What the aquarium saw. "How should we explain the discrepancy between people´s attitude toward the inner and outer life? Why is it so sharp?" In the contemporary Manga household, traversed by the slowly rolling conveyor belt of the raw fish snacks of everyday life, the descendants of Adam and Eve cower in eponymous costume under dispassionate, detached fish-like eyes. The visual focus is mainly somewhere under the non-existent ceiling of this claustrophobic yet boundless room. It is an angle usually only experienced when close to death. But these animated contemporaries, in not wholly conjugal clinch, presumably aren´t mortal. They are too artificial for that, and too naked. Yet even their nakedness: what is it exactly? Not innocent; not arousing; the suitable flesh-coloured costume for close combat. Domestic life flourishes on a neon green artificial lawn. Even more artificial than the modern Asiatic style household: an impossible exterior creeps into the interior of the self-infatuated contact athletes.
"I think that depth is a myth."
Green Box; that would be the metaphor for the new life on the surface - if it weren´t so flat. How should I paint my kitchen? Every day the Green Box presents you with a different room, deer in back lighting, raw graffiti, and a tiled barrel vault for the home disco. You are on TV yourself or the aquarium watches you. Viewed through an aquarium everything is inside and everybody is at his or her own mercy. With hyperventilation screeching helplessly over the grotesque surface of all intimacies, a homage to Donald and Tweety, these animated heroes are without a private life, and without "private parts". The comic figure in us laughs at the genitals. Anna Freud would never have dreamed of such a thing.
A film made up of a dialog between two people. Steffi and Johnny are in a running sushi restaurant. The first conversation soon explodes into a performative parallel world of unspoken thoughts and emotions. Every coming sushi evokes a story from the unconscious repertoire of the chaos of human relationships. Wish-machines are cranked up, creating grotesque parallel worlds and extreme situations. Choreography: Chris Haring. Liquid Loft.
We enter a constructed setting, against the background of a video wall that suggests we are in a restaurant. A Japanese restaurant, as can be concluded from the conveyor belt which forms part of the fittings.
Running Sushi consists of a casual conversation between Steffi and Johnny in a sushi restaurant, while the parallel world of thoughts and sensations of both characters takes the stage. Each new dish has major consequences in the grotesque dream reality.
(International Film Festival Rotterdam, Cataloge, 2009)
Printgrafik: running sushi stephanie cumming 2.jpg
english print version