Tangere
2024
Tangere (Latin for “touch” or “perceptible by touch”) considers human relations and knowledge sharing through the lens of energy exchange and physical touch. Binding together two seemingly distant musical traditions, lullaby and reggaeton, the self initiated genre of the “lullaeton” delves into the deep corporeal relation to rocking or cradling of the body as a way of soothing and comforting. Protagonists in earlier chapters of the lullaeton project include her child-hood history teacher and her grandmother - represented solely by their hands performing curated manual gestures. Tangere explores the character of the lover, whose touch Mascini considers as an exchange of tender knowledge and informed intuition.
In this work, two hands can be seen in nearly each video frame: at times this involves two hands, one of each belonging to the different bodies of two lovers, while at other moments the two hands are duplicates - created by the reflection of one hand moving in front of a mirror as if by muscle memory. Since their nails are adorned with miniature spirit levels, these hands move in constant relation to equilibrium, teasingly feeling their way in and out of balance. This way, Mascini imagines the spirit level as a paradoxical tool: a rational instrument, yet with a fluid nature. Commonly used as a tool to confirm the straightness of objects, Mascini defies this function by placing the tool in relation to the curved body that moves inside a classical and crooked hotel room, pointing to a profound relation between the environment, the human body and technical application, and how one is able to leak into the other.
2024
Tangere (Latin for “touch” or “perceptible by touch”) considers human relations and knowledge sharing through the lens of energy exchange and physical touch. Binding together two seemingly distant musical traditions, lullaby and reggaeton, the self initiated genre of the “lullaeton” delves into the deep corporeal relation to rocking or cradling of the body as a way of soothing and comforting. Protagonists in earlier chapters of the lullaeton project include her child-hood history teacher and her grandmother - represented solely by their hands performing curated manual gestures. Tangere explores the character of the lover, whose touch Mascini considers as an exchange of tender knowledge and informed intuition.
In this work, two hands can be seen in nearly each video frame: at times this involves two hands, one of each belonging to the different bodies of two lovers, while at other moments the two hands are duplicates - created by the reflection of one hand moving in front of a mirror as if by muscle memory. Since their nails are adorned with miniature spirit levels, these hands move in constant relation to equilibrium, teasingly feeling their way in and out of balance. This way, Mascini imagines the spirit level as a paradoxical tool: a rational instrument, yet with a fluid nature. Commonly used as a tool to confirm the straightness of objects, Mascini defies this function by placing the tool in relation to the curved body that moves inside a classical and crooked hotel room, pointing to a profound relation between the environment, the human body and technical application, and how one is able to leak into the other.
4K video, stereo sound.
5min18sec
starring: Ramses Almanza and Vibeke Mascini
sound composition: Nicolás Sánchez
sound mixing: Diego Andrés Contento
camera: Tomasz Skibicki
including images from the video library of Tomasz Skibicki
editing: Tomasz Skibicki and Vibeke Mascini
color grading: Mateo Vega
curator: Anne-Laure Franchette
site facilitator: Wieland Hunger (KWZ)
image installation view at Songs of Tomorrowlands, Biennale of Land and Environmental Art in Safien, CH
*please send an email if you would like a link to view and listen the entire video
5min18sec
starring: Ramses Almanza and Vibeke Mascini
sound composition: Nicolás Sánchez
sound mixing: Diego Andrés Contento
camera: Tomasz Skibicki
including images from the video library of Tomasz Skibicki
editing: Tomasz Skibicki and Vibeke Mascini
color grading: Mateo Vega
curator: Anne-Laure Franchette
site facilitator: Wieland Hunger (KWZ)
image installation view at Songs of Tomorrowlands, Biennale of Land and Environmental Art in Safien, CH
*please send an email if you would like a link to view and listen the entire video
