Three leaders, three nations, a possible world. Nadja Verena Marcin's video ‘Triple F’ narrates variants of actions by three rulers, whose primary goal is the preservation of their (supposed) independence. Each folk are marked by the three primary colors yellow, red and blue which constitute together a whole world that appears - inspired by the aesthetics of science fiction cult film ‘Logan's Run’ (1976 ) - at the same time strangely antiquated and exaggerated. The conscious artificiality of the protagonists and their respective dominions (shooting locations were the sculpture park in Marl and the Dortmunder U [Dortmund U -Tower]) liberate a space inside ‘Triple F’ through which the reflection on the position of influential female figures in the today's society is possible. What power relations are subject to women in leadership positions today? And how strong is their effectiveness determined by conscious and unconscious dependencies? Are negatives effects of leadership limited to gender or is leadership itself ambiguous?
//KIDS// narrates through a conceptual revision of the cult film 'Kids' (New York, 1995, Larry Clark) the interaction of a group of young adults; the smooth transition between shocking rituals and its adaption as lifestyle.
While ‘Female’ is struggling with her demons, ‘Face’ and ‘Guy’ are on a tour seeking for the innocent ‘Virgin’ in downtown Manhattan. In Washington Square Park, they meet the ‘Skater Boys’ and ‘Skater Girls’. Together, they batter a ‘Man in the Park’; later they amuse themselves in a swimming pool and at a party. When ‘Female’ finally finds them, they are already high, asleep and unconscious. Only ‘Face’ is awake and has fun with ‘Virgin’. A sudden and surprising end reverses the point of view.
By the particular mix of citation, inversion, irony, twilight behaviors and exaggeration Marcin creates a society in which the word 'Kids' becomes a description of state; in which conformity and irresponsibility prevail, consciousness is forgotten. Contemporary phenomena such as the obsession with youth, the manipulative influence of media images and the continuing globalization in an alienated and diverted world emerge.
The project was supported by the DAAD and the culture ministry of Nordrhine-Westfalia.
(Sarah Corona, Independent Curator, Bologna/ NYC)
In the video ‘Hotel’ existentialism meets sensuality: The Superintendent invites four Trainees into the privacy of the ‘Hotel’, where they must undergo a series of theoretical and practical exercises, reminiscent of body art and performance lecture, administered by the Bellboy, the Superintendent and the Hotel Owner. Each Trainee is assessed according to his or her performance and willingness to submit to the Easy-to-Believe system.
The seemingly ordinary shortfilm maneuvers into one of a live performance, captured on video, in which the setting of ‘Hotel’, as a semi private, semi public and semi personal space, becomes a metaphor for our culture: A society run by service, filled with competition and commercial interest. Beneath its surface: Alack of identity, individualism and motif. By creating a set of ‘personae’ who fully commit to this system, a comparison is drawn to psychological mechanisms and authorities in our own culture and education.
Loss of hearing
In 'Loss of hearing' the scenery is solely introduced by the use of light and sound. As the narration is placed in a white cube environment, stereotypical plot lines are being stylized and uncovered by an ironical undertone.
As the MANAGER WOMAN doesn't feel loved anymore, she tries to gain control over the MANAGER MAN. The MANAGER MAN is tired of these games and has affairs to escape from the pressure. Meanwhile the young and confused TWO SISTERS are planning a surf career and hang out with creepy guys in the surf shop.
'Loss of hearing' comments with caricature, provocation and irony on the loss of sense and emotion in mass media productions. Behind that level of irony the video work reveals a deep-seated romanticism.
Everything is nothing
All scenes of 'Everything is nothing' take place inside the spaces of Cinema Babylon in Berlin. Through lightening, improvisation and choreography the structures of the rooms are used as a stage for theatrical scenes that bring the uncanny into a familiar space.
As a Girl errs through an Odyssey of encounters, she meets the DJ, the Gang, the Vampires, the Lady, the Student and other seductive characters inside of the Cinema Babylon. Meanwhile the DJ, positioned on the upper level, puts her down for having small breasts, the Gang, hiding between the seats, attempts to descend on her, simultaneously the Vampires are longing to infect her in the backstage. Instead of being destroyed, she seemingly gains more and more strength with every humiliation and develops into a witty and calm protagonist.
The encounters are determined by a sexual and psychological violence in a highly surreal, grotesque but authentic manner. Consequently, the thin line between verity of fact, subjectivity of perception, sense of guilt of a victim and willingness of self-destruction forms an unanswered question that leaves the viewer with an uneasy feeling of disruption.
As in Sciencefiction
In 'As in sciencefiction' nothing that happens is fiction. Performances with surreal elements form a fragmentary script, standing in relation to the Artist’s life.
As a young Woman is driving and playing inside the woods, we get introduced to an autarkic way of being and expression. Suddenly, the Mother appears in a staged duel on a wide open field. Afterwards, the young Woman finds herself quite lonesome in a big city. As a result, she tries to redefine herself in experience with the Dancer and the Boyfriend.
All scenes were captured through the eyes of a primarily cinematographic camera work. The ‘Other’ such as Mother, Dancer and Boyfriend appear in a fragmentary script that goes along with general difficulties of the coming of-age topic, specific to the conflict of a self-determined, remote life against the pressure of social expectations inherent in the Self and the personal environment.
Die 'Jogginggehenmusemassnahme' opens with panning shots over Geneva's harbour. The view passes through scenes of busy everyday activities, which are however deprived of their linearity by means of short rewound sequences, causing the first irritations and hence departures from familiar perceptual patterns. Such departures also shape the narrative structure of the work, which subsequently concentrates on following a young female jogger.
We pursue the woman, Marcin herself, on her way from the harbour to a park: 'The labyrinth of memory and cultural structures'. It is here, as it were in conflict with discursive labeling, that an erotic fantasy world primarily involving the body splits off, stimulated by the beauty of the day and the explicitly formulated attempt to set nature itself against the rational domestication of nature. This carries the woman, as she continues her route through the city and into the night, deeper and deeper into an associative flow of thoughts and fantasies.
Marcin's work articulates how basic human needs can break out from their confines and run free. They are then able, prompted by the rhythm of life itself, which is in turn evoked by running and the pulsation of blood at the same time the impulses behind eros to release themselves from the hyper-civilization of the world and to elicit in the self at least a temporary feeling of bliss.
Miss Ion Troja X
A young woman meets three young men in the desert. Underlaying different motivations they go together on a walk with the common goal to find 'Miss Ion Troja X'.
The non-place desert becomes a metaphor for a life's latitude and denotes the relativity of possibility, choice and action of an individual.
In 'Royal Kids' we meet Princess Nanabe and Prince Rudolpho, who are in the fairyland on the search for themselves. While Nanabe is looking for a prince, Rudolpho -jinxed into a bear- is hanging around the occident where the folks put him into a cage.
The surrealistic film evokes associations of a modern Pop fairytale. However the dialogues are in such a manner idiosyncratic that they remind of an inner diary. The bizarre fairy-world draws a comparison to the identity and finding phase in the actual world that has alike the fairy already a predominating structure with certain obligations.