monika sigeti
immersion (2014)
00:01:34
In the video Immersion, I deal with the self-transformation. Unrestrained, spontaneous movements of both bodies collide on a split-screen. There is no real beginning, no end, just movements. I explore the duality of our being, the causal distance from ourselves and our principles, and then return to the essential self, the surrender to our inner being. I merged vertically two different frames into one film, resembling the symmetrical scene of mirroring in water. Thus, two chronologically distant actions merged into one newly formed movement and the union of two bodies, where the boundary of their encounter is occasionally lost.
Tranquillity women's movement,
Passionate bodily spasm,
The figures are drawn on the floor,
Side by side.
Bodies are sticking together
And randomly touching,
Encountering and splitting,
Irreducibility, indivisibility,
The need for inverting.
Curled bodies,
In a cramped space,
Limited mobility,
Sinking in itself.
Own body in the plural.
The bodies coalesce,
Into a common moveable form.
Sony Z2
Sony Vegas
Adobe After Effects
my.lab.experience (2020)
in the process
During the isolation of a pandemic COVID-19, I started working on my video project My.lab.experience. researching new methods of living, acting and adapting to these new circumstances. In this case, laboratory project includes work on myself.
Because our identities are mediated through technological prostheses - avatars, the boundary between the outer appearance and what is within us is being lost. Social media has affected us all, both mentally and emotionally. Such transformed aesthetics and culture accents growing need for visibility and self-presentation.
4K Google Pixel 2XL
VEGAS Pro 17.0
Adobe Photoshop 2020
Adobe After Effects 2019
my intimate worlds (2011)
00:06:00
I have shown a mini self-portrait, summarized in likewise miniaturized videos that are intertwined. By merging seemingly oppositional themes such as presence and absence, artist's isolation and public life, illusions about their antagonisms have been deleted. Contrasting of the static geometrical-photo background and nearly transparent video images represent a dream of untouchable intimacy. Boxes as geometric frames are trying to preserve the intimate worlds.
Nikon 500
Sony Vegas
Adobe Photoshop
Adobe After Effects
home (2003)
00:01:58
Part of Interactive installation and performance, Art residency, RP3, Belgrade (2003). The project culminates on the last day - at the opening, with the arrival of more public - then the video Home was filmed from the floor. In video other people entered our little and intimate world.
Real Presence 3, Generation 2003, international workshop, Museum 25. May, Belgrade, Serbia.
paper temple (2015)
By placing the camera under the table, I wanted to achieve the illusion of a baroque sky. I am inserting and removing new photos and combining instantly. Overlaps occur randomly like a kaleidoscope and it can be altered and intertwined. The moving collage is conceived as a loop video installation projected on tables. This video performance is the next sequel of my last work in situ - Revealing (2013).
Creating a movable altar I deal with eroticism and open femininity that violates the traditional vision of a humble woman.
And behind the paper clips lies the subtle anti-clericalism, the sparkle of the spiritual life.
Sony Z2
Sony Vegas
Adobe After Effects
bodily fluids (2016)
a clip from the full video
Bodily Fluids immerses us in a completely fluid-virtual world that lives on its own specific alienated way. It contains a wast amount of movements that have no beginning nor end: a carousel that never stops. By adopting an archival and collage approach, this video project actually explores the possibility of an animated deconstruction of our materialistic universe. Inserted and captured segments of film shots depicting a woman underwater, alienate her from the present and time. The (un)present woman is drowned under several layers of matter, which is presented in the form of two-dimensional moving images that creates a constant vortex: conflict of agreeing/remaining and not agreeing/disappearing to the tasks of unstable modernity. Work functions as a constant change of the visible and the invisible, the immersed and the emerging. I use a simple animation of ornamental layers as a representation of matter, flat infinity. I tend to immerse the observer in the image, to draw him into a transcendental - falsely stable structure. The accompanying sound of the waves only supports the impression of imperceptible, gradual immersion and complete surrender to corporate reality.
They'll never get my bodily fluids.
Nikon500
Sony Vegas
Adobe Photoshop
Adobe After Effects
Video projection as a part of exhibition: Space in contemporary art of Vojvodina, Gallery Kazamat, Osijek, Croatia