Saint Lucy [To Look Upon Men with Lust] restages the biography of the Christian martyr St. Lucy, who sacrifices her eyesight [and with it her ability to derive sexual pleasure visually] in exchange for a life dedicated to God. Her lifestory is reenacted in a repeated theatrical choreography/sequence by two actors. The roles of Lucy, her mother, the Roman Emperor etc, are continually swapped and playfully interchanged. The layering of the repeated scenes filmed with two HD cameras, conjures several conflicting perspectives and temporal dimensions, blending contemporary and historical time.
The Trout is a meta-piece: it shows footage of me clicking through documentation of a performance and video project The Flute, realized at K?lnischer Kunstverein in 2018. The Flute featured two cameras, four actors, and two projection screens bearing live recorded footage of the performance, which later on became a video work itself.
3:20 min(False Voice, 2018?2019 HD video, 23:00 min)False Voice is a video piece derived from a live performance/poetry reading at the Artist Moving Image Festival at Tramway, Glasgow, 2018. It shows the entire performance, filmed with a hand-held camera, in a manner which evokes an atmosphere of uncomfortable voyeurism and surveillance. The edited soundtrack subtly shifts between the real sound captured by the camera and an overlaid dubbed version. As numerous references in the poems interrogate the problematic interplay between private and public space, the overlayed audio creates both moments of estrangement and of authority, as well as intimacy and vulnerability. This hinges on questions surrounding the autonomy of the art object from both its author and its receiver.
In the story, a simultaneous translator experiences a loss of self, and a sense of deep alienation from her own (professional) life, due to the incommensurability of various clashing languages, platitudes and social codes, none of which she assumes to be her own. The idea of a loss of identity and personal orientation is taken up in the staging of the video.Two separate kitchens served as stages, each occupied by one of two actress, both dressed alike. Each of the actresses was given a longer script, one in English, one in German. Both scripts were composed by way of automatic writing, and address the economic exploitation and exacerbation of psychological trauma, precarity, and a loss of orientation.
The scripts were supplemented with visual cues for the actresses that directed their manner of speaking.
Instructions were, for example, to read the text as fast as possible, to shout or whisper certain lines, to inject phrases like ?SORRY!?, or to clear one’s throat.Through these Brechtian techniques the hasty, neurotic flow of the script is destroyed and mechanized. As the actresses were reading their scripts as fast as they could, I performed actions in the kitchen involving toast, fire, wine glasses, and water. The sounds produced by these actions served as the material for the musical soundtrack of the video. Most of the video footage is blurry, making it unclear how many actresses are involved in the video, and who is speaking in what language. Occasionally, a sharp image, a moment of clearity, orients the gaze of the viewer and gives hints as to what’s happening in the scenes displayed.