The cryptic and universal nature of these cinematic worlds is initiated by a certain realism that has very little to do with its usual representation. Dead and living, human and non-human coexist in an accord of dream and sensuality.
In ‘A Sign of Prosperity to the Dreamer’, a series of underground explosions relocate shot flock of birds up to the sky, in an uncanny celebratory moment of the dead non-human body.
Rafa’s practice is based on in-situ investigations of her own and others’ experiences of space, using video as primary medium to record and later recast first encounters into carefully choreographed sets. ‘Seasons’ and ‘8 Kilos of Garden’ are artifacts of these investigations that have taken the form of an installation instead of a moving image narrative. Here, the notion of space does not concern the distant (as in the history of documentary) but the local, which can be unknown, invisible, marginal or buried in the city’s infrastructure.
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