Gesellschaft für aktuelle Kunst, Bremen, 1998

Tonspur der Installation lovers. Sequenzen aus Begegnungen von Filmpaaren wurden arrangiert und in ein surrealistisches Soundscape gebettet.

Realisiert für Johannes Kahrs' Ausstellung Why don't you paint my portrait? bei der Gesellschaft für aktuelle Kunst in Bremen, 1998. (mit Johannes Kahrs)

what do you want? i don’t know. sweet? god, he’s gorgeous. shelly i’m not fooling around any more. (ok). the first thing you gonna loose is the attitude, that’s the key, anybody will tell you that. don’t even think of going anywhere. i’m not finished with you. ah, ah, ahii. hooohooooo. ha hahaahiii. take off your coat! i’ll be right back. cheers, one of my teeth fell out, i used to hide it.. tell me, at what precise moment does an individual stop being who he thinks he is? you know i don’t like complications. cut off my arm, i say me and my arm. you cut off my other arm, say me and my two arms. take, take out my stomach, my kidneys and i say me and my intestines. follow me? and now: if you cut off my head, what would i say? me and my head or me and my body? urghhh, ahh hu ha, ahh. clock. i think i’m pregnant. please stay with me, don’t leave me. (clock all the time) filthy bitch, they’re all in it together, all in it together. now pain for me means sexuality. art is a way of processing pain, overcoming pain. now pain for me means sexuality. all you can do is perform, all you do is perform - you have no real person. god, i really believed in you. there is too much dialog in this. you know this is fuckin’ real. you’re getting what you want, he? auhh - go ahead, just take it, just fucking take it from me, you dirty fucking man. so she really is the kind of person that you can, you know, kind of fuck and don’t get stuck to her. she’s the perfect one night stand and you know she really is on all the time and she’s available and you really don’t find many people around like that and i don’t know how she does it and how she survives, but evidently she does. uuuuuhahahahahaha dio dio dio, hahhahahahhhahaha. amore, ah ah ah ah ah ah ah. dies bildnis ist bezaubernd schön, wie noch kein auge je gesehen, ich fühle, ich fühle, dies götterbild mein herz mit neuer regung füllt, mein herz mit neuer regung füllt. lassdochneinruheahhdochsoschlimmneinarghhh. hit me. no. hit me. du verdammtes stück scheisse, ich krieg dich, dich reiss ich in stücke, dich mach ich kaputt, dich blas ich weg. don’t, don’t, don’t, don’t, don’t ever leave me, don’t say good bye, if you do, i’ll be the lonely one, i’ll sit by darlin’ and cry, hohoo, don’t ever tell me, don’t say we’re thru. if you do i’ll be the... no matter what you say to me, no matter what you do, it would mean nothing at all to me, because i’m so in... setz dich zu mir, setz dich auf’s bett - nur einen augenblick (pause) wirst du ihn jetzt treffen? kannst du denn nicht verzichten ihn zu treffen, nur das eine mal? es macht mich verrückt. wieso? es macht mich verrückt, weil... ich fühl mich so gedemütigt. glaub nicht, dass ich eifersüchtig bin. (pause) ich muss gehen. i, i feel like i wanna let loose or something. i feel soooo excited - i don’t know why. i feel it - mmmhh ahh mmhhh - a little green rosetta dam dam dam dam, a little green rosetta dam dam dam dam, a little green rosetta. i like you. don’t touch me. come closer, closer.

mit Musik von:

Wolfgang Amadeus Mozart - Die Zauberflöte (Dies Bildnis ist bezaubernd schön)

Hecker - 1:

Stillupsteypa & - Tpith or Tetaph

Matthew Thomas - 27/03/97

Michael Prine - Armillaria

The Square Root of Sub - 300ms

Paul Anka - Don't ever leave me

Dialoge aus:

Blue Velvet (David Lynch, 1986)

The Silence (Ingmar Bergmann, 1963)

Twin Peaks: Fire walk with me (David Lynch, 1992)

Il Fiore delle mille e una Notte (Pier Paolo Pasolini, 1974)

After Hours (Martin Scorsese, 1985)

Fanny and Alexander (Ingmar Bergmann, 1982)

L'Avventura (Michelangelo Antonioni, 1960)


Bild: Johannes Kahrs