A Way In Untilled
Cinematography by Berto.
The place is enclosed. Elements and spaces from different times in history lie next to each other with no chronological order or sign of origin. What is present are either physical adaptations of fictional and factual documents or existing things. In the compost of Karlsaue Park, artifacts, inanimate elements, and living organisms . . . plants, animals, humans, bacteria are left without culture.
The set of operations that occurs between them has no script. There are antagonisms, associations, hospitality and hostility, corruption, separation and degeneration or collapse with no encounters. There are circumstances and deviations that allow the emergence of complexities. There are rhythms, automatisms and accidents, invisible and continuous transformations, movements and processes but no choreography; sonorities and resonances but no polyphony.
There is repetition, chemical reaction, reproduction, formation, and vitality, but the existence of a system is uncertain. The roles are not distributed, there is no organization, no representation, no exhibition. There are rules but not a policy.
The head is obscured by a beehive. The colony pollinates aphrodisiac and psychotropic plants. Her headless body lies in the mud. The man moves through the day as an automaton. Animate the death with an infinite repetition of life, 1914. A fluorescent dog in the shade of concrete slabs, weans a puppy. A Beuys oak has been uprooted. Myrmecochory occurs, ants disperse their seeds. The blind crush them. There is no color, no odor. Even when truly cast in the eternal circumstance . . . where her arm protected her from the sun, they settled in. It is endless, incessant.