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First, I see his legs. He looks like a rabbit. Lying on the floor. Did he hit his head? Or she? It gives me a sort of Donnie Darko feeling. Waiting for something to happen, but maybe nothing is going to happen, because everything has already happened. It is Martina Wolgast’s intallation Beyond Society, which consists of a rabbit-like figure on the floor, several monitors showing some fragments — images as if from a lost memory — and big sculptural letters that confront the audience by saying Beyond Society. There is one thing clear for me about Martina Wolgast’s video-based installations; they create cinematographic spaces, and play with the filmic language…

In the video We need soil, we are faced with a mysterious narration that is based on an act of producing some green liquid out of fresh plants. A hand cuts the plants into small pieces through a compost machine, all these pieces are boiled on an oven, and then the green liquid is circulated through transparent pipes all over the dark room. We are not allowed to see who is doing it, we are not given any information about the context of the place, moreover, we are just left to the rythm of the action. It is not like a mechanical form of movement in Fischli / Weiss’ video The Way Things Go in which objects fly, crash, and explode across the studio it was shot in, but it is more about the process of acting, the gesture of experimenting, and the artistic gesture of producing… In her solo exhibition, titled The Very Eye of Night Martina Wolgast showed the video We need soil in the same room with another piece, The Very Eye of Night which consists of two video projections with a melancholic score that brings two shots together in one story. As if taken from a David Lynch movie, the video projections all together create an uncanny landscape burried under the snow, in the dark, and at night; as if taken from Lost Highway: in one of them, the car moves into the frame with a clear vision of uncertainity, and again as if taken from Twin Peaks, in another one, we are looking into the dark forest where all the reflections are recreating themselves; all the unreal depictions of a forest. In a nut-shell, Wolgast’s practice is interested in the diverse forms of filmic memory, and their reflections on non-narration. Through her video based installations, she creates specific psychological spaces, filmic climates and narrative absence.

— Adnan Yıldız