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.