Everything seems neat at first in Randa Maroufi’s performative reconstruction. Cars form orderly queues; market women tie up their baggage. On the monotonous grey background, the scenes appear schematic, like a blueprint where suddenly everything becomes graphically condensed. Everyday life at the border between the Spanish exclave of Ceuta and Morocco, which is crossed illegally by all kinds of goods.

An abandoned amusement park offers a secret real-life retreat for young people in Casablanca. They escape their restrictive society digitally into the Internet to soak up international trends and amplify themselves. A camera floats through the tableaux vivants they have formed. Their eyes are frozen, the self-chosen poses seem undead.

You need momentum to escape it all. Vonfelt packs the necessary energy into unstoppable pop beats and verbal images. On a backdrop of fleeting nocturnal city lights, Michelle Brand creates a refreshingly dynamic slipstream of fading forms and intense colours. You let yourself fall gently and with a smile into the rush of acceleration.