\u201cEarth\u201d is a film that consists of three long slow motion shots. It depicts a landscape after a catastrophe \u2013 human bodies are mixed here with coils of wire, fragments of pallets and cardboard boxes, as well as dead fish and chaotically flashing light bulbs. The work bears a marked reference to European painting, especially French Romantic painting. The film has borrowed inspiration from Theodore Gericault\u2019s \u201cRaft of the Medusa\u201d from 1819, one of the most significant paintings in France after the Revolution. Also noticeable are references to pieces by Eugene Delacroix (\u201cThe Massacre at Chios\u201d, 1824) and Caravaggio (\u201cThe Incredulity of Saint Thomas\u201d, 1601-1602 and \u201cDavid with the Head of Goliath\u201d, ca 1599). The artist\u2019s fascination with old painting \u2013 highlighted by the strong light of fluorescent tubes that imitate the chiaroscuro effect of the Baroque paintings \u2013 was juxtaposed in the film with the contemporary electronic soundtrack of Black to Comm. Played in slow motion, the music seems hardly recognisable combining two temporally and geographically distant motifs.<\/p>\n","protected":false},"excerpt":{"rendered":"
\u201cEarth\u201d is a film that consists of three long slow motion shots. It depicts a landscape after a catastrophe \u2013 human bodies are mixed here with coils of wire, fragments of pallets and cardboard boxes, as well as dead fish and chaotically flashing light bulbs. The work bears a marked reference to European painting, especially French Romantic painting. The film has borrowed inspiration from Theodore Gericault\u2019s \u201cRaft of the Medusa\u201d from 1819, one of the most significant paintings in France after the Revolution. Also noticeable are references to pieces by Eugene Delacroix (\u201cThe Massacre at Chios\u201d, 1824) and Caravaggio (\u201cThe Incredulity of Saint Thomas\u201d, 1601-1602 and \u201cDavid with the Head […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/432"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=432"}],"version-history":[{"count":9,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/432\/revisions"}],"predecessor-version":[{"id":2109,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/432\/revisions\/2109"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=432"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=432"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=432"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}