Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.

Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.

Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.

Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.

Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.

Deimantas Narkevičius, The Fifer, 2019

Installation
Composed of an archival photograph, framed 25 x 30 x 2,5 cm, a digitally produced image, unframed 43 x 60 cm, an Holographic film with stereo sound, HD video, color, sound, loop and a bronze cast sculpture 81 x 3 x 5 cm
The Fifer is a realization of several sound states retraced from the imagery of an archival photograph incorporated into different media. The work is conceived as a layered exploration on converging temporalities, modes of existence and perceptions of reality around us, such as the time of the melody, gaze from the vantage point of the bird and that of the player, the historical moment in which this scene is being played out; of the complex entangled relationship between the natural, untouched and the synthetic, manufactured; and of the meaning of documentality itself, by what criteria do we recognise or trace something as factual, significant or true to us today?

In the b&w photo, taken in the 1920s, a young man dressed in military uniform is playing flute in a dimly lit room. As he is sitting on his chair, he is looking away from the frosted window. Outside it one sees the winter garden of a glazed conservatory. This unusual site allows us to imagine what kind of melodies or sounds are being reproduced by this young person.
The insides of the instrument in the hands of the player, where the sounds come to being, are materialized in the form of a bronze cast. The interior of the flute to the very end of the sound output channels is casted in four distinct parts. That is realised in the precise sequence of how this music instrument is constructed or dismantled when it is not being played. The bronze object is displayed lengthwise as if it would be inside of the flute ready to play.
On the holographic screen, one sees a volumetric image of a nightingale, flying in and out. This digital bird in its size and type of movements continues the narrative of the black and white photograph. The hologram of the little bird, presumably situated within that winter garden, in the melodies played by the flutist, reproduces the rhythms and the melodies of nightingales in nature.
In the second, digitally produced photograph, one perceives how the exterior wall, window and the soldier playing behind it in an unknown location in Lithuania at the end of the 1920s might look like.