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1. Ke Ai, GRUPPENBILD, 2002
The key to this tape is the paradoxical circumstances. We are used to the human figure in a video doing something: this is one of the moving image's essential qualities. But not in Ke Ai's work. Here the two young men might just as well have been frozen, the moving image becomes a film still. Only an imperceptible twitch of an eye or an arm suggests how effortful this unusual pose is, making the viewer pay keener attention to the fact that time is apparently standing still. [Barbara Könches]

   
  2. J. Tobias Anderson, 879 colour, 2002
An animated film in the style of a Hitchcock thriller - with a Cary Grant-like cartoon figure in the leading role - presenting now clichéd images in a new light. Here picture codes are shown as a chronological combination of older ways of seeing things and new technical methods: given a certain kind of expectation, thrillers are seen as close to reality, and thus as identity creators, but a drawn version undermines this, and thus unmasks genre film mechanisms all the more starkly. This coincidence of dramatic s and the supple lines of animated film drawing, creates a cheerful atmosphere that runs counter to the intentions of the thriller.
[Barbara Könches]

   
  3. Richard Ankrom, Guerilla Public Service, 2002
Documentation of a performance operating with symbols. A man is making new, unfamiliar motorway signs, and these are installed on American highways under the cover of darkness.
Of course codes are not least signs that everyone acknowledges and understands thanks to convention. Traffic signs, unlike basic sounds like "ow" or "eek", are among the more complex sign constructs, and their message is accessible only to the initiated user. But what happens when the finite number of signs is extended by new ones that do not yet subscribe to a convention? [Barbara Könches]

   
  4. Sabina Baumann, home 20, 2001
We experience images of the city as a dynamic sequence of points of light and dark on the retina, as if we are on a merry-go-round. These too are pictorial codes - discrete information conveyed by light, translated into an image that describes the world thanks to physical and mental processes in the brain. [Barbara Könches]
   
  5. Abdellatif Benfaidoul, -juxtaposition-, 2001
Juxtaposition is the eloquent title of a video addressing the unending sequence of violence presented in the media. Here too we are dealing with unadmitted pictorial codes, with whether images shape the world or whether the world as such determines the images. [Barbara Könches]


 
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