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In THE FILM THAT IS NOT THERE, the artist invites 150 actors from 4 countries to participate of a casting audition, providing them with scenes from a feature film script she wrote. She thus created a large database of actors performing the same scenes. Using all the collected faces and interpretations of the same scenes in different languages, the project proposes a reflection on narrative, representation and fiction. The project can take many exhibitions forms: it has been showed as a single-screen video, as a 4 screens installation and has a 7 screens installation. Project repicipient of the FUNARTE Award to Contemporary Art and support by Rote Fabrik (Switzerland),
Objectifs (Singapore) and Gyeonggi Creation Center (south Korea).

support

Rote Fabrik (Switzerland)
Objectifs (Singapore)
Gyeonggi Creation Center (South Korea)

support

Rote Fabrik (Switzerland)
Objectifs (Singapore)
Gyeonggi Creation Center (South Korea)

support

Rote Fabrik (Switzerland)
Objectifs (Singapore)
Gyeonggi Creation Center (South Korea)

"While this narrative and these characters are never While this narrative and these characters are never fully formed, we are poised to feel and interpret them, which brings us to the audition, the prototypical space where the enactment of affect occurs. For the audition is all about the repetition of the same, only it is different each time. If this existential concept of repetition were not fully anticipated in tragedy, or the theatre in general, then the audition, which the audience rarely sees, is both the testament of, and test for it. For the multiplicity of repetition marks the lack of an original and, as such, one could say it marks the essential characteristic of classical narrative cinema, that there is no truth in moving pictures save our own affective relationship to those images."

Christopher Eamon, A Film That is Not One, excerptAdd 

"The film-that-is-not-there counts with the mutual implication between spectator and work, voyeur and model, viewer and frame, largely supported by the centenary experience of cinema and its developments. Let’s include in it spectacular (and specular) uses of projection mechanisms. The work employs its smuggling operations, its subtle detours, through gaps installed in the core of this functional and extra-mediatic machinery: the very driftage of identitary games. Knot-images. A planetary movie, an international soap-opera, a melodrama performed by different races, peoples and idioms, all in unison, aware of the Great Drama."

Livia Flores, The Humanity of Images, excerpt