{"id":134,"date":"2023-03-31T20:25:25","date_gmt":"2023-03-31T11:25:25","guid":{"rendered":"http:\/\/www.imageforumfestival.com\/interview\/?p=134"},"modified":"2024-04-07T16:44:10","modified_gmt":"2024-04-07T07:44:10","slug":"lisa_spilliaert","status":"publish","type":"post","link":"http:\/\/www.imageforumfestival.com\/interview\/2023\/03\/31\/lisa_spilliaert\/","title":{"rendered":"\u30ea\u30b5\u30fb\u30b9\u30d4\u30ea\u30a2\u30fc\u30eb\u30c8"},"content":{"rendered":"

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 <\/p>\n

\u2013\u2013\u2013The Image Forum Festival showed your previous work \u201cN\u30fbP\u201d in 2021 and \u201cHotel Red Shoes\u201d in 2016, which you made in collaboration with your younger sister, Clara. Please tell us how you got into video production.<\/strong><\/p>\n

When I was attending the Art School in Ghent, I presented \u201cHotel Red Shoes\u201d as a video installation piece for my graduation exhibit. My concentration of study was not at the Department of Motion Pictures. It was at the Department of Photography. Canon\u2019s 5D camera came with recording features, so I began shooting footage with that. So technically speaking, I started with a photographic camera.<\/p>\n

\u2013\u2013\u2013What made you produce \u201cSpilliaert?\u201d<\/strong><\/p>\n

In Japan, the Bridgestone Museum of Art (presently the Artizon Museum) did a retrospective of L\u00e9on Spilliaert\u2019s works in 2003. Since then, I don\u2019t think his works are known that much in Japan. In Belgium, however, he is incredibly famous. When I introduce myself, I\u2019m almost always asked, \u201care you related to the artist, L\u00e9on Spilliaert?\u201d It is an unusual surname. Because I was asked this question so much, I went to my family for answers. However, no one knew and this was what made me produce \u201cSpilliaert.\u201d Because this meant tracing my family lineage, I got the Center managing its archive to assist me. That\u2019s how I conducted my research to see if I was actually blood-related or not.<\/p>\n

\u2013\u2013\u2013Please tell us about the general composition and production process of the film.<\/strong><\/p>\n

The overall film composition consists of narrators narrating alternately. I rap as the main speaker. Secondly, L\u00e9on Spilliaert\u2019s great grandson agreed, subject to being left anonymous, to participate in the film using only his voice. His narration of family memories as well as his own feelings are made to overlap with close-up shots of paintings. Third, we have the narration of two pedigree specialists, who can read and understand all sorts of historical archive material. Fourth, an art historian who conducted research on L\u00e9on Spilliaert introduces Spilliaert\u2019s works and touches on his personality and character. I shot and edited these four different scenes concurrently. The large pottery sculpture which my younger sister, Clara, made is projected in the rap scene. A family tree is divided into many branches, isn\u2019t it? I wanted to depict this three dimensionally. We talked about this and had a human size family tree made.<\/p>\n

\u2013\u2013\u2013Why did you think about expressing yourself using rap music?<\/strong><\/p>\n

This was all a flash of inspiration for me. Still, I never did this before, so I took special training for two years. Of course, I had someone to coach me who taught me the art of rhyming. If I may say, that person, who also composed the beat, is my master teacher. The rap plays a voice over-like role in the film. The family tree, as far as identity context formation, is something that gives serious reasoning and justification. It\u2019s got the image of being something very formal. An important theme for the music genre of rap is its free, identity formation. I personally feel this contrast to be extremely interesting.<\/p>\n","protected":false},"excerpt":{"rendered":"

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