I HOPE MY LEGS DON’T BREAK / PART.II

Date: May 13, 2017

Time: 21:00 - 23:00

Location: Plateia Leon Avdi/ Keramikos / 10436 Athens

 

I HOPE MY LEGS DON’T BREAK / PART.II

Short Films screening 13.05.2017 / 9-11pm A-DASH Project Space off-site event held at: Plateia Leon Avdi/ Keramikos / 10436 Athens

 

Contributing artists:

Kristín Helga Rikharõsdóttir (ISL) – IN IT – to win it, 2017 (06:00)
Herve All (FR) – White Light, 2012 (04:44)
Jonathan Johnson (USA) – Explosions Bring Us Closer Together, 2012 (01:52)
John Christopher Kelley (USA) – Pause, 2012 (02:13)

 

«I Hope My Legs Don’t Break» takes place four times throughout 2017 (March, May, September, November), with each event hosting a selection of different short films which were submitted through an open call. The chosen films will be presented from a transitory structure, in situ alongside several disused kiosks across Athens.

«I Hope My Legs Don’t Break» investigates the relationship between place, architecture, memory and temporality: taking the Kiosk as an entry point.
 

The Kiosks (Periptera), visible all over Athens, are frequently witnessed as no more than redundant structures. In their time, and when in use, they have the capacity to act as sites that trigger and promote societal exchange.

 

The Kiosk is now often only seen as a hollow shell; a stranger within its own time; an outsider within its own topology; an outmoded site withdrawing to the architecture of memory. The Kiosk, in its unused form, resembles a landed UFO; an obscure object that has returned from the future, or voyaged forth from a time before time. It is both ‘alien’ and ‘alienated’; a space that simultaneously speaks of and is disconnected from its own past(s) – present(s) – future(s).

 

The Kiosk belongs to all and none of these at the same time.

 

Through a shift, reverse or rupture in chronology, the Kiosk can re-emerge as something else altogether: its identity, purpose and function can be re-defined.
«I Hope My Legs Don’t Break» screens works that present an investigative and innovative approach to film in direct relation to overlapping notions of place, architecture, memory and temporality.

Kristín Helga Rikharõsdóttir (ISL) – IN IT – to win it, 2017 (06:00)

The work “IN IT – to win it” tells a story of a drive-through intercom system that takes its own approach to its job quite seriously and seems to have a rather special relationship with its customers. By using its environment and contact with costumers, the intercom believes it has mastered the art of human communications, judgment making and compassion. “IN IT – to win it” is filmed at a fast food drive-through “brand” architecture site. “Brand” architecture can be seen in most cities, typified by fast-food chain places. Even if in a foreign country, you can give yourself a break from the local menu and resort into the next international brand-name restaurant, and enter a theater of a unified space that you know so well. A place in no accordance with its external environment…

Script/Song/Production of Song/Video Direction/Editing /Color Grading/Voice-Over Direction/Sound Production /Sound Editing/Karaoke Production by Kristin H. Rikhardsdottir

Sound Recording/Sound Editing by Rikhardur H. Fridrisson

Voice Actor by Colm O Herlihy

Cinematography by Oskar Kristinn Vigfusson

Field recording/Special effects by Arni Jonsson

Special Thanks to Eyglo Hardardottir, Johanna V. Rikhardsdottir, Frida Isberg

 

Herve All (FR) – White Light, 2012 (04:44)

This short film was filmed in the Lappland near Kiruna the nordest area in sweeden. I created this film around the emo- tional aspect due to a hard environment . This film condenses several realities, the spirit (the idea of being enhance by a land of snow) and the body (the body walking is working as a mirage). The soundtrack comes from the sound of wind I captured in the snowdrift, the «music» of the aurora borealis I mixed and composed with narrative sequences of a physicist talking of the water molecule.’
Jonathan Johnson (USA) – Explosions Bring Us Closer Together, 2012 (01:52)
Explosions Bring us Closer Together montages found images and sound to create a reflection on the interconnectivity made possible through technology, however dark and absurd.

 

John Christopher Kelley (USA) – Pause, 2012 (02:13)

Pause is a bittersweet illustration of nostalgia’s romantic and destructive nature. The recall of a memory causes it to literally deteriorate in a series of paused VHS images of American suburban leisure in the 1980s.