De repente vi el cielo frío en que se delectaban los grajos que parecía como si el hielo ardiera y fuera aún más hielo, y entonces la imaginación y el corazón enloquecieron tanto que todo pensamiento intrascendente se desvaneció, y no dejó sino recuerdos desparejados con la caliente sangre de la juventud, del amor que cruzamos hace mucho;
Yeat B.William: "El cielo frío" en Poesía completa. Valencia, Pre-textos, 2010, pp: 325
The diversity of shapes and colors that characterize these skies is constantly in a state of change, which is sometimes fast and dramatic and at other times very slow and difficult to perceive. The images provoke a visual giddiness, briefly disorienting our sense of time and place. At the same time, the audience is challenged to sustain its attention to commonplace throught the sheer durariont of shots. The skies represent the concept of nature as a "ready made", as a pre-existing object that is turned into a work of art by means of an artistic signature. This signature is made palpable through the framing of image, the duration of shots, additionlaly framed by black leader. The constructed nature of representation itself is unveiled.
Slanar, Claudia: " Landscape, History and Romantic Allusions" en Pichler/ Slanar (ed), James Benning, Viena, FilmusseumSynema, 2007.
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| How Among the Frozen Words (2005) Deborah Stratman, 16mm. |
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| Ten Skies (2004) James Benning, 16mm. |
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| Observando el cielo (2007) Jeanne Liotta, 16mm. |
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| Nostalgia de la luz (2010) Patricio Guzmán, HD. |
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| O´er the Land ( 2008) Deborah Stratman, 16mm. |
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| Sauve qui peut (la vie)(1980) Jean-Luc Godard, 35mm. |
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| Profit motive and the whispering wind (2007) John Gianvito, 16mm. |
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Blissfulys Yours (2002) Apichatpong Weerasethakul, 35mm.
The thin red line (1998) Terrence Malick, 35mm
Sky Lights (1998) Chris Welsby, 16mm. |
