An empty room floats weightlessly in the dark. Its three walls glow, displaying abstract movements. Are they projected inventions or is there a world behind them? At least this quiet, disquieting in-between place, this empty stage, offers time to dream: A ride “no brakes downhill” (Tin Fingers) that passes a flight of stairs, a petrol station, a panorama window. Anton Cla designs a mystically charged architecture of the imaginary, whose statics are calculated from light, sound, movement and the manipulation of time.

André Eckardt

 

Cara terra, dear Earth! This sensual cinematic love letter is directed to the Earth, to the fields of the Arvaia Cooperative close to Bologna to be more precise. There, they sow, harvest, water and tend to the plants with dedication and without the use of large-scale industrial machinery. People here are just fleeting presences: Emma Harris places the visual focus entirely on the flora, from the soil to the buds, from wide shots of the horizon to the overlapping branches and leaves which become just more abstract structures to joyfully lose oneself in. Her loving, precise gaze is also captured in textual form: delivered by two voices, the love letter is not just a huge thank you to the Earth, but also the expression of a desire that humans don’t work against, but rather with nature in the future. It’s entirely in line with these ethical, agroecological considerations that “Errabonda” was made by way of analogue processes low in harmful substances.

Marie Ketzscher