2015, Animation, 2:34 min
2015, Animation, 3 x C-print, 20 x 20 cm
Beside paradise in the bible, there are many “paradises” in our mind, like childhood or home, which are located in time, not in space any more. The only way to return to these paradises is to remember. But the recalling process is exposed to different disruptions – This process is comparable with the searching for the right radio station, which is disturbed by overlying frequencies or static noises. In the same way we don’t have access to our memory because of our physical or mental condition. What remains is a vague picture, which requires a high amount of interpretation. Memory isn’t always available; it isn’t always complete and it doesn’t even have to be true. We know that unconsciously.
To remember is a creative act, which can be triggered subconsciously and our brain is a brilliant artist, who adapts to an optimized learning for the future. However, we have to trust memory, because it tells us who we are in a chronological context. I conclude from this an existential fear: Who are we, if we can’t trust memory? Are the remembered paradises only illusions? Are we illusions?
„Memento…Boltanski!“ deals in an aestheticising manner with 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 picture, which at first sight reminds of a sacral motive, maybe a kind of altar. In fact it is a table with a bird’s nest and small skeletons on the surface, which is lighted by a neon light.
Dancer: Dominik Feistmantl
Nature is determined by disorder as the driving force, which results in order. The strongest form of order is a pattern.
Patterns are regularly recurring structures, which are generated from modules in predefined order and repetition. As individuals and social creatures, we are naturally affected by patterns. The heartbeat has a rhythm, which is a motion pattern; as well as the breath. The genetic code resembles a pattern. Metabolism in general is determined by patterns: nutrient uptake, transport, transform and excrete – as well as the course of nature: spring, summer, fall and winter – birth, growth, reproduction and death.
We surround ourselves with patterns: wall papers, patterned textiles, music, dance, customs, behaviour. We feel save with patterns, because they are predictable.
Part Two – the machinery
Patterns also help individuals to fit into society harmonically and to make a contribution to its success. This fact makes us similar to machines. They just work, because power units and gear wheels follow certain patterns and in so doing keep moving.
Part Three – perpetuum mobile
We are a part of a system, which consists of individuals, who function according to patterns. If one part is failing, it is replaced by another working element – a principle, which keeps a system in permanent movement.
„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/ fleeimmediately.com )
Hint: You may feel uncomfortable by watching the pendulums. But art as an expression of life isn’t always convenient. Sorry!