Esiod 2015

Shot with a hidden camera, from the perspective of someone wandering the streets, the 40-minute film loop tracks 24 hours in the life of the area around the railway station. Actors play passers-by, and passers-by thus become actors.

Blockbuster movies are increasingly produced based on the use of algorithms. We have grown accustomed to watching scenes in which numerous automated charac-ters populate the screen. Animated by algorithms, they interact as an artificial crowd that appears lively and real. Simulated life originated in computer games and movies, but is meanwhile influencing many areas of the real world. In addition to urban planning and evacuation plans, market forecasts are also determined by virtual scenarios. To what extent does this impact our society and thus our life? Do we already sense a change?

The video is an artistic exploration of the schematic representation of human relationships and non-human entities, such as in images in networks. It represents the translation of data into abstract images.

Inherently political, the three films that constitute Muster (Rushes) (2012) visually link to one another, with each roughly half-hour narrative (79 minutes combined for the single-channel version) taking place at a former Benedictine monastery outside of Kassel, Germany. This monastery functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic.