2-channel video for Kunstmuseum Celle
"transsib" documents a state of flux. On two large plasma monitors, stacked one above the other,
bright bars swipe over a black ground. They follow no recognizable pattern and yet seem to have a
mysterious, underlying choreography. Sluggish and then fleet, the light chinks pass by, chase and over-
each other, at times bang together only to immediately strive onwards again. A dance of the
verticals is accompanied by the rhythm of a sound composition that the musician Carl Ludwig Huebsch
wrote for the work.
It is the photographed mechanical movements of a scanner sled that here rushes across the screens.
Depending on resolution and picture cutout, the laser sweeps at times slowly, at times faster over the
photo. Through the combination of different speeds, rhythmic sequences come about. The images
give no indication of what the input originally was. What is left is only the glide of the optical device
that is now underlaid with different images: a video of a journey by train.
This picture sequence does not follow any narrative structure or plot; the sole import is form, contrast
and movement. To the constant back and forth of the scanner, the video adds a counter rhythm: the
sway of the train in its track bed, the familiar to and fro of the coach that the static camera has likewise
recorded. And as in a train, we have only a fleeting and segmented view of the passing plains, woods,
heavens, houses, industrial waste lands, train tracks, and again and again other trains, namely every
time when the film is for seconds arbitrarily struck by strips of light and these scenes become visible.
What the scanner doesn’t scan remains black and hidden from our eyes.
(exhibition catalogue "Spotlights" – Light Art in Germany in the 21st Century, Kunstmuseum Celle
with collection Robert Simon, 2014, Kerber Art, ISBN 978-3-7356-0056-1)