In the field of merchandise management the term ›Just in Time‹ refers to a specific form of inventory management or, in a more general sense, a certain production philosophy. The goal is to eliminate idle inventory and to maintain a continuous and stable flow of goods. Thus everything that is not in motion is scrap or waste. But what if a necessary element (stretch film) of these productive moments (transport) condenses in such a way that it becomes physically massive and heavy, and finally ends up as dead scrap?

In ›trans luz‹, the transparency of the film has condensed to the point of opacity and the film is no longer transparent. In the production of the sculptural elements, the time-consuming process of wrapping – over and over around the metal construction – and the physical effort required to carry it out stand in opposition to the optimal acceleration of the production processes of competitive companies.

Since the spring of 2020, ‘corona rebels’ have been meeting weekly in many German cities to protest measures intended to contain the pandemic. Their rallies attract not only esoterics and followers of Jesus, Gandhi or Mandela, but also conspiracy theorists and right-wing extremists. The Imperial War Flag flies alongside the rainbow flag; hippies in brightly coloured robes dance barefoot next to neo-Nazis dressed in black.
Thousands of demonstrators gather in Berlin in August. What do self-concern, freedom and social responsibility mean to them? What unites them, what drives them and how do they organize themselves? With whom do they form alliances? What is their attitude towards democracy? And what role do QAnon and the citizens of the Reich play when they stand outside the Russian and American embassies demanding a ‘peace treaty’?
Filmmaker Zauri Matikashvili accompanied the demonstrations and spoke with participants. What drives them?

Some of the geometric shapes in Abstract Architecture (2019) call to mind a spaceship that has landed in a lonely desert. Building facades and elements have been photographed in such a way as to create monumental appearances that move between reality and sculpture. The reduction of references to scale blurs the boundaries to reality and viewers are invited to form their own associations. This effect is intensified by the large-format prints (95 × 140 cm), which emphasize the grain of the analogue medium and generate a flowing transition of material qualities.

The short film ›Mother of All Fictions‹ is the story of a failed film project. 2016: South American filmmaker Walter Solon travels to Los Angeles. His goal is to write a script based on the biography and mythology around his great aunt Lina Mosebach. Lina had migrated to Los Angeles from Germany after surviving the Holocaust and spending her teenage years with Walter’s great grandparents in South America. The family myth holds that Lina went on to become a CIA filmmaker, involved in propaganda movies for Latino audiences.

The video installation ›Landing Day‹ deals with the symbolic meaning of planting trees. This ritual act is often seen as a symbol of peace and beauty and is therefore remarkably often used as an element of political representation. During the last decades the idea of large-scale planting of trees became widely accepted as a simple, relatively inexpensive and effective method of combating global warming. The Russian verb “planting” does not just mean putting a plant in the ground to grow, but also to put someone in a position, to arrest someone or put someone in jail.

›100 Advertisements‹ is an ongoing project where I create advertisements for imaginary products or services that people - honestly, myself - might wish for. The project started in March 2020. (Well, you know what happened in Germany in March 2020, I guess!) The project is a personal documentation of the times - part Corona-diary, part wishful thinking.