{"id":2203,"date":"2018-07-10T19:52:00","date_gmt":"2018-07-10T17:52:00","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=2203"},"modified":"2022-11-03T10:18:06","modified_gmt":"2022-11-03T09:18:06","slug":"osoresan-natacha-nisic-2018","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/osoresan-natacha-nisic-2018\/","title":{"rendered":"(2018) OSORESAN de Natacha Nisic"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/11\/poster-Osoresan-smal-scaled-1.webp\"><img loading=\"lazy\" decoding=\"async\" width=\"624\" height=\"765\" src=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/11\/poster-Osoresan-smal-scaled-1.webp\" alt=\"\" class=\"wp-image-2559\"\/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Osoresan, 3-channel video, stereo sound, 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dealing with sociological but also mythological representations of fear, Osoresan is the result of three years of research. It is a collaboration between the historian Ken Daimaru and the artist Natacha Nisic after their joint residency at the Villa Kujoyama in Kyoto in 2015. Different layers of representation and textual sources are combined in a fragmented vision of the relationship to fear and to tradition after the Great Catastrophe of 2011. Ken Daimaru and Natacha Nisic met the last Itako, a blind woman of 84 who was trained to visit the realm of the dead. We follow her practice, her visions and her traditional chants, on a journey through post-Fukushima landscapes. A chorus, narrated by some of the actors of the Chiten theatre company, refers to the construction of traditional Japanese theatre.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/07\/IMG_2785.webp\"><img loading=\"lazy\" decoding=\"async\" width=\"1575\" height=\"1023\" src=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/07\/IMG_2785.webp\" alt=\"\" class=\"wp-image-2205\"\/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/07\/211B69A9-0C5A-440E-813C-B410038A1C59.webp\"><img loading=\"lazy\" decoding=\"async\" width=\"1536\" height=\"864\" src=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/2022\/07\/211B69A9-0C5A-440E-813C-B410038A1C59.webp\" alt=\"\" class=\"wp-image-2204\"\/><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph translation-block\">The music of <em>Osoresan<\/em> is simple, made up mainly of concrete sounds and modulated white noise. White noise gives us to hear the entirety of the frequencies audible to the human ear. Its use in this film obviously refers to the traditional blindness of the Itako shamans, seeking to substitute through sound what they are not permitted to see: to hear the infinity of sounds and of possibilities of hearing, freed from the image so as to retain only the auditory sensation that is as open to the world as possible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph translation-block\">2019\u00a0\u00a0\u00a0\u00a0<a href=\"http:\/\/natachanisic.net\/home\/osoresan-mount-of-fear\/\">\u00a0 Osoresan,<\/a>\u00a0 Anne de Villepoix gallery, Paris<\/p>","protected":false},"excerpt":{"rendered":"<p>Osoresan, vid\u00e9os 3 canaux, son st\u00e9r\u00e9o, 2018. Traitant des repr\u00e9sentations sociologiques mais aussi mythologiques de la peur, Osoresan, est le r\u00e9sultat d&rsquo;un travail de recherche de trois ans. Une collaboration entre l&rsquo;historien Ken Daimaru et l&rsquo;artiste Natacha Nisic apr\u00e8s leur r\u00e9sidence commune \u00e0 la Villa Kujoyama \u00e0 Kyoto en 2015. Diff\u00e9rentes couches de repr\u00e9sentation ainsi [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[173,174],"tags":[],"class_list":["post-2203","post","type-post","status-publish","format-standard","hentry","category-installations","category-musiques-de-films"],"_links":{"self":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2203","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/comments?post=2203"}],"version-history":[{"count":7,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2203\/revisions"}],"predecessor-version":[{"id":2561,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/2203\/revisions\/2561"}],"wp:attachment":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/media?parent=2203"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/categories?post=2203"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/tags?post=2203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}