"Luftgeister" (air spirits) begins with a repeated fragment of an old black-and- white Hollywood movie, in which a submarine gunner, gleefully firing torpedoes at an enemy target, is revealed to be actor Ronald Reagan. In this opening sequence, vom Bruch makes explicit the collision of collective memory superimposed by the labelling of Colour-Triangle-Prisoners at German concentration camps, presenting history as mediated by cinema and television representation. In the subsequent sequence, established with a static shot of a Los Angeles palm tree and a Mohawk gas station on Sepulveda Avenue, vom Bruch jumps vertically into the frame, his face partially visible for a brief moment before he falls out of sight again. This minimal action, which introduces subjectivity and employs a contrasting strategy of fragmentation, is repeated over and over until the opening musical score of Smetana's-Bohemian meadows and forests has been scrached backwards manually.
A project in Collaboration with The Long Beach Museum Of Art when Reagan became elected as president.

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