In 2018, I brought the public department store research of shifting constellations back to the private studio.
The next step was a video documentation of 8 days of performative shiftings of objects.
Reviewing a rough cut of the video material, I added audio commentaries
in German and English (my mother and father tongues), associating
divergent interpretations in each language to what can be seen.
Later, I reviewed shorter sequences with peers and recorded their commentaries,
as well as non-commentary soundings and improvised foley.
„The video starts with an almost empty space that will be filled more and more with objects. Bigger objects like pieces of furniture on casters, a hamster cage, a wheel and smaller objects
like shoes and kitchen objects are being set into corresponding relations. These are being moved, keeping an intense aesthetic tension between them, in each new setting, and in relation to the performing artist, seen from changing points of view by different cameras. (…) The relations between objects and protagonist are balanced in three dimensional compositions like a perfect stage design, taking into account the viewpoint of the camera, always.“
Klaus W. Eisenlohr, Directors´ Lounge, Berlin
I find it interesting to notice that I was deliberately not keeping track of the cameras,
and not thinking about the possible meaning of a placement of the things. I was thinking about relations, though.
In the improvised shiftings, my foremost motivation was to leave the repetitive cycles of the known.
„what matters“ is an exploration as well as a digestion of the narcissism in my family background.
Having been the scapegoat and later the outcast of the family, I have learnt to become invisible.
I have been used and abused by others as a projection panel to externalize their flaws and failures.
As a metaphorical translation of this observation, I chose a green screen suit as costume and explored it in practice.
Meanings emerged through acting and being witnessed in it.