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11. Johanna Domke, REAL PLAYER, 2001
Everything seems so normal, and yet it is disturbing. Domke uses minimal image manipulation to create an irrational construct in which the spatial axes are placed obliquely.
[Barbara Könches]
  12. Jesse Drew, Manifestoon, 1995
Again it is the mass media themselves that provide the starting-point for thinking about pictorial codes. Drew looks at the child-like, naïve world of Disney films, with the analytical intention of exposing unadmitted paradigms. Mickey Mouse and his friends are a long way from the Garden of Eden, as in reality they exist on the principles of the "American way of life", and Dagobert Duck is only a slightly exaggerated spokesman for this philosophy. Consequently it was not difficult for Drew to find scenes in the Disney films as well illustrate the misery of the proletariat. But the tape only becomes subversive because Drew has Marx's Communist Manifesto read aloud, putting the cheerful Disney scenes of world bliss on one side. And so the manifesto becomes a Manifestoon, and social misery is transformed into an easily digestible "appetizer" that cannot really do any harm to duck-style capitalism. [Barbara Könches]

  13. Gunda Förster, BLACK – OUT – WHITE, 2002
Förster projects slides originally photographed from the television on to four walls. The special feature of this installation is the built-in control system: the brighter the projected slide is, the more briefly it is shown. This produces a cycle of flickering light and dark tones in the space, accompanied by the noise from the slide projectors. [Barbara Könches]
  14. Davide Grassi / Darij Kreuh, BRAINSCORE – incorporal communication, 2000
Whether we are dealing with fake or fact, there seems to be some sort of little switch in the brain that separates one from the other and makes it possible for us to distinguish between fantasy and reality. But what does this arbitration point look like? What makes us recognize the truth? Is it the style of the images, is there a language of true and false?
Davide Grassi's contribution makes it clear to us that we are used to certain narrative modes that suggest to us that something is real or not. On the other hand, this narrative method does not guarantee the quality of the truth, in fact it conceals falsehood and exploits our innocent trust. When Grassi presents a neuro-physiological development said to make control a virtual environment by brain energy in his apparently serious documentation it demands a great deal of attention from observers and perhaps a certain amount of knowledge, if they are to uncover the false information. [Barbara Könches]

  15. Pia Greschner, Blue Hour 1-3, 1997
The colour blue has been treated as an unredeemed promise ever since the days of Romanticism. The colour is read as coding for a state of mind that conveys a feeling of exciting uncertainty somewhere between hope and fear, near and far. Just as the breaking dawn can herald an abundant and joyful day, it can also carry its sadness and vanity. That is why this time spent in no man's land is called the "Blue Hour". Pia Greschner is able to make this emotional tension visible in her tape of the same name, and to indicate relationships and events without anticipating how they are going to proceed. Three episodes are touched upon and narrated in just a minute each, and their open endings remains in the viewers' memory. Is it the scenery, entirely covered in blue, that moves us, or is it the lack of an unambiguous code that makes us ponder?
[Barbara Könches]

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