Davor Sanvincenti

Bekijk in player

2008. // The series of photographs “Bekijk in player” (Look at the player) is a result of the study and research into the multi-layered media broadcast. The recordings were created by recording images and sounds, framing inside the player(dimension: 5x7cm) the live broadcast – over the website of the Sonic Actsfestival – of the lecture hall where Mika Taanila, the Finnish film director of futuristic utopias of modern sciences, and Douglas Kahn, the world’s most prominent theoretician of sound art, were holding their lectures on that day. The recording is divided into four visual triptychs (4:3 video format), 320x240mm (video web format). The first one contains the recording (frame size 2 × 3 cm) of the two-channel 16mm experimental film “The Zone of Total Eclipse” (2006), by Mika Taanila, based on the scientific recordings of the total eclipse shot in 1945, in the city Kokkola, in Finland. Result: the image travels through a multi-layered media; a telescope, filmstrip, screen projector, satellite digital camera, computer screen, digital camera and print-outs. The second triptych was created during recess between lectures, where the directors of the broadcast “play” with the video-mixer and cameras in the lecture hall, while the sound contains a live broadcast from a Jazz radio station in the anticipation of the following guest-speaker – Douglas Kahn. The third triptych is a cross-section which refers to the use of frequency sound waves (the radio transmission); in this case, the video works by Abigail Child. The fourth triptych captures the details of Douglas Kahn’s talk on natural radiophonic and electromagnetic fields of sound and how to record it.


2012. // Mountains are land borders. Borders that are discontinuous. Borders that do not exist.

Before the first Light

In his early morning instant photographs, Davor Sanvincenti captures that missing segment of the spectrum. Perhaps it’s the presence of the night in the morning light; perhaps it’s the too high and too low frequency vibrations in the landscape; perhaps it’s the not yet fully awaken future. That is why he takes only one Polaroid picture and that is why he doesn’t look at it straight away, but later, when the day takes its full form.