{"id":57789,"date":"2024-10-01T11:27:40","date_gmt":"2024-10-01T09:27:40","guid":{"rendered":"https:\/\/bognaburska.pl\/?post_type=dt_portfolio&p=57789"},"modified":"2024-11-18T12:25:04","modified_gmt":"2024-11-18T11:25:04","slug":"bog-jest-prozny","status":"publish","type":"dt_portfolio","link":"https:\/\/bognaburska.pl\/en\/project\/bog-jest-prozny\/","title":{"rendered":"God Is Vain<\/i>"},"content":{"rendered":"
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< found footage films<\/a><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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God Is Vain<\/em><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>
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2006\/2007
\nfound footage video
\nduration:<\/strong> 23’28”
\nfrom the series Game with Moving Mirrors – Part Two<\/em>
\ncollaboration:<\/strong> Micha\u0142 Januszaniec<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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The work God is Vain<\/em> – its title repeating a sentence spoken by the heroines of the film The Colour Purple<\/em> (1985, Steven Spielberg) – tackles images of femininity. Black female farmers admire the beauty of the world, reaching the conclusion that the effects of creation result from God’s vanity, who confirms his greatness in this way. The composition of the work is subordinated to images of women who are linked with each other by the motif of a mirror, which they gaze into, admiring themselves.

\n\nEach of the motifs that cement the images into a whole concentrates on the female body and sexuality, alongside homo-eroticism and desire. These categories create relationships between the women, prepared either through editing from already existing films or through the juxtaposition of selected shots, hindering the viewer from forming an unequivocal definition or reducing them to a single, universalising pattern. This concerns especially the ambiguous relationships found by Burska in, among other things, Single White Female<\/em> (1992, Barbet Schroeder), which the artist used in her own work. A shared dwelling becomes the terrain of struggle between two women, while one of them tries to take over the identity of the other. A selection of single frames from this intriguing story somehow pinpoints the most important elements of that psychological drama, indicating the key moments of the characters’ personality transformations.<\/p>\n

excerpt from the text Games with Moving Frames<\/em> by Ma\u0142gorzata Radkiewicz, catalogue Films. Bogna Burska<\/em>, ed. Aleksandra Grzonkowska, published by Wyspa Art Institute, Bunkier Sztuki Gallery of Contemporary Art, BWA Zielona G\u00f3ra, and the Academy of Fine Arts in Gda\u0144sk, 2014<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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sources:<\/span><\/p>\n

3 Women<\/span><\/i> re\u017c. Robert Altman<\/span><\/p>\n

25th Hour<\/span><\/i> re\u017c. Spike Lee<\/span><\/p>\n

2046<\/span><\/i> re\u017c. Wong Kar-Wai<\/span><\/p>\n

Angels in America<\/span><\/i> re\u017c. Mike Nicholas<\/span><\/p>\n

Anna Karenina<\/span><\/i> re\u017c. Bernard Rose<\/span><\/p>\n

Amadeus<\/span><\/i> re\u017c. Milos Forman<\/span><\/p>\n

Ad\u00e3o e Eva <\/span><\/i>re\u017c. Joaquim Leit.o<\/span><\/p>\n

Brokeback Mountain<\/span><\/i> re\u017c. Ang Lee<\/span><\/p>\n

Carne tremula<\/span><\/i> re\u017c. Pedro Almodovar<\/span><\/p>\n

Carrie<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

Chinese Box<\/span><\/i> re\u017c. Wayne Wang<\/span><\/p>\n

Chinjulhan geomjasshi<\/span><\/i> re\u017c. Park Chan-wook<\/span><\/p>\n

Crash<\/span><\/i> re\u017c. David Cronenberg<\/span><\/p>\n

Dangerous Liaisons<\/span><\/i> re\u017c. Stephen Frears<\/span><\/p>\n

Elizabeth<\/span><\/i> re\u017c. Shekhar Kapur<\/span><\/p>\n

Frida<\/span><\/i> re\u017c. Julie Taymor<\/span><\/p>\n

Fucking Amal<\/span><\/i> re\u017c. Lukas Moodysson<\/span><\/p>\n

Grosse Madchen weinen nicht<\/span><\/i> re\u017c. Maria von Heland<\/span><\/p>\n

Happy Together<\/span><\/i> re\u017c. Wong Kar-Wai<\/span><\/p>\n

Head in the Clouds<\/span><\/i> re\u017c. John Duigan<\/span><\/p>\n

Henry & June<\/span><\/i> re\u017c. Philip Kaufman<\/span><\/p>\n

Hunger<\/span><\/i> re\u017c. Tony Scott<\/span><\/p>\n

Jekyll + Hyde<\/span><\/i> re\u017c. Nick Stillwell<\/span><\/p>\n

Kansas City<\/span><\/i> re\u017c. Robert Altman<\/span><\/p>\n

Kika<\/span><\/i> re\u017c. Pedro Almodovar<\/span><\/p>\n

La Fidelit\u00e9<\/span><\/i> re\u017c. Andrzej \u017bu\u0142awski<\/span><\/p>\n

Le Pacte du silence<\/span><\/i> re\u017c. Graham Guit<\/span><\/p>\n

Married to the Mob<\/span><\/i> re\u017c. Jonathan Demme<\/span><\/p>\n

Memoirs of a Geisha<\/span><\/i> re\u017c. Rob Marshall<\/span><\/p>\n

Milou en mai<\/span><\/i> re\u017c. Louis Malle<\/span><\/p>\n

Monster<\/span><\/i> re\u017c. Patty Jenkins<\/span><\/p>\n

Mrs. Dalloway<\/span><\/i> re\u017c. Marleen Gorris<\/span><\/p>\n

Mulholland Dr.<\/span><\/i> re\u017c. David Lynch<\/span><\/p>\n

Picture Claire<\/span><\/i> re\u017c. Bruce McDonald<\/span><\/p>\n

Pride and Prejudice<\/span><\/i> re\u017c. Joe Wright<\/span><\/p>\n

Pulp Fiction<\/span><\/i> re\u017c. Quentin Tarantino<\/span><\/p>\n

Requiem for a Dream<\/span><\/i> re\u017c. Darren Aronofsky<\/span><\/p>\n

Sexy Beast<\/span><\/i> re\u017c. Jonathan Glazer<\/span><\/p>\n

Shakespeare in Love<\/span><\/i> re\u017c. John Madden<\/span><\/p>\n

Single White Female<\/span><\/i> re\u017c. Barbet Schroeder<\/span><\/p>\n

Sylvia<\/span><\/i> re\u017c. Christine Jeffs<\/span><\/p>\n

The Colour Purple<\/span><\/i> re\u017c. Steven Spielberg<\/span><\/p>\n

Thelma & Louise<\/span><\/i> re\u017c. Ridley Scott<\/span><\/p>\n

The Matrix Reloaded<\/span><\/i> re\u017c. Larry Wachowski, Andy Wachowski<\/span><\/p>\n

The Piano<\/span><\/i> re\u017c. Jane Campion<\/span><\/p>\n

The Shining<\/span><\/i> re\u017c. Stanley Kubrick<\/span><\/p>\n

The Virgin Suicides<\/span><\/i> re\u017c. Sofia Coppola<\/span><\/p>\n

Total Eclipse<\/span><\/i> re\u017c. Agnieszka Holland<\/span><\/p>\n

True Romance<\/span><\/i> re\u017c. Tony Scott<\/span><\/p>\n

Twin Peaks: Fire Walk With Me<\/span><\/i> re\u017c. David Lynch<\/span><\/p>\n

Washington Square<\/span><\/i> re\u017c. Agnieszka Holland<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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