In January 2010 a 30-minute long YouTube video was released by the Dubai police force. It profiles a group of individuals - all alleged Israeli secret Mossad agents - on an movie-like espionage mission. They are shadowed through awkwardly positioned security cameras as they travel around the airports, malls and hotels of the Emirate’s capital. The footage concludes in their rushed departure, emphasising their alleged mission - the unseen assassination of a senior Hamas military commander - Mahmoud al-Mabhouh.
This anti-climaxed documentation was transformed into a first-person 3d map, resembling both architectural models and outdated action computer games. It is juxtaposed with a music compilation of buildups segments from millennial trance tracks - a futile seamless loop of ever-accelerating beat-less crescendos.
It is an intense forensic fiction, importing the generic fantasy-spaces of global capital back into the world of CGI through which they were first conceived. The visual language of the military-industrial-entertainment complex, and its specific make-shift idiolects in the Middle East, Israel, and the gulf states, is here evoked through an archaeology of popular narratorial codes and juvenile musical expressions.