" F O R R E A L "  2 0 0 2

The installation uses as a source material a found footage. These are recordings from surveillance cameras in different offices, public spaces (b&w silent video), as well as shots from classical b&w movies (b&w, sound). The set of four adjacent projections on the floor gives a perspective - refering to the changed perspective of the moving image, throughouth the development of image technollogies (military and surveilance systems) - moving the camera from the classical film situation - horizontal position - human eyes level, to the satelite view point - observations from above, where characters on the camera become objects, or subject of data calculations. Involving the audience in the simple way of (there is/there is not) is a kind of critical reference to the impersonal (unconcious) way all we are involved, willing or not in the globalised image and data capture systems. The scenario for this work is based on a research on the oppositions: < cinematic narratives>; < historical moving image perspective>< utilized surveillance image perspective >. Short sequences from b&w classical films are superimposed with surveilance recordings. sound environments are also mixed in order to homogenize the images and make both sources similar for the perception. This is in a way, what have been "invented" as a concept of "Big Brother Shows" - but in the keys if Big Brother, the concept is again simplified as a result and staged in order to fit the stereotipic desire for single constructive narrative - something the cinema trained already the perception during the last century to recognise as a cinematic experience. So their direction is using the surveilance technics as a source, but then again going throughouth the classical edit (re-composition) technics to create a fiction narative as a single output. My approach is more the opposite - that i want to fade the diference <"real" - "staged" or "life"-"cinema" > to desorientate the visitor's perception in order to reach a multilayered - multyfaceted experience on the edge between realty and fiction.
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Exerpt from the A Sense of Weightlessness

By Andrea Zapp

by Andrea Zapp for The Urban Cycles Catalogue 2002

...Krassimir Terziev's For Real constructs a mysterious labyrinth of reality and fiction in the urban underground. He juxtaposes surveillance shots against film abstracts, laid out as split screen configurations and collaged projections. Extracted from Hitchcock movies, the film scenes are chosen to take advantage of their particular aesthetics creating intense feelings of tension and suspense: the majority of them showing pursuits through mazes of basement corridors, hallways or trains, people rushing around and knocking on doors. These particularly observational techniques are contrasted with black and white shots from urban surveillance cameras, the screen then arranged in a grid, in relation to the monitors of a control room in a public CCTV network. They are overlooking everyday locations like a parking zone or a computer office, as if to ring a bell that an urban citizen will always be part of this system. The surveillance material is based on still image updates, yet there is not much happening, as if to put the question to the viewer - what will happen in the meantime, in the blind spot between the images? The interactive projections trigger pursuer and pursued in a struggle, while the camera illuminates dark hideaways, but they only play with the viewers' expectations and voyeuristic cliches. The more we move the more they overlap, jump to the next open fragment, destroying the vague connection between each other immediately. Individual interpretations through a docu-fictional montage is the grammatical reading of For Real, but: could not all the anticipated actions happen under cover of night in the dark and sheltered corners of Library Walk and the monstrous buildings around - so the work additionally establishes obvious associations to its locality. ...

www.azapp.de.

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