| Between hovering, scanning and collecting, a camera glides over damaged car surfaces in an almost intimate distance as trying to »touch« the wrecked, scratched or distorted shells. Used on full-automatic mode the consumer camera keeps zooming in and out, working hard on the live view autofocus and exposure. The overstress of the small high tech apparatus creates harsh blurs, over- and underexposures that sort of ‘fit’ with the immediacy and roughness of the car bodies’ deformations.. Accompanied by a subtle soundtrack composed by Winkler of original sounds recorded by the camera and the atmospheres of a network server room, a strange pulsing is introduced of both, a physical and technical sensation. The film is directly connected to Winkler’s sculptural work, where perfectly engineered artefacts and goods clash, are cut apart, reworked or assembled to heterogenous, sculptural alliances. Shifting between controlled detachment and impetuous bonding, the film’s mixture of uncannyness and carefuleness can also remind us on Cronenberg’s Crash, based on the novel of J.G. Ballard, in which its protagonists have erotic relationships with cars and stigmas. |
