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"We don’t know what to say. Sequences of words are repeated; gestures are recognized. Outside us. Of course some methods are mastered, some results are verified. Often it’s amusing. But so many things we wanted have not been attained, or only partially and not like we imagined. What communication have we desired, or experienced, or only simulated? What real project has been lost?" -Guy Debord, Critique of Separation
Cinema is a system of falsification. A complex process of preserving time in a technical way. An entertaining machine for the production of satisfaction. An abstraction of truth, a lie. What can break the order of this machine? The trick lies in the rise of dissatisfaction. Take cinema as an example of any machine. The dissatisfaction of the production is the hiccup in the rationality of a narrative, an order. To be dissatisfied is to criticize.
Routine/logic/machine/order/rationalization. We all rebel against a hand that tries to adopt us and our autonomy. Yet the rebellion has not yet exceeded our borders of selves.
What does it mean? Meaning has been a recurring demand for years. One may say the repetition occurs when the message has not been delivered. Ask me a question and I mumble the answer for you. You ask for more and I mumble again. What does it mean to reproduce miscommunication? Is there a way out?
Sarv Iraji (1997) was born in Tehran, Iran, and currently lives and works on the unceded territory of the xwməθkwəy̓əm, Sḵwxw̱ ú7mesh, and səli̓lw̓ətaʔɬ Nations. Iraji holds a BA in Film Studies from Soore Art University (2020), and an MFA in Visual Arts from the University of British Columbia (2023). Their practice is influenced by the construction of politics and systems of ideology. Working with the time-based media, their work is focused on video, installation, and sculpture.
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