A film by: Christin Berg
Camera: Jakob Stark
2nd Unit: Konrad Waldmann
Montage: Christin Berg
Music and Sounddesign by: Filip Caranica
kindly supported by WERKLEITZ Zentrum für Medienkunst, Halle, Germany
Spaces have an atmosphere that is related to their former or current occupants, the usage orientation, the lived history. Residents give a room a legacy in a strange way. In the course of conversion or demolition interested here the phase of the transition. The intermediate phase of history and new determination. This time of transformation is breathing through space, also brute space. Here, the ball of the wrecking ball swings in front of the window, while inside something un nished remains. The state between coercion and ow, the rigid matter of a house and a vanishing liveliness is here also an interpretation, for what happens in front of the doors of houses, on the street, in the social human fabric.
The project is an artistic exploration of public living and cultural space.
A steady process of transformation geared to economic, urban planning needs, includes the lives of city dwellers. A reorientation of the residents is required.
The processes are usually done quickly; the realization then often follows behind with a limp. The film project EVERY SILENCE explores the question of what rhythms residents adapt to, or how they find their way to communication. Music, language, movement as means of expression are decisive pendulums of gestures. The artist is also an archivist of a time, of importance to his time, to capture states, to learn from them, and to do clients, what these processes have for an effect on the human being, on us. The film project is intended to capture the moment of a brute transformation. Who lives in this city, who works here in this place, who gets demolished. In retrospect, documentary footage is interesting, as it describes the story. The addition of subjective opinions re ects an attitude of this process, beyond reporting, and interpreted.
Huldofólk, subtle beings, call the Icelanders, these invisible beings. Often there is a map of the hidden world in this country, and this map is consulted for larger construction projects. Thus, some plans can already be prevented or changed by veto. This form of sensitization to auras does not exist in our latitudes. In terms of history and the volume of cities, it is also not particu- larly encouraging for a structural restructuring. This idea of the inhabited area, populated with auras, should be made visible here. Because again and again there is the feeling of being late, just furnished, the shell is taken and replaced.