17/02
Het Bos
Ankerrui 5-7, Antwerp
Hooman Jeddy takes you through his exhibition ‘BeeldBuitenKader’
20:30
One by one, the tears of the light drip on the surface of the mirror. They slowly slide down. The drops disappear in the silence of time, and the tracks they leave behind reflect and begin their neglected dance. Sudden is the sound of the sewing machine that connects the rhythm of their dance with the space.
Hooman Jeddy on ‘Sayat Nova’ (1969, 75’) by Sergei Paradjanov
An incredibly poetic interpretation of the Armenian filmmaker Sergei Paradjanov, on the life of the 18th century Armenian poet and singer Sayat Nova.
‘Sayat Nova’ was chosen by Paradjanov as original title for the film, but because the Soviet authorities argued that the film had nothing to do with the singer’s biography, the title was changed to ‘The Color of Pomegranates’. The first time I saw Sergei Paradjanov’s film, was the first time I discovered my love for cinema. In my opinion, ‘The Color of Pomegranates’ is a poetry generator that, through its metronomic rhythm, hypnotizes the viewer and takes them to an unknown dimension where beauty flows over the viewer’s soul like a waterfall.
Many of my works from the past years were directly or indirectly influenced by this audiovisual masterpiece and the magic of Sergei Paradjanov’s cinema in general. Just as an embroidery machine embroiders a poem on white satin, Paradjanov, with his frames and images, embroiders Sayat Nova’s poetry on the silver screen of cinema!
‘Sayat Nova’ was chosen by Paradjanov as original title for the film, but because the Soviet authorities argued that the film had nothing to do with the singer’s biography, the title was changed to ‘The Color of Pomegranates’. The first time I saw Sergei Paradjanov’s film, was the first time I discovered my love for cinema. In my opinion, ‘The Color of Pomegranates’ is a poetry generator that, through its metronomic rhythm, hypnotizes the viewer and takes them to an unknown dimension where beauty flows over the viewer’s soul like a waterfall.
Many of my works from the past years were directly or indirectly influenced by this audiovisual masterpiece and the magic of Sergei Paradjanov’s cinema in general. Just as an embroidery machine embroiders a poem on white satin, Paradjanov, with his frames and images, embroiders Sayat Nova’s poetry on the silver screen of cinema!