Rückkanal, 2004, DV-PAL, 13', no sound
A metal monitor is temporarily installed on public surveillance cameras, suggesting the passers-by to face a backchannel into the surveillance room. However, the scene they are watching is fully pre-recorded and fictional.
The video made out of the synchronously mounted documentation shots deals as much with policies of the gaze as it poses the question of 'authenticity' of the moving image in public spaces.
The reason for realizing this intervention was not so much my political interest in video surveillance: it was a practical research for a larger film project I planned to produce and show in public space. The questions leading to it were: What could 'authenticity' of moving images in public space mean? How is it connected with mechanisms of site-specifity? How does the reception of the moving image in public space change, if you maximize its site-specifity and plausibility?
A try of a follow-up in 2004: project proposal for Ubahn-Station Alexanderplatz (with Sascha Pohflepp):
Concept paper as pdf (german only)