2016, Videoinstallation, 9:50 min

Nature is determined by chaos as the driving force that leads to order. The strongest form of order is a pattern or rhythm.

Part one
Patterns are regularly recurring structures generated from modules in predefined order and repetition. As individuals and social beings we are naturally influenced by patterns: heartbeat and breath have a rhythm (auditory pattern). The genetic code resembles a pattern. Metabolism is determined by “patterns”: Nutrient absorption, transport, transformation and excretion – as well as the course of nature: spring, summer, autumn and winter – birth, growth, reproduction and death. We surround ourselves with patterns: wallpaper, patterned textiles, music, dance, customs, behaviour. Patterns give us security because they are predictable.

Part two – the machinery
Patterns also help individuals to fit harmoniously into society and contribute to its success. This fact makes us similar to machines. These work because drives and gears follow certain patterns and thus keep the machinery moving.

Part Three – Perpetual Motion
We are part of a system made up of individuals who function according to patterns. If one part fails, it is replaced by another working element – a principle that keeps a system in constant motion.

Dancer: Alessandra La Bella, Jennifer Ruof, Silvana Lemm, Therese Madeleine Thonfors, Natalie Farkas

“After all, rhythm is the repeated pattern itself – the code and the looping. And we all dance to that. We dance to a choreography that is pre-programmed into the interface. This choreography has power: it is the planned moves of control.(…) But really we are just making the same old moves that everyone else on the dance floor is pushing out of their (seemingly) free flowing limbs. We dance, and we are part of the choreography of control.”

Renee Carmichael/
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2016, 4:55min, fHD Video 16:9

“Memento…Boltanski!” is a vanitas dance on the futility of life.

An artificial choreography is generated by variation of order and repetition of 25 stills of a dancing Person. In the same way a rhythm is formed by moduls of natural and artificial sounds (water drops and a machinery’s chattering). A whispering voice recites “The Burial of the Dead“ out of the poem “The Waste Land“ by T.S. Eliot.

In the left part of the screen there is a static image that at first sight reminds us of a sacral motif, perhaps some kind of altar. In fact, it is a table with a bird’s nest in the light of a neon lamp. In it lie small bird skeletons.

Dancer: Dominik Feistmantl

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Return to Paradise

Return to Paradise was written at a time when I was travelling a lot on motorways, mostly as a passenger. I always had my photo camera with me to pass the time. But somehow I was attracted to something that happened to me while I was taking pictures: it appealed to me like a huntress to react immediately and capture the motifs with my camera while the car drove swiftly on. The random locations and the abstract and diffuse, yet very clear images seemed perfectly suited to visualise representative places that are no longer associated with a specific place, but with a specific time. As I would describe myself as a controlled and focused person, it became more and more a concept to leave the control to chance and improvise with the results.”

E.K-H In: Articulaction 2015, S.28

2015, Animation, 3 x C-print, 20 x 20 cm

Besides the biblical paradise, there are many “paradises” such as childhood or home, which are located more in time than in space. The only way to return to these paradises is to remember. However, the process of remembering is exposed to different disorders. This process is comparable to looking for the right radio station that is disrupted by superimposed frequencies or static noises. Likewise, we do not always have access to our memory due to our current physical or mental state. What remains is a vague image that requires a great deal of interpretation.

Local Shiftings, New Gallery in the Höhmannhaus, Augsburg, 2017, exhibition setup

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