Spelling Dystopia

2008-2009
Nina Fischer & Maroan el Sani, Spelling Dystopia, 2008-2009. wall paper of 42 laser-prints with drawings, archive photography and manga, two-channel video installation (HD, 16:9, color, sound, stereo). dimensions variable. 17 min 25 sec. Courtesy of the artist and Galerie EIGEN+ART, Leipzig/Berlin. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Nina Fischer & Maroan el Sani, Spelling Dystopia, 2008-2009. wall paper of 42 laser-prints with drawings, archive photography and manga, two-channel video installation (HD, 16:9, color, sound, stereo). dimensions variable. 17 min 25 sec. Courtesy of the artist and Galerie EIGEN+ART, Leipzig/Berlin. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Nina Fischer & Maroan el Sani, Spelling Dystopia, 2008-2009. wall paper of 42 laser-prints with drawings, archive photography and manga, two-channel video installation (HD, 16:9, color, sound, stereo). dimensions variable. 17 min 25 sec. Courtesy of the artist and Galerie EIGEN+ART, Leipzig/Berlin. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Nina Fischer & Maroan el Sani, Spelling Dystopia, 2008-2009. wall paper of 42 laser-prints with drawings, archive photography and manga, two-channel video installation (HD, 16:9, color, sound, stereo). dimensions variable. 17 min 25 sec. Courtesy of the artist and Galerie EIGEN+ART, Leipzig/Berlin. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014
Nina Fischer & Maroan el Sani, Spelling Dystopia, 2008-2009. wall paper of 42 laser-prints with drawings, archive photography and manga, two-channel video installation (HD, 16:9, color, sound, stereo). dimensions variable. 17 min 25 sec. Courtesy of the artist and Galerie EIGEN+ART, Leipzig/Berlin. SeMA Biennale Mediacity Seoul 2014 Ghosts, Spies, and Grandmothers. Seoul Museum of Art. 2014

For their movie I Live in Fear―After March 11, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima to a screening of Akira Kurosawa’s film I live in fear―Record of a living being (1955) to re-evaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 1950’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawa’s movie, as they recognized their similar desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophe and ongoing threat of radiation. [Nina Fischer & Maroan el Sani]

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The screen is worth protecting. Or create the value of protecting the screen.