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--- RIVERSCREEN CINEMA is a novel media-artistic format: a 2-channel video (30 minutes) is being projected directly onto water surfaces; as from bridges onto rivers. Thus the water becomes a "screen" which, other than usual screens, is itself in permanent motion. Filmed water sequences especially from the Danube area merge with the movement of the real water. There are live performance and live sound elements interlacing with the filmed sequences. E.g. a real boat with a musician or performers/objects swimming over the projection. Creatures and iconic objects ghostly appear and disappear as signs of political and cultural transformations, and how waterways have always been incorporated into human history of power, war, violence.

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--- The 15-minute performance HOMMAGE AN K. / THE DOORKEEPER takes place in a red light shop window. Yet the body on display (Dorothee Frank) remains inaccessible, which is further emphasized by gestures and live written messages. Visibility with complete lack of contact: this experience - also inherent in virtual space - became ubiquitous through the Covid pandemic. She then speaks a short key text of literary modernism that is completely unexpected here; it deals, among other things, with that threshold fear that prevents people from choosing a completely different, richer life. Ben G. Fodor plays the guardian of the mystery of what may lie behind the door in the background ...

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--- DESCARTES' BRAIN: A ready-to-cook young man (organic rooster!) in foil with the TIME GATES logo is presented in a refrigerated display case next to a delicately designed transport box. The work addresses the complex issue of the sacrifice of animals and humans; it points to a hypercapitalist economic form that tends to destroy or let rot what it cannot devour.

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--- The 15-minute performance SCIENCE FICTION VANITAS refers to the iconography of baroque vanitas images. These are allegories of the futility of the striving for possession and power, the cult of the body and youth in the face of transience. In the performance, a vanitas still life is constructed with objects from a suitcase. The spoken text and the visual action magnify the littering of the planet by production output to excess. A science fiction scenario of imperial land grabbing into distant galaxies pulls the hybris of current world dominance efforts into the absurd as well as transhumanist fantasies of eternal life including the eradication of human faultiness.

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