Doplgenger (Isidora Ilić + Boško Prostran)
Doplgenger is an artist duo from Belgrade, comprising Isidora Ilić and Boško Prostran. The work of Doplgenger deals with the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental and avant-garde film, and through some of the actions of these traditions intervene on the existing media products or work in expanded cinema forms. In addition to the moving image, their work is realised through text, installation, performance, lecture and discussion. Their work has shown at Videobrasil Biennial in São Paulo, Festival International des Cinémas Différents et Expérimentaux in Paris, EXiS – Experimental Film and Video Festival in Seoul, European Media Art Festival in Osnabrück and many other places.
Works by Doplgenger
Fragments Untitled #6
2022, digital video
6 minutes
The two best football teams in Yugoslavia met at Maksimir Stadium in Zagreb on May 13, 1990. The match was never played. Fragments Untitled #6 vivisects media footage of the event. The video is part of an ongoing series of works which researches the politics of media images that participated in creating the historical narratives of Yugoslavia in the period of 1980-2000.
A Record of Landscape Without Prehistory
2020, digital video
14 minutes
A visual story of loss and the sadness of memories slipping in a desolated children’s health resort in the coastal town of Krvavica, Croatia. The title is borrowed from a poem by the Yugoslav surrealist and revolutionary poet Oskar Davičo, which is an attempt to record the inner images left without music and sonority.
Surplus
2008, digital video
6 minutes
Formally intervening with footage of commercials, this experimental video allows one to rethink images while creating a narrative which discovers one of many skillfully covered senses of media images. As the title suggests this video performs Lacan’s opinion that in contemporary capitalism ‘surplus value’ is no longer capitalized for later libidinal enjoyment – nowadays surplus value is re-invested in the production process.
Johnny’s Video
2006, digital video
3 minutes
Johnny’s Video deconstructs the representation of women on film. Experimenting with found footage this video piece creates a meta-narrative with inspirations that can be traced in the feminist film theory of Laura Mulvey.