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41. Olivier Sorrentino, Single’s Bar .01, 2002
It has become quite usual to seek a partner via a picture in a magazine or a "lonely-hearts" internet service. The choice is based on appearance only. The cursory personal information about hobbies and taste in music is sidelined. Clothing, hairstyle, weight and age are the crucial criteria. Olivier Sorrento aka VJ Anyone shows men and women who are looking for a partner and exchanging lascivious glances in his video Singles Bar .01. The stroboscopic editing reduces everything to appearance and the code that has to be deciphered. [Carmen K. Beckenbach]
   
  42. Eddo Stern, Sheik Attack, 1999
Computer games like Sim City, Nuclear Strike, Delta Force and Settlers have been part of contemporary culture for a long time now. One essential feature of these games is that the player can build or assemble a world of his own. In Sheik Attack, Eddo Stern combines images from computer games and contrasts them with familiar Israeli pop songs of the late sixties and the nineties. From 1966 we hear the song Careful, we're building here by Naomi Shemer, and see busy workers building a housing estate. The images dating from 1999 present a stark contrast with this. One anonymous skyscraper follows another, and everyday life is dominated by fighting. The computer images in Sheik Attack serve as metaphors for everyday life in Israel. [Carmen K. Beckenbach]

   
  43. Margi Szperling, Uncompressed, 2000
Uncompressed combines the interactive components of a computer game with a feature film. Users see a short opening credit sequence and are then offered an interface with a choice between six narrative strands for a film. As the plot develops it is possible to jump between different points of view expressed by the leading characters, so that the story can be experienced from different angles. Each of this six main characters has a colour of his or her own. This emphasis produces impressive images that give the short film a new narrative component and stress that the story is being perceived subjectively. [Carmen K. Beckenbach]

   
  44. Florian Thalhofer, [korsakow syndrom], 2000
Users can choose which film they want to see from approx. 150 individual sequences on the non-linear, interactive CD-Rom Korsakow Syndrom. The problem theme in all the films is alcoholism. Here Florian Thalhofer combines material including found footage with interviews he has conducted himself. Once the viewer has chosen a film, a clip starts to run simultaneously, showing films allocated by subject matter to what is being presented at that moment. So there are all sorts of opportunities to "zap" between an interview, a concert with an opportunity to audition, television pictures of a very drunken Boris Yeltsin and anti-drug spots from the USA. This work is a documentation that does not follow a linear narrative structure, and thus links several aspects of a problem in order to present the broadest possible spectrum of information on the theme. [Carmen K. Beckenbach]

   
  45. Wawrzyniec Tokarski, Insider, 2001
Accumulated images, commentaries and picture captions produce new meanings as grouped here, apparently quite at random. Each separate component offers viewers their own field of associations, taken to absurd lengths in the combination of image, sound and caption. Seemingly familiar material is alienated by linking the three information elements. [Carmen K. Beckenbach]

 
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