Die Verteilung der vorgefundenen Materie ist rätselhaft. Mit Klebeband sind die Ritzen zwischen den Wellblechelementen an den vier Wänden abgedichtet, vorsichtshalber auch die an der Decke. Richtung Süden grenzt er an die Bahnanlagen, gibt jedoch keine Sicht daraufhin frei. Das Gras wogte im leichten Wind und wisperte seine Zustimmung. Er dachte auch daran, wie dringend er ein echtes Tier brauchte. Das Licht flackert geräuschvoll einige Male auf, bis es die Flure beständig grell erleuchtet. Glänzend, nicht gewürzt. Die Sonne stand in unserm Rücken. Der Schatten aber wies zu uns hin. foil plot in the window: excerpts from science-fiction literature and Ribbons and Earthquakes, Daniela Trabold, 2023
It‘s so still. Do you hear? is a quote from the film Stalker (1979) by Andrei Tarkovsky. The stalker accompanies two other protagonists to a place in the so-called Zone where wishes are to be fulfilled. Arriving exhausted at their destination, the place lies motionless and questioned in front of them.
It is an escape from an overwhelming world. This is successful when contradictions turn into unambiguity, when the unattainable is transformed into the supposedly tangible. The photographs show formations of toilet paper rolls. The result is a distant environment of buildings and creatures whose materiality stands for the preservation of comfort. Isolation and accumulation combine to form a stable constant. The toilet roll is robbed of its actual function. It reveals a de facto shift in material towards the carrier of an idea, creating an absurd space of text and image that confirms a dystopian view of the world and at the same time questions the means of overcoming contingency.
It‘s so still. Do you hear? is a quote from the film Stalker (1979) by Andrei Tarkovsky. The stalker accompanies two other protagonists to a place in the so-called Zone where wishes are to be fulfilled. Arriving exhausted at their destination, the place lies motionless and questioned in front of them. It is an escape from an overwhelming world. This is successful when contradictions turn into unambiguity, when the unattainable is transformed into the supposedly tangible. The photographs show formations of toilet paper rolls. The result is a distant environment of buildings and creatures whose materiality stands for the preservation of comfort. Isolation and accumulation combine to form a stable constant. The toilet roll is robbed of its actual function. It reveals a de facto shift in material towards the carrier of an idea, creating an absurd space of text and image that confirms a dystopian view of the world and at the same time questions the means of overcoming contingency.