tempo del Postino. And that's how it started. I was very interested right away, because usually we know that the role of music in film is just, well, 'film music' and it seemed as if here it would play a very different role.

It became a very intense collaboration, because of the way we were all working so closely together from the start. ABM: Usually in a film, the music enhances what you see, so you have a love scene or a scary scene and the music heightens that.

That's its job. But in this case, since there's no script and no dialogue, the music became the basis of choreographing her journey. As a performer she needed a basis to act with and the idea was always to avoid defining it with explanation or text. It was a very exciting way to be involved in a film. I: Please talk about the piece of music itself On the one hand it's all Tchaikovsky, and on the other hand you could say it's not Tchaikovsky at all.

Part of what I did was to try to compose a rehearsal, so I was writing in mistakes and parts that maybe someone watching the film would hear or maybe just register — one beat too long or a phrase repeated once too often. But it's all about very subtle changes. Very, very little things, but just to give you a sense that something's not right, or to move the story forward. It was like a recomposition or perhaps more accurately a deconstruction of Tchaikovsky.

It's a very special symphony. He died nine days after finishing the symphony — it is the last thing he wrote before he died. What's important is it's a piece people know. So in certain contexts and we can play against that and work against type, which made it a very exciting choice. ABM: What you see when you first watch these films is a seemingly haphazard walk and a sort of rehearsal. But I think the more you look, the more you notice how well planned it is: the entire project from start to finish is meticulously timed and worked out, and even the words that I'm saying were written into the script.

I: So how is it, now, to see the completed works? Has the role of the music played out in the way you expected? ABM: Well as a classically trained conductor I'm always working against the way in which music has traditionally been subsumed by other art forms. It sometimes seems to me that music can never be allowed to be just another art medium, like video or drawing.

This project has shown a way of working with music that we aren't used to — that's why it's important to me. A film is successful to the extent that it succeeds in portraying life — in extracting the narrative and thought-provoking potential that life contains. By all measures, the siege of Sarajevo was an extreme situation and this makes it an ideal subject for film but also a classic trap for directors with a penchant for the extreme.

Such situations may fulfil their true cinematic and artistic potential only when the extremes they contain are subdued and suppressed, when they are artistically transposed and reduced to that subtle substance which tells a story in an entirely different way. Which is how Days without Red came to be, a minimalistic essay about extremely difficult times. We are constantly subjected to the relentless terror of the Hollywood film. Its key means of expression are the detonation, the car chase, the fight and the pole dance; its leading character a helicopter.

This helicopter will, at some point between minutes 45 and 80, inevitably explode, inevitably whilst airborne and inevitably accompanied by a spectacular pyrotechnical display. The more there are detonations, flames and incredible, near-atomic mushroom clouds rising from common fires, the greater the success of the film. The chief narrative quality of this dominant genre of the contemporary film industry is its remoteness from life.

Where Hollywood ends, life begins. As a bonus, she succeeded in stirring up our memories of the horror that lasted days. Instead of explosions, the story of bombing in this well-composed, obsessive, compulsive film is told through mime, looks, grimaces, the legs of a person running, filmed just so, as legs independent of the body, as carriers of something that ought to be a human being, but got dehumanised precisely by this act of running, it being the main form of body language in the city under siege.

Everything in the film is stripped to its core. There is no traffic in the streets. Not even people. Institutional Critique. Modern Art. Appropriation Art. Internet Art. New Media Art. The Hague. Image from Le Clash by Anri Sala. Heart Art. Fine Art. Paint Colors. Multi Story Building.

Paint Colours. Log Projects. Blue Prints. Painting Art. Cards Against Humanity. French People. French Language. Anri Sala at the French Pavilion. Philippe Parreno. Book Art. How To Look Better. Cat Breeds. Tirana Albania. Gelatin Silver Print. Urban Life. Color Of The Year.

Graffiti Art. Beautiful Landscapes. Vivid Colors. Anri Sala Dammi i Colori. Cristina Gabetti. Galleries In London. Photo Studio. Sylvain Deleu Photographer. Ai Weiwei. Anri Sala "Suspended". Art Background. Performing Arts. Book Illustrations. The World. Drama Theater. Anri Sala, Dammi i Colori. Marian Goodman. Francesca Woodman. Daniel Levy. Human Body. Roof Rack. Anri Sala - Ravel-Ravel-Unravel.

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