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CORPUS DOMINANTI

Colour film
6”40

In CORPUS DOMINANTI, the artist’s body is merged and spliced; repeated and framed, in between a multiplicity of bodies. Through these represented bodies, Mayāt examines the models of masculinity perpetrated within a commonly conceived notion of gay identity, which focus heavily on the reproduction of codes, identified as male, to produce an aggressive erotic charge.

With great irony and cynical auto-derision, CORPUS DOMINANTI represents the artist’s own process of liberation – and the inability to engage corporally in a system of self-pleasuring sexuality. Mayāt’s cynical manipulation of language marks a bridge between written works and a visual process. With an ironic narrative voice, CORPUS DOMINANTI situates the artist’s own body within rituals of seduction, of projection, of possession. A cynical narrator focuses on the aspects of collective identity in neo-liberal homo-normative spheres that build the foundations of masculinity, unpicking the gendered identification that perpetrates a violence unique to a male sexuality. Through the very codes that second the representation of desire – namely a cinematic, commercial manifestation of imagery associated with the body, a digital sphere exploding with reiterated bodies – CORPUS DOMINANTI revokes all pornographic utterances of pleasure conceived in capitalist terms. The scopophilia associated with male bodies is unique in its fervent rejection of ambiguity of gender or polymorphous conceptions of body, claiming the binary model as the only valid one.

CORPUS DOMINANTI toys with notions of non-essential identifications, an embodied realisation of the transformations of borders within bodies that harness gender and subsequently desire. Mayāt explores topics of otherness and alienation according to a paradigm of unity and identity, two notions aligned essentially on community and codes of desirability. When the body falls beyond these categories, access to a certain form of desire is foreclosed.

Toying with baroque modalities of representation, Mayāt reveals double images, projected images, and triptychs that play out dramatized narratives. Mirror images evoke practices of scrying, of vanitas and veritas trapped in a cycle of illusion and seeking lucidity in contemplation – a practice reserved in ecclesiastical terms to sacerdotal figures, who are alone in accessing these exclusive transcendental rights. Tapping into codes of self-portraiture, an aesthetic homage is created, always with a signature ironic tone, which crafts a poetic cynicism of chaos, haphazard conjunctions, accumulations and juxtapositions.

Directed by MAYĀT
Cinematography RAWSKI
Movement & sound ALADAR NOKO
Starring CHIARA ZERLINI & MAYĀT
Editing MAYĀT
Location Théâtre de L’Usine

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