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16. Sven Harguth, Du und ich, wir könnten einander gehören, 2001
It sounds banal to say that love is an impenetrable secret of our existence. It is much more astonishing that presenting it in a lavish number of images offers an inexhaustible reservoir of ever-new sign codings. In the past it was the poets' embracing hearts and flowery descriptions that evoked the subject unmistakably, but now it is the musical themes from great love film like Casablanca. Harguth used small gestures to develop a short film about touching things, about love. [Barbara Könches]
   
  17. Volker Hildebrandt, Madonna, 2002
Superstars have now been admitted to the Olympus of saints and sacred figures. In the Middle Ages it was necessary to be familiar with Christian iconography in order to understand images and texts, but now it is pop idols put their stamp on the world. Not knowing them means not understanding the signs, missing the allusions, not being able to follow the discourse. Thus it is unavoidable to look precisely at individual coding and at the way the industry presents itself. In his contribution about Madonna, Hildebrandt sets off on the trail of one of the most flexible and at the same time most constant major figures in the world of music. [Barbara Könches]

   
  18. Nabila Irshaid, Travel Agency, 2001
We supposedly work on the basis that images are much less standardized than language. Advertising copy is analysed in schools, but advertising images much less so. Nabila Irshaid unmasks the standardized image of the tourist industry, marketing the beach as the delight of the south and the mountains as the heart of the north, always following an identical scheme. Disturbances occur when the template is placed on areas that - like Palestine - obviously fail to deliver the promise of paradise.
[Barbara Könches]
   
  19. Michael Janoschek / Rüdiger Schlömer, Actionist Respoke, 2001
Janoschek and Schlömer have created a sound interface for the song Actionist Respoke by the German electronic musicians Mouse on Mars. It is a mixture of sound machine and computer game, and stimulates us to create our own Actionist Respoke. To start the beat machine, the user has to capture one of the virtual meat dumplings on an interface and activate it using a device in the form of a little box. The position of the tamed pieces of meat establishes the order for the musical fragments. Constant interaction is a prerequisite throughout the duration of the sound biotope. [Carmen K. Beckenbach]

   
  20. Bernhard Kayser, 60 years of propaganda, 2002
Bernhard Kayser juxtaposes Leni Riefenstahl's famous film shots from the 1936 Olympics with a commercial, without commentary. The congruency of these stylized presentations raises questions. What ethical authority do we ascribe to these images? Do we differentiate morally within our aesthetic judgements? [Barbara Könches]

 
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