In the film Doppelgänger, the ancient bas-relief Gradiva is traced to several plaster collections around Europe with a narrative unfolding a personal experience of psychoanalysis where the self is transformed into a we when she encounter her own image in the form of the relief. As a hybrid essay, the film leads us through plaster collections and 3D scanned environments, creating an evocative environment where fictional and sculptural bodies blends together. A story that partly talks about the creation of a trope but also highlights the role of the copy, its value, history and future.
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Chora
Emelie Carlén
2014, 00:04:22