Arin Rungjang · Claudio Zulian · Damir Očko · Daphné Le Sergent · Estefanía Peñafiel Loaiza · Ismaïl Bahri · Natacha Nisic · Omer Fast



Dicta I and Dicta II both build upon several micro-concepts, one of which is manipulating the idea of contact by either exaggerating or missing the mark in the timeline.
Synchronization is an obvious form of contact between the body and the voice and it is often either slightly or markedly displaced throughout both films. This tool is one of the main driving forces used in Dicta. It has allowed me to create the feeling that Dicta I has been ‘ventriloquized’ to such a degree that its DADA poetry gains meaning.
In Dicta II, the obvious synchronization contact was the fighters’ bodies as well as, throughout the scene, the balls. The following scene was also used to play around with out of the sync moments when, in some parts, safewords referring to colours are precisely attached to the colours of the balls passing across the screen, while at other times they are out of sync.