Annja Krautgasser

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No description available.

Set in motion at the start is a game comprising fields and markings, present and past, visibility and invisibility. Fences—and ribbons, bleachers, a bit of forest, already divided into territories—refer to the inside and outside of the field, as does every image. The objects in the image and the use of the images blend once again when the members of a military history club appear to restage a battle of the red army against the Wehrmacht.

The beginning of frame is similar to a drive through the city: "Let´s go for a ride," high energy. The camera pans swiftly from left to right, looking at what´s going on. The beat sets the tempo. The car´s put into gear: Take-off. The story plays out in the viewers´ head rather than in front of their eyes. [n:ja] shows nothing more than pure motion along spatial coordinates which is driven by Radian´s pulsing soundtrack. So much "reality" – in other words details, color and representation – has been removed from the original views of this ride that solely remnants and a basic structure comprise the video image. In the first "shot" we seem to recognize passers-by hurrying in different directions. The point-of-view moves in the opposite direction, following individuals until two parallel lines running from left to right enter the frame as a graphic element, seeming to set our eyes on a rail.

As in her previous videos perceptive faculty 2 and rewind, [n:ja] employs simple structural variations in track 09. A geometric grid of variable grayshade windows opens on a monochromatic orange surface. Rotation, zoom and then a dance of bars and pixels are used to create a diagonal and vertical ballet which increasingly seems to conform to some kind of order. The constantly modulating windows, independently organized so to speak, are brought into every conceivable position until an additional zoom leads to the "refrain" and a reflection of the entire matrix´s structure is produced. The aesthetic of early computer games is juxtaposed with a futurism which concentrates on form; musical accompaniment of retro saxophone and theremin escorts an immersion into de-objectified futuristic façades.(Christian Höller)

A dialogue from a relationship, perhaps even a love affair, sometimes tenderly playful sentences, sometimes incidental comments aimed at a trusted “partner”, sometimes with overtones of jealousy. There are strange shifts in the speech. Occasionally, the utterances do not fit one another properly. At the same time some things sound familiar, as if they had already been heard somewhere. – Gerald Weber

Rewind is based on a piece of music: an electronic track entitled Rückenwind is provided as the source material, a composition by Shabotinski in which a deep frequency melodic fragment is swirled around by a delicate track of sounds. It clicks, pounds, whooshes, hums, and crackles around the quietly resounding basic theme of the piece. The abstract visual level emphasises the soundtrack, suggesting a digital score, and is vaguely reminiscent of music applications, the user-interface of composition software. At the same time the minimalist images suggest a continual forwards movement, gliding ahead on a parallel voyage through the virtual space: mobile geometry.