by Mirjana Djordjevic + special guest * Christian Kobald
2000 / 2002 12' video / video installation

..."I am interested in finding beauty where you don't expect it". David Lachapelle

Professional and amateur video footage documenting the NATO bombing of Serbia on 1999 and The Air Attack of New York on 2001 are mixed in this video with various sequences... The video is based on a very strong visual sensation as a spectacle, rather than the political event. That is why the primary material of this work has been decontextualised.

In the video I rely on Hitchcock's principles: to construct in respect to the situation and not to the story / narration, to use "Understatement", that is, to present very dramatic event / happening in an easygoing way. Through mixing of video - documentary material with material from some other contexts, the primary material in video is announced and intensified by the principle of suspense. Video is not narrative. Time is not linear. I've tried to follow the 'collage' principles in my work as Thomas Pynchon does in his literarary works. With its characteristics, this video belongs to the contemporary cut & paste culture.

The first part of the title – RED HOT SPOT is partially quoted, it is a somewhat changed name of the film Hot Spot, the second part is taken over from Hitchcock who says for AFTER THE FACT that - "Any priest who has recived the confession of any murder is connected with the murder after that act."

Basic feature is mutating of the media: film - music clip / spot - artistic video. Aesthetic is the closest to the aesthetics of music videos. I decontextualize and make montage of the citations by the logic of suspense so that they indicate and intensify each other. This can also be achieved by the parallel montage, for example, certain parallel actions which are intensified by mutual differences. The important question is
where to make the cut. The 'tiny chops' quickly disappear and appear again, making the dynamics of the video - the process of montage is rhythmical, circular and above all digital. "The Aesthetic of Disappearance" (Virilio) is immanent to quick montage.A great number of fast moving images affects the information. It becomes interference. In order to become information again, it requires an alert spectator. The montage of picture is outlined by the montage of sound, which is also fragmentary. The sound
(as well as the footages) is overtaken as ready-made. Sometimes it's follows a picture and belongs to it and sometimes it is added. I used periodically sound by the method of suspense. The range of sound goes from the interference - an unidentificated sound which we here as silence - to the popular, recognizable music.

This video would function best in the total abmience, hyperspace.

Mirjana Djordjevic 2001