South (2020)

  • 28min
  • Morgan Quaintance

Del af kortfilmpakken ‘South + Detour + The Seismic Form’

Politisk filmkunst om anti-racistiske modstandsbevægelser, hvor nye betydning opstår i kemien mellem gamle postkort, Google Street View og analog 16mm-film.

Det er i rummene og sprækkerne mellem de ting vi præsenteres for, at ‘South’ bliver til. Morgan Quaintances film er en ekspressiv undersøgelse af anti-racistiske og anti-autoritære bevægelser i sydlige samfund: Chicagos South Side og det sydlige London (hvor Quaintance i begge tilfælde har boet), og i det amerikanske Deep South samt i Sydafrika under apartheid-regimet. Blandingen af analog 16mm-film og billeder fra Google Street View er symptomatisk i en film, der opnår sin berigende kompleksitet gennem sammenstillingen af både cinematiske og konceptuelle elementer. Montagen bliver imidlertid aldrig didaktisk. Tværtimod, Quaintances abstrakte klippemønstre og lydhøre tilgang til sine talende medvirkende betyder, at ‘South’ er en film, man i høj grad selv skaber, mens man ser den. Som kunstner og kurator har Quaintance dyrket både det participatoriske og det politiske potentiale i samtidskunst. ‘South’ undersøger forholdet mellem individ og kollektivitet, mellem teori og handling, socialt ansvar og de åbninger, hvorfra en positiv forandring kan spire.

Political film art about anti-racist resistance movements, where new meaning comes about in the chemistry between old post cards, Google Street View and analogue 16mm film.

It is in the spaces and cracks between the images we are shown that ‘South’ comes into being. Morgan Quaintance’s film is an expressive study of anti-racist and anti-authoritarian movements in southern communities: Chicago’s South Side and South London (where Quaintance has lived), and the American Deep South, as well as South Africa during the apartheid regime. The mix of analogue 16mm celluloid and images from Google Street View is characteristic for a film that achieves its enriching complexity through the juxtaposition of both cinematic and conceptual elements. But the montage never becomes didactic. On the contrary, Quaintance’s abstract editing patterns and sensitive approach to his protagonists makes ‘South’ a film that is largely created by ourselves as we watch it. As an artist and curator, Quaintance has cultivated the participatory and political potential of contemporary art. ‘South’ examines the relationship between the individual and the collective, between theory and practice, social responsibility and the openings from which positive change can come about.

Language(s)

English