In a post–internet world, images seem to travel in clusters of simultaneity. They appear momentarily and are instantly being replaced by other images, as we are swiping screens and clicking ourselves through digital planes. Decontextualised and disjointed images form part of the contemporary visual everyday.
The cinema traditionally presents images within temporal sequences. Narrative threads flow on from the relationships between these images in motion, arranged along a timeline. Instead, the installation ‘Irrlichter’ explores a spatial distribution of still images more closely related to graphic narratives that seeks to accommodate multiple connections as well as interruptions and gaps.
Within this context, the installation focuses on the material world as the site of historical events. Human engagement, as well as ‘natural’ forces leave traces that inscribe themselves onto physical matter. Images, whether digital or analog, inhabit a particular aspect of this material world. They are able to document historical events, but also constitute artefacts in their own right.
In the sense that they can no longer reveal their historical origins, all artefacts remain fragmentary. These aspects of indiscernibility give rise to multiple potential histories emerging from this lack.