Two video projections are facing each other within a narrow and dark space. One video film seems to be filmed out of a cellar or a bunker during a feast, exposing 12 participants dressed in black sitting to a luxuriant table, stuffed with white and red desserts.
Dressed in an artificial fur coat and hat, I hold a knife and do not eat. A girl seats in front of me. She is a stranger. The participants, dine in perfect politeness and definite silence. Spiral camera motion scans this timeless event, exposing an extreme decadent, Baroque syntax.
On the opposite side of the space another film documents urban bats in a delirious flight in a deserted industrial building at sunset.
The sound swings between the two ends of the installation’s space, manifesting memory remnants, silence. bats’ cries, muffed city sounds, and a whispered recitation of a Russian child-song. The whispered lyrics turn out to be a prayer of a child for the infinite survival of sun, sky, mother and “me”.
In cryonics – 273 ° C is a temperature in which deep freeze of the dead is performed for their presumed thawing in the future. Freezing as immortality is an omnipotent act of an infinite indetermination, by which life is analogous to fabula.
Life in suspense as a form of hibernation is an attempt to defeat death.
We collapse into malignant disorientation. This carpe diem situation is blinding. It seems as if the only way left is staging an alternative reality based upon an incessant suspense.
Remnants of the future. Lacking time and a certain locality. Forgetting.
The situation, the locus and the motion within the installation are located between longing, anxiety and poetic violence. With a critical and sober view on the futile lust in the era of Late Capitalism, poetry seems to be an ultimate survival territory.
