A room is immersed in semi-darkness. In the center of the space, a woman is lying on a sparse metal platform, franti­cally shaking her head back and forth on a foam pillow. She seems absent, lost in her own world. Her manic, compulsive movements appear autistic; at the same time, they evoke associ­a­tions to the motion of a pump or piston.
A camera pointed at the woman’s head captures the action.

The scene is surrounded by three large projection screens, suspended from the ceiling in a half-circle around the platform. Seen on these are close-up shots of radar screens, rotating on their axes in a continual, almost stoic-looking fashion. They feel gigantic relative to the woman in the foreground. A beat can be heard that seems to be in sync with the rotating screens. Then a song is played, a woman sings in a duet with a man:

…You don’t see me from a distance, don’t look at my smile/ And think that I don’t know, what’s under and behind me/ I don’t want you to look at me and think that what’s within you is in me (…) Seemingly connected, not alone in the world/ Not separated from birth/ We go past and remain/ because everyone recog­nizes themselves in it…”

Gradually the music fades into a tranquil waltz. After awhile this commu­ni­cates a feeling of being safe and protected, a kind of content­edness. The rotating of the radar screens seems more and more like a spinning dance motion, which also imparts something harmonic to the woman’s manic gestures.
The entire time, the camera is recording the rhythmic movements of her head, trans­mitting it to a small monitor via a long, heavy cable, which is suspended from the ceiling at the entrance to the instal­lation. In addition to the monitor, which at times also shows the woman’s face in close-up, the spectator has a view of the room. However, a barrier prevents the instal­lation from being entered. The setting is perceived as a three-dimen­sional image, which, on the one hand, frames being alone as an aspect of privacy that is to be protected. On the other hand, the instal­lation shows that protective elements can be abused; with their help privacy is exposed – the private becomes part of the public. And, vice-versa, the public becomes private, leading to a relativizing of the individual and the personal, or exposing supposed devia­tions from the norm.

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