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The work’s red thread is a spoken text that we have adapted from translated latin texts such as Ad Herenium and other practical guides of the so called “Art of Memory” . This texts, though didactic in style, is reach in ideas and reflections that are both relating to the construction of collective memory and the image of history by authorities and the media and question the exhibition format in general, as a construction intended to impress in a way that is often aiming at our subconcsience or affects. The text is cited by a middle-aged man as he walks through the Bunker’s spaces, facing the camera. He demonstrates the method of creating effective, striking images, as staged-scenes pop-up in the bunker, where real people (inhabitants of the nearby town, Konijc) are frozen in their posture, like “tableaux vivants”.
Mnemonic Gymnastic takes place solely in the bunker. It is shoot in different spaces, alternating between a moving camera (FlyCam) and fixed frames - in the tableaux vivants scenes. Most of the time, while the text is cited, the main protagonist is facing the camera, moivng toward it while the camera is moving backwards. Occasionaly, for example when the actor takes a turn, the camera loses the actor and we are left with an empty space. The opening sequence is also shot entirely in an empty space, a walk through the corridors, until the camera meets the protagonist, sitting behind a table and reading out loud the Simonides story.

The text begins, then, with the origins of the memorisation technic, tha seems to be anchored in a catastrophe. Its inventor is considered to be the poet Simonides, who helped identifying the bodies of the guests in a feast, crushed under a collapsing roof, because he could remember the exact places where they were sitting at.
Then, comes a description of the method, the rules for choosing appropriate spaces and the recommendations for inventing or constructing striking images, that will adhere to one’s memory.
The tableaux vivants - first a horse in one of the bunker’s tunnels, the people in different postures and representing different situations, are gradually seem to have their own life an will, and they challange the autority of their creator.

In the last scene, the main protagonist itself is revieled as a one of the “invented images”, when the director’s hand enters the frame and sticks a fake bleeding bullet hole to his forehead (adding a stain of blood to the image being one of the text’s advices). The camera then turns in 180 degrees, back to the main protagonist, and continues walking in the diretion of the protagonists’ walk, now moving forward, assuming his position.


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