Hoe kunnen we denken en spreken over de notie “speaking nearby,” dat een fundamentele leidraad vormt doorheen het werk van Trinh T. Minh-ha? Hoe verhoudt het zich tot gebaren van respect, verwondering, liefde? Hoe vertaalt het zich naar de kunstvorm die cinema heet, verbaal, muzikaal, visueel? Deze vragen vormen het uitgangspunt voor een uitgebreid gesprek met Trinh T. Minh-ha.
“To keep the relation of language to vision open, one would have to take the difference between them as the very line of departure for speech and writing, rather than as an unfortunate obstacle to be overcome. The interval, creatively maintained, allows words to set in motion dormant energies and to offer, with the impasse, a passage from one space (visual, musical, verbal, mental, physical) to another. To prevent the passage from closing itself off and to preserve the infinity of the task of speaking nearby, a number of conversations developed around specific books and films and are further assembled in an interrelational space of detour. Just as the form a film takes in the creating process can acutely materialize what it says in content, the way a film is talked about can, when circumstances allow in the encounter between interviewer(s) and interviewee, be keenly tuned to the way it is made.”
In the context of the research project Echoes of Dissent (KASK & Conservatory School of Arts)
