The film Simulacra has drawn inspiration from Jean Baudrillard's work Simulacra and Simulation.
“Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory – procession of simulacra – that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself.”
Simulacra and Simulation by Jean Baudrillard.
In Simulacra we begin with shots of nature. As we progress through the film we encounter suburbs, the roads that link them, the urban metropolis tipped on its head, and the images become more fractured until a tipping point changes the nature of the city.
Simulacra is about the nature of our bombardment by and relationship to the image. The fracturing surface in the film recalls observations of the field of vision, the act of looking. The surface, the frame, image, origin, original, copy, real and re-real. The frame of the image is commodifying the terrain and framing our relation to it. The signifier and signified become more disparate as the layers segment off, quarantined from the original location they become their own truth. The fragments become a frame in themselves, constituting a new real, a new nature of our cities, that again become processed by our notions of nature and the state we exist in. A Duchampian notion of the Infra-slim also comes into play here —where the image sits on the real and is separate, but at the same time joined by a shared real.
The image becomes a symbol of the construct of our cities, built by ourselves, out of nature becoming a new nature— a habitat of the real, an institution of how we are. So saturated in the image of the city as us and nature as outside the real, we see the wild as all outside the city. The film was created using Adobe after effects and the music is A Seated Night (Ambient), licensed from Moby.
Theo Tagholm (UK) is a London-based artist working in time-based media. He trained at Chelsea School of Art and Middlesex as a painter, which still informs much of his work. Aspects learned in life drawing, the act of looking—which differs from the act of taking a photograph —features heavily in the work. Much of Theo's work begins with a process, often between the subject and the surface, that reveals meaning over time. Previous work and installations include The Brunswick Project, the Jerwood Moving Image Award shortlist, South London Gallery – Canada/UK video exchange and the Rencontres International Festival.