May 15, 2005Björk: Where Is The Line (video grabs)
Video hasn't made its way onto the 'net yet (maybe will be featured at her website soon) but it was released March 2005 as part of a special DVD boxed set of the album (maybe this footage shows her working with Robert Wyatt, which wasn't included in the first DVD release). I did, however, find these amazing screen captures at the Bjork forum.
WITL is an intense piece of music and a question that I've found myself asking many times in my own life. The video looks wicked, I'm on the edge of my seat.
About the video:
Where Is The Line Directed by Gabriela Fridriksdottir
The last of the series to be completed was directed by friend and collaborator Gabriela Fridriksdottir who previously created the artwork adorning Björk’s Greatest Hits and Family Tree collection. This film will appear in a slightly different form, without the audio, at the 2005 Venice Biennale as part of a trilogy directed by Gabriela.
More info from bjork.com:
From Gabríela's website, gabriela.is, we get further enlightenment about her videowork with Björk, as 'Where Is The Line', is integral part of the Versations Tetralogia she is exhibiting at the Venice Bienniale 2005:
In Versations Gabríela also addresses the chaos the disintegration and disorder of today. She explores our perceptions, emotions, longings, the boundaries of emotion and the unification or tension between different art forms. "Where is the line?" asks Björk on her latest album, Medúlla, in which the human voice is the basis of expression, and its palette of colour is explored to the utmost. Gabríela and Björk joined forces, together with dancer Erna Ómarsdóttir, and created the idea for a video for Björk's song; Gabríela uses the same material in one of the videos of Tetralogia, in which she addresses imbalance of emotions and their expulsion from the body, or catharsis, as she did in the video Catharsis of 2004. Björk becomes a upholstered host, a sort of Venus of Willendorf, who gives birth to a demon coated in a white stickiness (dancer Erna Ómarsdóttir) who, after a wild dance, withdraws back inside the host. In the final scene everything explodes, and hay-wraiths emerge from the background, as if a mutation has occurred in the electrifying atmosphere, and plunge down on the host, who vanishes and is absorbed into the whole. The primal energy of the narrative, the desperation and claustrophobic atmosphere, are intensified by the rough, raw texture, strong visual contrasts and the bizarre hay-scape of the barn.
WITL is an intense piece of music and a question that I've found myself asking many times in my own life. The video looks wicked, I'm on the edge of my seat.
About the video:
Where Is The Line Directed by Gabriela Fridriksdottir
The last of the series to be completed was directed by friend and collaborator Gabriela Fridriksdottir who previously created the artwork adorning Björk’s Greatest Hits and Family Tree collection. This film will appear in a slightly different form, without the audio, at the 2005 Venice Biennale as part of a trilogy directed by Gabriela.
More info from bjork.com:
From Gabríela's website, gabriela.is, we get further enlightenment about her videowork with Björk, as 'Where Is The Line', is integral part of the Versations Tetralogia she is exhibiting at the Venice Bienniale 2005:
In Versations Gabríela also addresses the chaos the disintegration and disorder of today. She explores our perceptions, emotions, longings, the boundaries of emotion and the unification or tension between different art forms. "Where is the line?" asks Björk on her latest album, Medúlla, in which the human voice is the basis of expression, and its palette of colour is explored to the utmost. Gabríela and Björk joined forces, together with dancer Erna Ómarsdóttir, and created the idea for a video for Björk's song; Gabríela uses the same material in one of the videos of Tetralogia, in which she addresses imbalance of emotions and their expulsion from the body, or catharsis, as she did in the video Catharsis of 2004. Björk becomes a upholstered host, a sort of Venus of Willendorf, who gives birth to a demon coated in a white stickiness (dancer Erna Ómarsdóttir) who, after a wild dance, withdraws back inside the host. In the final scene everything explodes, and hay-wraiths emerge from the background, as if a mutation has occurred in the electrifying atmosphere, and plunge down on the host, who vanishes and is absorbed into the whole. The primal energy of the narrative, the desperation and claustrophobic atmosphere, are intensified by the rough, raw texture, strong visual contrasts and the bizarre hay-scape of the barn.
