Medial triptych through time as stunning journey of discovery: a photographic landscape scenario starts to become animated to the rhythm of crickets´ chirping; hops back and forth and over the course of the work runs through mutations that originate, on the one hand, in the filmic medium, and on the other hand, the digital. Where picture succeeds picture and a stroboscopic flicker and the patina of a filmstrip are discernable, we glide into the medial rhythm—temporality—of analogue film. Where the image stacks up and becomes temporalized mainly through pixel mutations, the digital algorithms can be perceived in the duration of the work.
The delirious beauty of Vintage Print arises from this trinity: photography, film, and digital image. That which, in chronological order, decisively changed and determined our perception of the world over the past ca. 150 years, appears here condensed in thirteen minutes—first one after the other, then entirely overlapped and merged into one another. In a certain sense, an experience of time is generated here that is more than the sum of its medial parts, a meditative unrest, which is both intellectual and sensual. The encounter with Vintage Print resembles a high-frequency permanent vacillation of audiovisual affects, which make us dizzy and at the same time, radiates the calm of a landscape: bathing in the swirl of medial phenomena, we hear people talking and laughing, a helicopter tears apart the sky. The pounding noise of its blades brings to mind horses galloping towards us from a distance, and thereby once again, on the speeding up of the individual images by means of the apparatus.