Broersen & Lukács
The Art Cinema

3rd floor
06. December - 17. January 2015

Broersen & Lukács' practice is characterized by a quest for the sources of contemporary visual culture, in a society that becomes increasingly virtual. With works that incorporate (filmed) footage, digital animation and images appropriated from the media it demonstrates how reality, (mass) media and fiction are strongly intertwined in contemporary society.

For instance in Beyond Sunset and Sunrise (HDfilm, 2014), a fragmented mosaic‐film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ‘Sunset Boulevard’, ‘Badlands’, ‘Wild at Heart’, ‘The Last Picture Show’ and ‘All About Eve’. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the actors; a no‐man’s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

In Mastering Bambi (HDfilm, 2010) they recreated Walt Disney's 1942 classic animation film 'Bambi', well known for its distinct main characters – a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his Bambi

One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a 'magic well', the ultimate purifying 'frontier', where the inhabitants peacefully coexist. Interestingly, the original 1924 Austrian novel 'Bambi, A Life in the Woods' by Felix Salten (banned in 1936 by Hitler) shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death.

Broersen and Lukács recreate the model of Disney's pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. 

In Prime Time Paradise (2005) Broersen and Lukács have compiled a spatial collage out of innumerable television images, like a scale model. It is not the images that move; they are standing stock-still in a media landscape, the global paradise that is accessible to everyone. Through this décor of simulacra, the weightless viewer flies over hills, through windows and doors and caves, through rooms and across deserts, then under water, only to surface again somewhere else and continue the flight. Devoid of the usual context in which they already seemed to have lost their meaning and effect, the images generate new connections. In an eternal 'now', and within the simultaneity of events, the viewer floats through this infernal landscape, in which nothing is fixed, everything is possible and nothing can touch you. And nevertheless, or perhaps precisely because of this, from time to time it gets to you.

Persijn Broersen and Margit Lukács: Beyond Sunset and Sunrise (still), 2013


Persijn Broersen and Margit Lukács: Beyond Sunset and Sunrise (still), 2013