wall installation, 2007, audio-file, headphones, found and recorded
at Hibiya Park Tokio (installation view by Eva Teppe)
›THE HUMAN FLY‹
›HALF AWAKE HALF ASLEEP‹
›The Human Fly‹ 2006, Video Triptych, sound by Mika Vainio
Eva Teppe estranges in these works, analogue to former works, found footage material, isolates it from its original story line and leads the images to a new level of significance. Both works,
›The Human Fly‹ (2006) and ›Half Awake Half Asleep‹ (2006), revert to video documentations of the officially prohibited jumps of so-calles ›Base Jumpers‹. The
moment of the irrational, which normally manifests itself for the spectator in the action of the jump, is dissolved through the manipulation of the videos and their presentaion in extreme slow
motion and is translated in a different state of consciousness. Eva Teppe creates a suggestive image of a somnambulian atmosphere. The jump of a person from a rock develops to a
moment of eternity in time. It is a moment which excludes time and space. The impact of the apparent eternity is undelined through the interplay between the steady metamorphosis of the
fluid background and the presentation as endlessly lasting loop. The changing colours – according to the colours of a rainbow – reflect this condition metaphorically. The sound for this video
has been conceived by the composer Mikio Vainio and further condenses its the dreamlike atmosphere.
›She frequently steers our gaze towards filmic details that the original makers of these films were probably not aware of; her reason for doing so, however, is not to amass evidence
towards solving a crime but to scrutinize, again and again, the way perception is determined by the viewer?s perspective, by dimensions and proportions, and by the speed at which events
are related in time. She systematically exposes the need to grasp onto clear-cut, immutable interpretations as little more than a shot in the dark. (...)
By eliciting hidden evocative qualities and an associative potential not directly contained in the original raw material, the artist also succeeds in multiplying the moments through which the
most personal experience of each individual viewer can be addressed.‹ Ludwig Seyfarth
›Half Awake Half Asleep‹ 2006, DVD, 11'21'' in loop
sound by Mika Vainio
›Whereof one cannot speak, thereof one must be silent‹ is the famous maxim with which Wittgenstein Concludes his ›Tractatus Logico-Philosophicus‹.
The oath of silence finds a social setting in the ›Omertà‹, which binds the members of the Sicilian Mafia to a law of secrecy and is also respected by the island's population out of fear of reprisals from the Mafia.
In a room installation titled ›Omertà‹ (2005), Eva Teppe returns to old Super 8 films as her source material. For this she selected five short sequences of
footage shot at private family parties.
Each one captures a moment when someone happens to look into the camera. Shown as a loop, all we see – over and over again – is the
brief passage from when a head turns to look at the viewer, its eyes giving us the impression we are being inspected, be it with an air of concentration, of suspicion or of shyness, until the person then withdraws
back into himself – accompanied by sounds composed by the Finnish musician Mika Vainio which seek to relate to the character of each of these anonymus subjects.
›OMERTÀ‹ 2005, five-channel video installation, sound by Mika Vainio, foto: AFR
›THE WORLD IS ALL, THAT IS THE CASE‹
The shots originate from a TV documentary about so- called ›Castellers‹, Spanish athletic groups that, during
a big party, attempt to outdo each other in forming the highest pyramid of people. Eva Teppe researched the split seconds
when the pyramids collapse using documentary material from archives, reproduced and digitised the shots and finally
abstracted them by means of a variety of digital techniques.
The apparently simple statement of the title sentence, a citation by the linguistic philosopher Ludwig Wittgenstein,
is broken, and becomes interpretable as a metaphor. The laws of gravity are involved in several of the meanings of the German
word ›Fall‹ (both fall and case). In his world, man therefore does not stand on top of the solid foundation of facts but instead
is held into place by a network of relationships that weaves him into the world.
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›DIE WELT IST ALLES, WAS DER FALL IST‹
›THE WORLD IS ALL, THAT IS THE CASE‹
2003, video projection
DVD, 4:3, single-channel video (looped)
2'23 min, sound by Ulf Langheinrich