The artwork is composed by the eyes of the visitor as they read the single, inexorable word that appears on each of the seven screens.
The images of every theme take shape within, among the emotions, as the graphic and sonic dimensions come to life. From spectator you become participant and, in the film’s “slowest, relentless velocity”, a narrative scene unfolds inside you. Yet it is something unspeakable, arising from what you once were and from who you now are as you watch: every step you have taken in your life has led you here, now. Existence is a continuous inside. One from which there is no way out.
The wind blows through ABANDONMENT and leaves dust in its wake. DEPORTATION is a train vanishing into the distance, marked by the deafening sound of a mechanical gear – yet organic at the same time, you can clearly sense it – carrying away, beat after beat, clusters of individuals, groups, communities. Then, on the following screen, in the elegance of black and white, there is barely a mark, impossible to read. You try to bring it into focus, to find the right attunement to interpret it, but it is only DECEPTION.
BEWILDERMENT is a light that conceals. All around, only silence. Again, a code: Morse. Spelling out the Nuremberg racial laws, in German, the original 1935 edition. Revealing the chains of SEGREGATION.
In VIOLENCE the fire burns, crackling and setting the darkness trembling. RECONCILIATION is the journey upward, where the world merges with the sky, following the otherworldly furrows of light. The word advances overpoweringly, carrying with it first a sensation, then a feeling, then awareness, then an overall vision, and finally slips away.
But is everything really as it was before?