August 29, 2017


Filed under: kaganof short films — ABRAXAS @ 9:34 am

Suiwer begins with the figure of a film image sequence (Die Bou van ‘n Nasie), being cut open and spread out to form a flat, band-like surface. This region is material like the body, but it is not yet organized, thus the figure of dismemberment. Simultaneously a film sound sequence (Die Kandidaat) is transplanted into the dismembered body, replacing the stable structure of the original sound-image relationship with a cross examination, a juxtaposition, that serves to expose the affects hidden and denied by the ostensibly stable and permanent structures of the System (Afrikaner Nationalism).

The flat band that the body has become is then given a twist and joined end to end, forming a moebius strip (a circular figure which has only one surface due to the twist it contains; a line traced along one side of the strip will end up on the other side without breaking contact with the surface). This strip is in motion, circulating repetitively.

The text of this moebius strip is derived from Hendrik Frensch Verwoerd’s Socio-Psigologi van Misdaad, a course that he gave at Stellenbosch University whilst Professor of Sociology and Social Work.

Finally the repetitive motion stops and forms a stable disjunction. Suiwer then turns around on itself and creates an unsafe space, a trauma room. This stage in the versuiwering represents the formation of Afrikaner Nationalist thought, dominated by binary logic and racism.

Suiwer is a conceptual animation film that allows us to see the elements of the libidinal economy as duplicitous. That is, they have more than one possibility. It is always possible for intensities to channel into a stable system, or to disrupt a system by destabilising it through intense disruption.

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