7-channel video/sound installation
Sound: Boris Vogeler / Ulrich Polster
Field recording: Sylke Blumstengel / Ulrich Polster
00:40:00 min, HD synchronized, loop
Catalog: STALKER/MATERIAL, Neue Sächsische Galerie, Chemnitz, 2015
painted with light /by arvo iho “People now nothing of their subconscious desires.” Where they are now building on the ‘boiler’ was the gate to the Zone in the film ‘Stalker’ by Andrei Tarkovski. In the industrial estate between Old Narva and Leningrad Avenues all the trips using the flatbed railway truck were filmed. At the bridge over the River Pirita the flatbed truck halted, that’s where they got off and headed in a northerly direction.
dormant images /by claus löser On 1 May 1981 of all days Andrei Tarkovsky‘s movie Stalker opened in some cinemas in the GDR. The news of this curious, cryptic, philosophical and in every respect unusual work spread like wildfire in the circles of people seeking ways out of the intellectual dilemma of everyday existence under really existing socialism. How was this possible? The fact that it was from the Soviet Union of all places that a film reached us that struck these hidden chords in us?
captive in time /by matthias lindner “The machine-gun-man on the … motorcycle.” The projection opens with words from the contemporary witness Arvo Iho, the only comprehensible speech in the video installation. The former intern on the set bears witness in this way to the starting point of Polster’s video – the former locations of Tarkovsky’s Stalker. In the course of the 40 minutes Polster will modify additional typical Tarkovsky scenes and ambiances/environments: the train trip and the waterfall, the large areas of fog, fire, landscapes full of ruins.
going behind the images /by hajo schiff JOURNEY Everything starts with an image – and it will also end with this image. What expands in between to a 39-minute 7-channel video projection is a stream of associations, interpretations and effects derived from it. An extremely subjective world of images carries you off, not unlike its cinematic model, Tarkovsky’s Stalker, after a train journey into a ZONE which can never be exactly comprehended behind the image and between the images.