The Imploding Portraits Inevitable-Series was inspired by the earlier film works of Andy Warhol, especially the use of the split-screen in Chelsea Girls. The series began with the performances Shiny, Shiny… and False Colored Eyes, in which today’s media-guided self-optimization is confronted with its own history avatar. In Candy’s Camouflage, three female performers write their own history, from their own individual personalities. Projections of the feminine – or what one may take for it –are called up, stereotypes and brittle clichés are subjected to a series of stress tests. In Candy’s Camouflage the colourful frenzy of the previous pieces dissolves into the black and white of Film Noir. What remains are tools of camouflage and deception, which provide the possibility to create a new self again and again. Constant change, here, is the fundamental principle, mutation’s the game.
Candy’s Camouflage can be seen as a statement against the division of surface and substance. The secure knowledge, that only via a precise analysis of the outside we can establish the necessary contact with the dreams, visions and desires of people, carries this evening.
Film Noir is a logical point of reference here; at times the figures are almost swallowed by darkness before they – driven by a mysterious inner energy – start to twitch spookily, squirming in front of and below the camera.
Like all pieces by Liquid Loft, this one is very musical in its nature – not only in the expansive field of its sonar web, ranging between ambient and noise, sinister drones and melancholic melodies, but also in respects of language, dance and video-styles. The splinters of language, song and noise are mostly of uncertain provenance, and yet they merge associatively, retracing “noir”-atmospheres.
The cameras and spotlights remain flexible, are handled by the actors, are tilted, panned, set in direction and readjusted – or there are zoom-ins on the details of the images, on displays of oneself. In the visual montage, in blends and double exposures the movements are doubled or tripled, translated into complicated, kaleidoscopically multiplied views. The interplay of revelation and concealment is also based on a dramaturgy of layered clothing, changing or discarding dresses; wrapping each other in again. A subtle grotesque in which silver synthetic fiber and drapery play essential supporting roles, takes shape.