Total Immersion: Yet She Moves, a Filmic diary (Christina Lammer, 2021, digital file [16 mm], color, sound, 15’)
Being drawn to the sea: My 16 mm Bolex camera accompanies me on my post lockdown travels towards and on the Atlantic Ocean. In this video essay, I focus on physical movement in the water and on land. Gradually a sensory methodology will be elaborated. For this embodied video, multiple exposure emulsion film and experimental audio recordings with a hydrophone are combined. Due to the coronavirus the body has become a dangerous terrain. For the first time in evolution we are forced to keep a distance from each other in order to stay healthy. Hygiene precautions are currently intertwined with the modes of how we personally engage with each other. Any form of physical contact is to be avoided. The absence of touch, however, leads to a state of high alarm. The body is put in fight-or-flight mode, either paralyzed or fleeing. We are not made for social isolation. People need analogue face-to-face encounters without fear. Total Immersion is an attempt to support sociability and close familiarity in order to create safety for the individual. In this approach the sea is compared with a living body. The flow of water and the circulation of blood become indistinguishable.
Mountain View (Markus Maicher, 2018, digital file [16mm], color, no sound, 2’40’’)
Mountain View thinks about framing, movement, surface, and depth. The film consists of three continuous zooms towards a landscape that are deconstructed into a discontinuous sequence of single frames. Movement is exposed as an illusion of 24 static frames per second, the organic movement of the hand dissolved into structural variation. The world seen through the window frame appears as an image, a phantasmatic reality that is becoming more and more unstable the closer we get, until it disappears.
I am not There (Markus Maicher, 2017, digital file [16mm], color, sound, 3’ 02’’)
In I am not there personal memories and family recordings of the past are haunting the present. Video8 fragments of a day as a child are superimposed with images thirty years later, the look through the viewfinder onto the empty spaces of the present collide with the look of the father through the viewfinder back then. The instability of the film’s manual development process hints at the instability of the spatial and temporal coordinates of our existence, the absence of a negative at the transience of memory.