Samstag, 30. Mai 2026, von Mittag bis Mitternacht / Saturday, May 30th, 2026, noon to midnight
Bar ab/from 18h
La Reprise (Dérive) ist eine Übung in Kontinuität und Verzerrung. Dieser experimentelle Film begann am 21. Juni 2020. Am 29. Mai 2026 wird er 310 Minuten/Wochen lang sein. Jede Woche entsteht eine weitere Minute, indem in derselben Woche aufgenommenes Material mit Archivaufnahmen aus den vergangenen Jahren kombiniert wird. Bild und Ton werden konsequent mit demselben Gerät aufgenommen (einem iPhone). Der Film mag verzerrt sein, doch bleibt stets die Annahme bestehen, dass etwas existiert oder existiert hat, das aufgezeichnet wurde. Die Sequenzen sind weder wahr noch falsch; sie verbinden unterschiedliche Grade von Theatralität und Authentizität. Die Erzählung ist von der Summe ihrer Teile entkoppelt und entfaltet sich entlang von Erfolgen und Scheitern. In diesem Sinne befindet sich der Film in einem konstanten Zustand des Fertigseins, anstatt endlos unfertig zu bleiben. Während seine Länge kontinuierlich wächst, ist sie zugleich immer schon seine endgültige Dauer. Dieses Werk soll bis zu meinem Tod fortgeführt werden.
Fette Sans ist eine Konzeptkünstlerin, deren Filme, Performances, Texte und Installationen untersuchen, wie Realität und Begehren durch Bilder vermittelt werden – insbesondere durch Screens. Wie sehen die Rückstände eines Bildes aus? Was konstituiert eine Erinnerung?
In ihrer Praxis erforscht sie Fragen des Seins und Zugehörens, die Beziehungen zwischen Arbeit, Geschlecht und Bild sowie die Entwicklung dieser Begriffe im Kapitalismus.
ENG: La Reprise (Dérive) is an exercise in continuity and distortion. This experimental film began on June 21, 2020. On May 29, 2026, it will be 310 min / weeks long. Every week, a subsequent minute is produced by combining scenes shot that week with archival material from the past years. Footage and sound are consistently recorded with the same single device (an iPhone). The film may distort, but there is always a presumption that something exists, or did exist, which is what was recorded. The sequences are neither true nor false, they integrate various degrees of theatricality and authenticity. The narrative is disconnected from the sum of its parts and elaborates on successes and failures. In this regard, the film is in a constant state of being finished, rather than interminably in progress. While its length progressively evolves, it also always is its final duration. This work is meant to continue until my death.
Fette Sans is a conceptual artist whose films, performances, writings, and installations explore how reality and desire are mediated by images, particularly via screens—what do the residues of an image look like? What constitutes a memory?
With her practice, she explores the condition of being and belonging, the relationships between labor, gender, and the image, and the evolution of these notions under capitalism.
Dear Fette, thanks so much for the invitation. I left 45 minutes before the end. I
have analysis at 8 in the morning Monday’s and it’s so challenging at the moment
so l need it to give it some head space. I’m really impressed by the endeavour of
the film and the chronotopical mammoth project it is. I could feel so much
intention and care (maybe is the right word, or tenderness maybe, or even love or
relentless believe!?) in the images and composition I don’t know quite how to
describe it but as if touching life with a certain preciousness (that I very much
admire, perpetually envy even, whether already achieved or not – like we can envy
love or happiness even if we are ourselves happy or in love). As much as we can
touch life at all…. In its digital rendering and pure time passing, the amount of
observations… It has many different moments but in the end it left me with a sort
of melancholy emerging with the realisation how much the „quality“ of life is about
how we see it or touch it and maybe the subtle lingering feeling that we die a little
bit every time a moment ends. In the beginning, when I hadn’t read the
description yet, I thought your film might be ordered according to the seasons
and somehow it turned out to be true (maybe the seasons of temporality itself),
and I was very pleased to hear Vivaldis spring, and then walk home in the snow
shortly after. It felt this strange relation all of a sudden between documenting and
life I real time (strange in a good way). In general- what an incredible setting this
movie in the weather yesterday. Sometimes the universe makes it just perfect.
also I had to think a lot about what we show of ourselves to others but maybe also
to ourselves, and that it is so different often to how we feel (how we seem and
what we seed) and that what is visible to others is kind of only expressible in how
we look at things, the words we use, what other observes us taking in, or giving
out. In that sense what (how) we see is shaped by the symptoms we possess
and that interest me a lot. Because in them our whole life story is contained, our
traumas, dreams, and yearnings, how it says at one point in the movie, a very
crucial moment I find, something like „and then she tells the story of her life“, and
what this is, and how we can even tell it, how we can touch the so fleeting
aliveness, with others, through others, for others, for ourselves. Anyway, as we
didn’t get to talk after the screening I thought I’ll send you these thoughts that I
wrote down on the way home, and I hope they are not just gibberish to you.
Hopefully see you soon, with a little more time. Hugs, Jackie
Jackie Grassmann
Berlin, 1/6/25, 11:10 AM