The story started in 2003 when I was at art school.
The work that I was nominated for is called Postscript II (Berlin). This particular work was about a journey in Berlin, which somehow would relate to some personal trajectories, some fictive perhaps. I never really knew the difference in the end.
Berlin was this, kind of, strange enigmatic place.
When I was born, the Russians were invading and we were all living in the basement of the house.
The work is also a contemplation, a reflection on another work that I’ve been performing or trying to work with since 2003. So basically I’ve been performing this piece called Hahn/Huhn for ten years. There was a certain point after ten years of performing the same piece, I lost that sense of enquiry.
The Postscript was really an attempt to think about how long can you re-perform this piece for and I think it has come to the point where the only way I could answer that or question that properly was through speech again in a totally different register.
The picture of the smoke rising, it just reminds me of a certain moment of confrontation. I’m lost. All these images now are only for me full stops.
It was much more like a conversational piece. It was in one take. There was no script. There was not much editing afterwards either. It was more or less a piece without an audience, without that live aspect.
I felt very much that I needed to disembody myself in terms of the sense of the voice and the body being there live performing and by making this work Postscript, it was also a sense of saying the voice belongs but the body has gone, I can’t perform in that way live to an audience to hold all the elements together.
I think presence is something that I’m only coming to terms with now, now that I’m performing a lot less and there are elements, components, that I have, that come together during the install phase, so that sense of presence, of performative presence before a show opens, is important for me in order to, kind of, maintain a logic, an inner logic to bring it all together.
There is, like, a source or a bank of images that I always work around or work with but usually I’m recycling lots of old images from the past. Often I’m taking images that are 10-15 years pre dating the work’s existence or trying of, like, discovering them. I think it’s also about discovering the images that I have in my archive.
Working with this fragile technology, that freedom of continuously shifting and changing the work, it’s a massive advantage and it’s also how I work with speech and performing. There is this, kind of, sense of immediacy and improvisation that I’ve become so accustomed to now and used to that method of working.
It’s important that I don’t really, that it’s not too controlling that the images they come and go along the way.
Every time it’s shown new slides come and go, it changes all the time.