giuliana 64:03

On a white background, black rectangles fall from the left upper edge of the picture. They amass to form larger surfaces, to then immediately thereafter shrink or shift on top of one another, and from time to time be lifted off each other by thin white lines. Similar to the cinema screen, the rectangular surfaces carry the schematic, digitally processed image of a woman, which is difficult to recognize as such. Instead, its large-pixel outline merges with the abstract forms, which constantly form anew. Like in a puzzle, individual facial details show up in different places; the various parts are continually put together, yet without ever revealing a completed picture. The stark, reduced soundtrack, which stems from Antonioni’s Il deserto rosso, as does the initial visual material, emphasizes the clarity of the images and opens the gaze to the constantly changing forms. The face – reduced to flickering black and white areas – takes its place in this strict composition. At one point, the picture becomes almost completely black from the steady overlapping of different layers. Shortly thereafter, the schematic contours of the face push into the field of vision. In the end it seems to have almost won out over the abstract forms. This impression is supported by the replacement of the noise on the soundtrack with human voices. However, before the music (which begins suddenly), can spread out, and the black and white contours become completely recognizable as the reproduction of a human form, they turn quickly to the side and the picture disappears into the blackness. (Corinna Reicher)
Translation: Lisa Rosenblatt