BREAKING NEWS 2012Video-Installation Atelier-Frankfurt, Büchner-Festival Gießen, Kunstverein FrankfurtPrices:B3-Newcomer Award ‘BEN’ in the category ‘non-linear story-telling’
Concept and realization: Philipp Bergmann, Matthias Schönijahn
Producers: Atelierfrankfurt e.V. / Luminale Frankfurt 2012 / Büchner International FestivalSponsors: EVONIK/ ZMI-GIESSEN/ HESSISCHE THEATERAKADEMIE/ STADT FRANKFURT
Installation view - Pictures: Matthias Scholz
News images suggest to the recipient for the short time of their broadcast an immitable relationship to the time and space of their subject. This applies even more to news formats that are available online at any time. In particular, this can be observed in the format of the NoComment news. These uncommented excerpts, provided with place and time, evoke authenticity to an even greater extent than the reporter in the live broadcast. To the same extent, however, these emblems place the recipient in the position of the puzzler who must be certain of his own presence. They do not contextualize beyond what is depicted, nor do they reveal their source. This ambivalent character of knowing ignorance, which leaves the viewer behind as a silent witness, is part of our artistic debate.
In the installation Breaking News, we work with these two concepts in a variety of ways. Using a method developed by us, we scan daily NoComment films from various news agencies and project them onto a multi-part mirror surface rotated by motors, thus simultaneously onto the walls of the room. The scanning process produces colourless images in which the movements of both the moving image and the scanner are inscribed. Through the subsequent projection, these images are again set in motion by a virtual camera movement and by the rotating mirror. In this way, the space becomes a kind of beyond, a reverse, a shadow world of daily news images. The projected, partly still recognizable, only in its entirety no longer discernable, leads the emblematic relationship ad absurdum. The process of re-constructing the content, the projected images, is now preceded by a re-construction of the pictorial material that is impossible in its entirety.
The acoustic level now brings back the duration brought to a standstill in the pictures. The sound obtained from the original tones describes exactly the period of time given to us by the original material. The granular synthesis process is used here, among other things. This enables us to sweep out and extend individual sound fragments, so that the attribution of authenticity to the acoustically perceived, similar to the image, is irritated.