Spain 2007, 35mm transferred to video, 11 minutes
Dora García has a taste for travel and the sharing of experience it brings. Born in Valladolid, Spain, in 1965, she studied in the Netherlands. Today, she lives and works in Brussels. Her works combine video, writing and performance. Like a director, García explores the resources of fiction: the fine detailing of the scenario and the incorporation of archival footage or photographs are means to grasp people and emotions. In Film (Hôtel Wolfers), sound and image are independent but strangely connected. We hear a male voice discussing the principle of the subjective camera employed in different ways in three films: Samuel Beckett’s Film (1965), Moustapha Akkad’s The Message (1976), and John Carpenter’s Halloween (1978). In each film the camera is assigned a distinctive role by the director, as if embodying a character. Shot first of on black and white 35mm film, the video presents Henry Van de Velde’s celebrated Wolfers House in Brussels, as if in an architectural documentary. But García uses conventions of the subjective camera, which—with a furtive and distracted eye—scans the decaying walls of the building, suggesting the detached attention of the historical gaze.