In die Erde gebaut
Werk
Vom Spatenstich im Mai 2004 bis zur Eröffnung im Februar 2007 verfolgt der Film den Erweiterungsbau des Museums Rietberg in Zürich, einer Sammlung außereuropäischer Kunst. Im Laufe der Bauarbeiten verändert sich die Art der Arbeit von der schweren körperlichen Arbeit wie Erde ausheben, Beton gießen, Stahlverbindungen verlegen, über Wände glätten und Fußboden verlegen, bis zum Aufstellen der Exponate in den neuen Räumen. Der Rhythmus des Films ist geprägt von den unterschiedlichen Rhythmen der Arbeit.
Architekten: Grazioli/Krischanitz
" With In die Erde gebaut Aurand creates a film that beautifully melds her seeing with her subject. (…) Remarkably, her staccato style creates a formal echo with the construction we see taking place. Her quick shots refer back to the basic construction of filmmaking—that of single frames placed on the screen in quick succession. Therefore her image bursts, much like bricks and mortar, construct moving pictures out of fragments much like the labourers build up the museum wing from under the ground. (…) Aurand’s ability to find new visual surprises in the myriad details of the building—using holes in the walls as frames, considering the shadows of a slatted stairwell, compressing the perspective on a series of latticed walls—moves this well beyond a document of a building into a passionate call to look." (Chris Kennedy)
Architekten: Grazioli/Krischanitz
" With In die Erde gebaut Aurand creates a film that beautifully melds her seeing with her subject. (…) Remarkably, her staccato style creates a formal echo with the construction we see taking place. Her quick shots refer back to the basic construction of filmmaking—that of single frames placed on the screen in quick succession. Therefore her image bursts, much like bricks and mortar, construct moving pictures out of fragments much like the labourers build up the museum wing from under the ground. (…) Aurand’s ability to find new visual surprises in the myriad details of the building—using holes in the walls as frames, considering the shadows of a slatted stairwell, compressing the perspective on a series of latticed walls—moves this well beyond a document of a building into a passionate call to look." (Chris Kennedy)