Cave TV (2017)


Cave TV: relief projection corpus (150 x 100 x 30cm) + video (31:49, HD, sound), unique work

Cave TV is a video collage projected on a sculptural corpus with a relief-like surface. The video installation reconstructs the social situation similar to a primal campfire or a modern television set-up. Its collaged images are referring to genres, epoches and styles in media history. Refracting media echoes meander on the video sculpture and hypnotize their audience through vivid and ductile projection and shapes. An archaic ritual that questions the gravity of light and darkness.

“It is like a primal campfire that draws the viewer into contemplation on existence within his medial representation.” David L.

Burkina Brandenburg Komplex (2018)

The film is a geographic construct in accordance with „our“ collective perception of Africa and the image of Africa presented by the media. Inaccuracies within this construct challenge these perceptions.
The setting is an African village apparently inhabited by Germans (or Brandenburg one hundred years from now) and a seemingly African mine, in which a Ferrari® is discovered during an excavation, like an archeological artifact.

Additionally, western consumer goods (Red Bull®, Nike®, Raffaello®), archaic agricultural products (coffee, milk) and wildlife (zebras, hyenas, budgies), with possible connotations with Africa and Germany as well as black/white are interwoven with the narrative, increasingly blurring dividing lines and stereotypes.

Within this village setting, we encounter the protagonist, “Joachim”, as he is trying to procure energy carriers, taken from the village environment, for a mysterious shaman (with one black and one white hand), in order to realize their vision, “The Collective Energy Project”.

A Museum for Prussian Culture serves as some kind of nexus within the village, harboring seemingly characteristic features of “German Culture” (ears of wheat, blackbirds) as well as artifacts of western consumer culture (WD 40, a Siemens hand mixer). The museum’s curator, a black woman, seems to be the only person who is keeping the Prussian epoch alive.

As the energy production reaches its climax and our protagonist Joachim is banned from attending the ceremony, he resorts to a kind of displacement activity, stealing the village’s energy liquid and using it to fuel the freshly restored Ferrari®, gloriously catapulting himself at full speed out of the story/history.

Whether the story takes place in a fictitious future, in the present or in the past remains unclear. There are hints referring to all three temporal stages, establishing a connection between historic references and medial realities.

Die Herberge (2017)

An einem Ort, der biblische Landschaft und westliche Mythen vereint, steht ein Gebäude – halb Rockerkneipe, halb Bergbauernhof. In dieser Herberge werden alle Wesen aufgenommen, die dieses unwirtliche Land durchqueren. “Die Herberge” ist ein Videogemälde, in dem Vergangenheit und Zukunft zu einem Ort verschmelzen und tiefste Nöte und Freizeitgestaltung einander nicht ausschließen.  Hier kreuzen sich unsere Wege.


In a place where a biblical landscape and western myths converge, there is a house, part biker hangout, part mountain farm. It welcomes all beings who traverse this inhospitable landscape. In „The Hostel“, past and future merge into one place, and deepest misery and recreation are not mutually exclusive. This is where our paths cross.

 

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Westcoast (2009)

Westcoast is a panorama-video consisting of interwoven scenes mounted on a coastline – somewhere between Rotterdam and Sydney. Starting from a bubbling primordial soup, the view incessantly pans along an waterfront in the style of a late transnational financial eclecticism and passes by mystical events, such as a giant hippo eating carrots and hectically spinning rubber boats. After a dark spiritual waterway recalling mideval atmospheres, the panorama ends in a cave encommpassing a refuse-Jacuzzi in which a white woman gazes about with melancholy.