Phantoms of Time
Installation, Filmstills auf transparente Seide, Sound (Atem)
For my installation „Phantoms of Time” I worked with film material that was shot between the ’70s and the ’90s in my family circle, The amateur films show everyday scenes, captured by various family members on different occasions. In contrast to looking at photo albums, I was fascinated by the authenticity of the film, which shows not only one picture, but always contains a before and an after. This allowed me to experience a time that is the precondition of my very own existence but that I cannot experience. With the bond to the generations before me, I perceive the recordings as present, but to me they are history, because they originate from the time before I was born. I go back to the past from my point in the future, which I know, whereas the protagonists in the films don’t know it yet. The film material is a storage of time in which I can repeat and repeat again, like in a matrix, actions which really happened in the past. I take part in the mortality and vulnerability, the never-ending, inescapable change of the generations. The random nature of the shots opens up a feeling for eternity. For the eternal now, which alone forms our experience. The figures in the films are true, and yet it is only possible to capture a metaphoric, imaginary existence – they become bodyless phantoms of their own. […] The basis for an individual existence is the breath, from the first to the last. In the process of inhaling and exhaling, the cycle of birth and death, contraction and expansion becomes manifest – the polarities synergize. The sound of the breathing is omnipresent and at the same time being given. The individual experience of time is terminated – yet time doesn’t end with the end of an individual. Within the changing of generations, memories and experiences are carried – inescapably, we are confronted with the fragility of our own existence and the passing of the individuals. The breath projected into the space is meant to be carrying and to refer to an infinity beyond the personal.
im Juli 2021
last night’s dream
Stoff-Taschentücher, Stickerei, je 40x40cm, 2022
when the house is finished, death moves in
Video, 1min 21s, 2022 (exerpt 30s)
we are ghosts
Video, 3min 45s, 2022 (excerpt 23s)
a silent song to sing
Video, 2min 45s, 2022 (excerpt 41s)
infinite melodies moments of mourning, of grace and bygone beauties lie between sunrise and sunset to be worshipped alone
phenomena
Stills, 2021
Visitors out of the light into the dark Heart of our houses Memories
Es war und es war nicht I+II
Filmstills aus Videos I+II (je 5min), 2020
Nature is unaware of our concept of time. It was there before us and will be there after us. It does not need us – yet we need it. What is humanity? Are we not also nature? […] This actual absence of humans, creating an enigmatic mystery, is the core of the video works shown here.
aus: Atemwende – OSTRALE Biennale, 13. Internationale Ausstellung, Dresden, Katalog 2021.
(Monitoring-Material: Foundation Conservation Carpathia)
Poem to a Horse
Video, 3min, 2021 (excerpt 30s)
The ghosts of silence wander through our dreams In the mist of loneliness The meadows of our longings
Talare
Totenhemden auf Samt, Stickerei/Textilfarbe, 140x210cm, 2019-2020
Our sense of time supposedly forms a stable foundation within which we see ourselves as sentient beings. Action is only possible in the now as this is the only state which we can experience with our senses. The now is eternal in that it unites the future and the past. Finiteness determines our physical existence and the cycle of nature. With the end of an individual comes the end of their experience of time. The form of a living being familiar to us changes in its matter to become part of the cycle from which it came. The awareness of impermanence and context makes it possible for us to recognize that there are things that reach far beyond us. It focuses on the moment.
aus: ZUKUNFTSVISIONEN – An die Substanz! Katalog 2020.
based on a true story
Stills, 2021
so close and far
Still, 2022
I see I feel I am so close and far
moving like wind or sand or water
Stills, 2021
Dance with time Like wind Or sand Or water Doppelgaenger Shadow of mine
Wild Tales
Textile Objekte, jeweils 58x32cm, 2020
(Monitoring-Material: Foundation Conservation Carpathia)
Follow Me
Stills, 2021
She said Follow me to the lodge where the woodpeckers nest at night To fly home Through space and time
eternal
Fotografien (Bukarest), 2019
Nachtschatten
Filmstills aus Video, zwei Teile: 2min 23s und 2min 5s, 2020
Die beiden Videos Nachtschatten I und II versetzen in eine traumhafte, nie ganz fassbare Szenerie, die uns davon trägt in eine andere Welt, in der das Grau zu erzählen beginnt, in der es sich bewegt und Bilder einer intensiven Strahlkraft zu generieren beginnt. So leuchten die Augen nicht nur der Hasen in der Nacht, es sind auch die Augen des Traums, sie brennen von innen heraus. Es geht hin und her, vor und zurück – man könnte sagen: eine wunderschöne Darstellung dessen, was Freud mit der Rück-sicht auf Darstellbarkeit meinte. Die Glühwürmchen sind die Augen der Nacht sind unsere Träume.
Jury-Begründung zum Link 2 Future Preis des Psychoanalytischen Seminars Zürich für Psychoanalyse und (…)
Während ich schlafe, bin ich wach Im Dunkel der Schatten zeichnen sich Gestalten ab Sie sind mir vertraut Aber ich habe ihre Namen vergessen Im Traum begleiten sie mich Ich trage sie in den Tag Um ihr Geheimnis zu kennen Immer ein wenig weiter Bis sie in mir ihr zuhause finden
The Touch of Time (Chernobyl)
Wandteppiche, Stickerei, verschiedene Größen, 2019-2022
Something romantic in today’s parlance often denotes a state of sentimentality and longing. In the 21st century – as a result of dystopian threats such as industrialisation, economic explotation, climate change, littered seas, factory farming and nuclear disasters – this image seems to exist only in the guise of kitsch. The longing for a lost paradise implies that it no longer exists as such. More than 30 years ago, a major disaster occured in Chernobyl. From one hour to the next, thousands of people had to leave the exclusion zone for ever, leaving behind everything that was dear to them or had determined their lives up to that point. A few decades later, the contaminated area has apparently become a natural paradise where bears, wolves and even wild horses roam. A deceptive idyll? Or is humanity an even greater enemy of nature than radioactivity?
aus: Atemwende – OSTRALE Biennale, 13. Internationale Ausstellung, Dresden, Katalog 2021.
>> Die Lehrerin hat gesagt: > Zeichnet die Stahlung. < Ich habe einen gelben Regen gezeichnet ... Und einen roten Fluss ... << Julia Taraskina, 15 Jahre alt >> Wo das Dorf war, ist nur noch ein Feld. Unser Haus ist dort begraben. Und auch die Schule und das Dorfbüro. Und mein Herbarium und zwei Briefmarkenalben. << Wassja Mirkulitsch, 15 Jahre alt >> Jeden Tag bekamen wir die Zeitungen. Ich las nur die Titel: > Tschernobyl, Ort der Heldentaten < , > Der Reaktor ist besiegt < , > Das Leben geht weiter <. Der Politoffizier unserer Einheit organisierte Versammlungen und sagte uns, wir müssten siegen. Aber wen besiegen? Das Atom? Die Physik? Das Universum? << Arkadi Filin, Liquidator >> Radioaktivität. Gefahrenzone. Weiden von Vieh und pflücken von Beeren und Pilzen verboten. << Warnschild, verbotene Zone >> Man hat uns geraten, zur Gartenarbeit Baumwollmasken und Gummihandschuhe anzuziehen ... Und ein sehr aufgeblasener Gelehrter hat behauptet, man müsse das Brennholz abwaschen ... Hat man schon mal so einen Unsinn gehört? << Sinaida Ewdokimowna Kowalenka, illegale Bewohnerin der Zone >> Ich war nicht im Krieg, aber ich hatte das Gefühl von etwas Bekanntem ... Ich kann nicht sagen, woher das kam, aber es hing mit dem Tod zusammen ... << Oleg Worobej, Liquidator Zitate: Swetlana Alexijewitsch Tschernobyl. Eine Chronik der Zukunft.
Zeitfenster (Rumänien)
Filmstills auf Samt, ca.3x2m, 2020
on my wings
Stills, 2021
Listen to the wind on wings Lose your fear and fly Devotion
the day in the hills
Stills, 2021
No eyes witnessed the mysteries which occurred on the day in the hills When creatures rose from the shadows and spread their wings above the earth to disappear in the open sky
Zeitfenster (Flamme)
Filmstills auf Samt, je 80x100cm, 2020
