Re|sound is Sharjah Art Foundation’s biannual event for musical experimentation in dialogue with the medium of film. Locally and regionally based musicians are invited to prepare and perform live original sets in conversation with a projected film. Re|sound’s fourth iteration features a screening of Andrea Dojmi’s work in progress The End of Origins (Rough Cuts From | For Consciousness), which will be shown in tandem with live music performances by classically trained musicians and vocalists Lydia Shepherd and Reemaz Al Oqbi and electronic sound artist Tarik Omar.
This event is free and open to the public.
About the film
The End of Origins (Rough Cuts From | For Consciousness)
Director: Andrea Dojmi
Experimental | 45 min
Earlier this year, Re|sound III featured Lujain Rakadh’s experimental documentary Rahhala (2017), composed of four video essays that show how humanity views nature and all other beings, from pre-historic jellyfish to robots, through an exploitive lens. In the upcoming edition of Re|sound, the post-production experiment The End of Origins (Rough Cuts From | For Consciousness), attempts to engage the filmmaker, the musicians performing in tandem with the film, and the audience as well by turning the lens around to focus on humankind as the subject of study.
Shot on an analogue Super 8mm film camera, The End of Origins (Rough Cuts From | For Consciousness), is a temporary title for a sequence of rough cuts from an upcoming film by Andrea Dojmi, which, without sound and not yet assembled, becomes a space of ambiguity and potential between phases of shooting and editing, a moment before the film makes itself, when moving images invite audiences to an empty place that welcomes insight and intuition. Dojmi allows the film camera to communicate a new view on reality by creating a multi-dimensional portrait in which human beings converge onto a moving image landscape—a geocosmic planisphere where every living entity is within both a unitary and multiple spiritual intelligence beyond space, time, geographies and identities.
Dojmi began the process for this film when he started to translate into words something that had changed his perspective on reality. The texts became storyboard poems for short motion pictures that were connected to each other and later transformed into what he calls a film made of films.