The work addresses the issue of the inundation by images, particularly in social media. How has this flood altered the status of the image?
SSS: During our initial thoughts about “ANTIKINO”, the overproduction of images and the changed significance of the relationship between images and life indeed played a role. There was a time when a life grew in significance if it was shown on the cinema screen. Today, the mechanism works more the other way round: from an increase to a decrease in value. It’s no longer special to see yourself or another reality on a screen. The explosive power of images has been lost. At a time when everyone is showing images of themselves, it’s no longer a political act. Consequently, this could mean that the subject from which the images originate has also lost its value.
In this context The Script is an exciting work; it focuses on a specific YouTube format, doesn’t it?
UZ: Yes. From the multitude of YouTube videos depicting a praying Muslim father being used as a climbing frame by his children, Akram Zaatari generated a script and stages it in his film.
The Script stages private space in a way that is totally normal today. Did the experimental forms – found in this year’s programme in works such as those by Ute Aurand and Deborah Stratman – to some extent pave the way for making the private public?
SSS: Ute Aurand’s Rasendes Grün mit Pferden (Rushing Green with Horses) very much refers to the private sphere. We’re familiar with the “genre” of diary films in various forms from others like, for example, Jonas Mekas. Over the decades, Ute Aurand has developed her own filmic practice out of this.