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我们正在安装“盖普斯派对”的装置艺术

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我们将会把这弯曲的墙分成三个部分

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把它们放置在一起

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涂上油漆

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然后装置安装

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这将是一个屏幕

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我把声音

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编辑和动画的制作

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作为我设计的参量

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所有的一切都是根据影片本身所设计的

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然后我加上这空间

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有多少银幕

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多大的空间

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所有这些将合为一体

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最后需要完成的是将

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影片投影在我们所建置的荧幕上

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问题是这些都不在一个水平面上

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于是我必须以剪接空间的方式去编辑影片

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而不是剪接时间

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我一个分镜头一个分镜头地进行处理

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通过每个分镜头来决定你在哪里看到什么

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我可以剪接

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但同时我也可以在不同位置呈现不同的内容

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这也会直接影响到你观看体验

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[玛丽亚姆·本纳利-语言之间]

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这个雕塑最初是以影片的形式呈现在我脑海

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所以我的雕塑作品从来都是和影片并行的

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你把具有另一种思维方式特征的事物

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融入其中

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你从动画中学习到

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它其中的幽默

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从而你创造出有趣的雕塑作品

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所以我会有影片的成片

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给观众观赏的影片

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而雕塑

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本身来源于我想象的

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数字化世界

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之后这些概念从不同的地方在此汇集

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交织在一起成为一件作品

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[学校钟铃声]

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我在摩洛哥拉巴特就读高中时

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拍摄了一步关于青少年的影片

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[传教少年]

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“传教少年”这部片子的主题是摩洛哥的法语文化

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[影片中的女孩说着法语]
基本上从幼稚园开始

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我就开始

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接受法语教育

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[本纳利]
法国掌控摩洛哥

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最有效工具就是

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教育

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[影片中的羊说法语]
让你的孩子担任传教的工作

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是受人尊重的

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[本纳利]
这部影片讨论的不是

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法语事实本身术语摩洛哥的语言

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而是讨论为何法语是政治的

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的软实力

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[影片中教师说法语]
所以，第三世界的定义是

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你必须掌握的

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[本纳利]
我接受的是法语教育

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我学习了法国历史

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法国地理

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我的思维逻辑

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像是批判性思维

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全都是法式教育下的产物

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我必须要讲自己从这种禁锢中解放出来

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才能开始谈论它

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[影片中女孩说法语]
法国传教任务并不仅仅专注于

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我们所居住的国家

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[唱歌的房子]
我是拉巴特一间美丽的洋房

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[本纳利]
我也拍摄了那些

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上法语学校邻居的房子

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[唱歌的房子]
给我一个金色的大门

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我将被众人所敬仰

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[本纳利]
从建筑中

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你可以窥视到人们所向往的生活

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“传教少年”

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最早在惠特尼双年展展出

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通过装置在天台的这些雕塑作品所呈现

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我称之为“瞭望台”

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[唱歌的房子]
棕榈树

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大理石地板

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[本纳利]
当你按下按钮

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它会从另外一端偷取影片

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而当另一端的人也按下按钮时

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这就变成了两个人如何共存的游戏

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[笑]

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我所选择的作品主题

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从来都不会是一个刻意的有意识的选择

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比如说“我想传达殖民主义”

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我只是想

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跟随自己心之所向

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