:Life s good to you m'lady?

 

 

 

pouring some

pours it over cloth and table everything

 

 

 

:am I overdoing it

I think I'm quite overdoing it

 

 

 

almost calm voice

huffish still genteel

 

 

 

:leave it

 

 

 

rolls from one side to the other

complacently murmuring still audible

 

 

 

:last night I slept in a goose-feather bed

the sheets turned down so bravely

can't really tell what happened

it seemed I had sold alt some delete a butcher some meat

as if it happened

 

 

 

weird peace

 

 

:as I woke up things have changed in that particular order

nada instead of prada

 

 

 

different sounding

 

 

:I will get five geese

give them names

daisy or mercutia or rodney

I'm afraid they wont fly though no plot no gravity

 

 

 

like really dealing with it

 

 

 

:like there would be something to deal with

like credit to waste

like joyful

Wetter fur to be laid upon an apparatus that won't take it easy

whose larpy volition interrupts the drum circles fervour

signals that cannot compare with the great diversity of pictorial essays about the agrarian ages early farmers body poses implying sexual activity or doubt

Takes place

 

 

crisp sky

yellow sun

wind is lingering along the beaten path, in thought, disassociated from the cities organization of life and material

attempting to think the unthought route, through the gap, back in time

thinking

 

 

:this is not my world

 

 

For distraction gathering up some land-dust, speaking to it as if animate

 

 

:where to put you

 

 

Looking closer at the options

 

 

:there’s traces of bad history here and there, making a point in being bulky, inert things that know their incompleteness

that are foreseeing the coming as another day held in place by potentially being of dramatic importance

 

there’s eaten alive offshoots in hotbeds, conduits providing water, rivers blasting through some underground

reproductive scenes

 

there’s building sites, buildings in the making, on top of it all

 

 

Pausing, trying to think a place that knows no difference between old and new

 

 

:I think of myself as a lover of the park. Me in the park is like a dog in the park

 

 

Squeaking inwardly like it all having been there always, waiting to be picked up, like warm convenience, like a shirt ironed seconds ago

..

realizing that the dust needs context

 

 

:you need a job as long there is vacancy. Get a life. Take the train. Many things happen on the train

I mean it is important to participate

 

 

Assuming a stable structure of common values pointing towards ideal condition, then strangely eager

wind to itself

 

 

:you yourself should step forward

 

 

feeling entitled while the likelihood of this being inappropriate is lurking in some background

 

 

:to all unacknowledged organisms actually out there

 

 

No one listens to the wind

 

 

:I’m talking to dust

 

 

Dust, unskillfully summing up its intention to participate, yet to understand the above mentioned on its own terms

 

 

:what?

 

 

Wind, quite shocked

 

 

:did you hear all this ?

 

 

Dust, having already left the winds stream

to itself

 

 

:when time does tidy I will be in peace. No shape, no land

It is a certain level of trust that I'm thankful for

presence comes from present

authority from distance

 

Keeping those proportions constant this is a proposal for a film called A Misunderstood Century that as protagonists introduces a set-up of four typed characters portrayed by individuals casted in Tokyo and Berlin on mornings that bear a certain clarity

 

This will be

 

Two young Tokyo Street Fashion Victims who in their theatricality of theatricality are paralleling the following

 

 

an understanding of identity as in transition more than less

self as solid

euphoria for changeover

 

 

And two middle-aged punks from Berlin who in their theatricality of anti-theatricality are paralleling the following

 

 

a binding neutrality of the notion of ones embeddedness in historical circumstance

resignation of aspiration

greater adventure

 

 

Contemplating the definitions of belonging to and longing for as routine or mere fiction, the protagonists will with their expressiveness in style, peaking performance of interiority, way of life, suggest a responsiveness of category within boundless happenstance.

 

After having been casted they will arrive in New York. The search for a suitable setting for the film followed a fascination for historical interior design of the era of the Second Industrial Revolution- also called Gilded Age. From 1877 to about 1900, the Gilded Age describes the rise of an elite society- people that by grooving in with industrialization made it to extreme wealth. The interiors of their households and private social clubs then were largely influenced by the designers of the Aesthetic Movement. The eras predominant ideal of progressiveness, on the one hand seems to be contradictory to the households interiors shapeliness, on the other hand incorporates an aestheticism as necessary consequence of moral sophistication, a private sphere in opposition to an economic complexity, a coarsening outside. These interiors, their organization and stillness, will be employed as backdrop within which the epochs resonating impact, their intertwined notions of artistry and social life collide with the characters’ appearance. The resultant density leaves no space between notions of endeavor and despair.

 

The protagonists- despite all determinisms brought with them and layered around them- will sit to talk. Tacit reciprocity; lacking the ability to articulate and with that articulating something beyond its recognition as lack; having no dialogue in a language which is none to frame non-descriptive content and doesn’t present futurity as necessary narrative consequence of present tense; silently reconsidering e.g. the mechanism which makes it possible to shut doors without greater effort. No voice to reveal drama behind drama.

 

There will be a heavy dependence on a knowledge of what is likely to be said. The atmo- instrumental interpretations of common-ground-morality-songs mixed with new-romanticist lyrics in such high pitch that one cannot understand a word- will only suggest that someone is addressed retroactively.

 

Possible filming locations for the gathering of the four individuals are reading halls or bigger lounges. A certain vastness of the room is important to keep a distance to the details of the singular interior objects and their function. This is to secure the audiences relative secludedness from the scenery itself. Only the characters provide the viewer with access to a somehow alien culture. They will be shown in 'Profil Perdu‘-a profile in which the subject is more than half turned away from the onlooker- and swallowed by the weirdness of the interiors visual hermeticism. Since there is no facial confrontation, sympathies will remain unformulated and unresolved.

 

The film will become an introspection that remains self-reflexively static in its inefficiency to provide voice. The camera will reflect that by being itself static while on the other side emphasize films promise of a just-about-to-happen as erring within unknown eventfulness on exclusive territory. After some minutes the surface tension of filmed still image gets stirred by a minimal movement of the camera adding a suggestion of a narration; It is a light headedness, a slight slump interfering the otherwise pending. I would like to keep the interpretation of this movement open to be one of the following

 

 

Loss of posture in a moment of apathy

The effect of imposed dormancy

The consequence of sweet idleness

 

 

After the camera has moved it will recover and return to a static position while continuing to film

After show roaming on fields covered with plants that border the harmful

the more time spend on that field the higher is the chance of rashes

this is generally difficult to predict as nature sometimes loves being

 

In acknowledgment of a potential corruptness of the crop the group silently begins to formulate an ambiguous critique

unresolved like melodic ‚huh huh‘ as being touched by mind thought driving roundabout some body street for days and nights

 

soon swaying to and fro in crescendoing murmur

 

info sloppily hid more deep groans

placed beforehand casually to be rediscovered

 

focus on an eager figure somehow central to the dynamic

 

speaks up:

 

it's easy

things we want to see growing is kids

things we don’t want to see growing is cancer

 

Other voices now flickering in the background slowly replacing the approved with an equally tempting adequacy of vague insight through determinately sharp whisper

 

it goes:

 

cranky man

man in public

closing doors gently

you’re still empty

 

 

soon the speaker was removed from the scene

to then return heroically sobered

unbreaking hearts

:which there isn't

 

 

 

:why insist

Cave like scenario cave people all around

 

 

 

 

 

 

 

brabble

 

 

 

 

 

 

 

leap from performative nakedness to nakedness with thermonecks

resembling the deliberate aspect of the look of a light-colored dog with a reddish ruffle

 

 

 

 

 

 

 

loads of double-talk

 

 

 

 

 

 

 

 

now again like wilderness the whole group doe-eyed prospective

conspiring to develop some spoken miracle or good reason

 

General stretching in preparation for dance interlude

laid down silk scarves form a pattern no definition for that pattern but everything valid

pretty standard dramaturgic decisions like fully costumed reenactment of some present tense scenario dedicated to people flow and anxiety x y gameplay

music is mostly bass drops lyrics hardly audible dealing with modernity or relationships refrain goes like but they didn't

 

 

 

 

 

 

 

untrained muscle flexed a foot leaves the ground

abrupt stop shaking long hair not really moving the head

 

 

 

 

 

 

 

 

four plain straight steps forwards backward sideways

abrupt stop utmost unpretentious wink blends into yawn

 

 

 

 

 

 

 

 

sedate and dignified dancing

abrupt stop unassuming face

 

 

 

 

 

 

 

peculiar leaping step

abrupt stop sugared drool instantly collects dust

 

____________________________________________________

 

 

Untitled (Rehearsal), 2017

Mnemonic Memories, Minibar, Stockholm

 

____________________________________________________

 

 

Untitled (Tendency), 4:24min, 2017

Voice: Gina Henkel

Chambers A User’s Manual – Chapter II, Villa Metzlerstraße 21, Frankfurt am Main

 

____________________________________________________

 

 

Upset Sand Land, 2016

Press release, Brachland, W139, Amsterdam

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

In Compensation of the Platonic Courtyard Whisper, 2016

With the participation of Vera Karlsson, Jack Brennan, Matilda Tjäder and Lian Rangkuty

 

____________________________________________________

 

 

Proposal for a Misunderstood Century, 2016

Contribution to Processed Beings, Transart Triennale

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

Untitled audio, 4:28min, 2016

Collaboration with Matilda Tjäder

Voice: Gina Henkel

Contribution to Lascivious Stories or the 72hrs Radio Broadcast

 

____________________________________________________

 

 

Untitled (Scene), 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

Big Day Out (Déjà Vu), 5:29min, 2016

Voice: Gina Henkel

Unveiling (you embrace me, as I am), Jupiter Woods, London

 

____________________________________________________

 

 

Felix Riemann, Marco Spörle, Tobias Willmann, 2016

Garret Grimoire, Vienna

 

____________________________________________________

 

 

Untitled (Song), 2015

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

I Feel Extreme, Man, 2014

Collaboration with Ellie de Verdier

The Duck, Berlin

 

____________________________________________________

 

 

Untitled (Scenario), 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Untitled (Interlude), 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Untitled (Dialogue), 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

Beach Buddha, 2014

Contribution to Dysfiction

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

Pour Some, 2014

Contribution to General Fine Arts Issue 3, vol. 1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

____________________________________________________

 

 

 

 

Haunting yet soothing

 

 

 

:decomposing lime

whenever I see you

I do not just only stare

 

its not too late

 

where can we go

to forget

 

 

 

 

refrain squeezed through smug smile

 

 

 

 

:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine

 

 

 

 

voice finds itself kind of sweet

 

 

 

:oo oo ooo a aaa a pologetic face

 

 

_

 

 

 

 

bright voice of an angel unnerving

 

 

 

 

:brown lime brain

how could I have seen you

I only stared

 

its too late

 

where can we go

to forget

 

 

 

 

refrain squeezed through smug smile

 

 

 

 

:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine

 

 

 

 

voice finds itself less sweet

 

 

 

 

:oo oo ooo a aaa a pologetic face