This endless video film has been originally produced for the exhibition project "Letzter Aufguss" in a former public bath in the center of Düsselorf. There it has been installed as a rear projection. An in situ found obscured glass window of the former first aid room has functioned here as the screen. The video shows endless the opening and closing of a water crane.

Technical data: Endless video, video projector, video player, rack-mount.



The Videopaintings deal with computer generated video films that treat television or the internet as media, which show images that are exemplary of human behavior. The starting point of my so-called Video-paintings are recordings of everyday happenings or isolated gestures which are usually arranged to function in an unbroken, endless movement. Whether I fall back upon found images from movies or even the raw material of film essentially depends upon the access speed. An important aspect seems to be that the selected sequences of images have something universal, general or simply typical. In the computer, these truly unspectacular actions are processed in such a way that the viewer could doubt if s/he isnÕt looking across at a freeze frame. There is no staccato-like jerking usually telling slow motion that would lend a clue to the continually flowing motion on the threshold of perception: once the brain finally realizes the image has changed, this process is already over.

I would like to describe the Video-paintings main idea in reference to Erik Satie's musique d'ameublement as video d'ameublement. The endless-videos are conceived to run on loops so that one must not continually pay attention to them. Their existence should be as natural as a picture on the wall or even a television at home, left switched on. On the other hand, I have set up certain video films as installations that take hold of the entire space. In this case I call them Videopaintings; as a monitor-version or as a plain projection I call them Video d' ameublement.