Introduction

The landing of a cult cargo package that the natives have to deal with – Klaus vom Bruch

The exhibition presents 8 early video tapes (remixed) from 1978 to 1984. With the new technological possibilities of online digital editing, leftover video material has been precisely remixed and cut. This 'Directors-Cut' from 1998 concentrates on early, rough and structural pictorial motifs that were already interpreted at that time as visual counterparts to musical electronic composition methods, such as those of the band Kraftwerk. 

There is no personal manual intervention either in the development of the pictorial motifs or in the presentation of the exhibition. In addition to Sony's monitor pro classics, transport boxes, as references to bleachers, serve as visitor seating and represent an ironic commentary on video art in exhibition situations. 

The large-format transport boxes are, for their part, classic packaging for sculpture, and are converted here into functional and 'ownable' exhibition pieces. 

Due to this shift in meaning, the manufactured means of art transport function, just as a sewing pattern does, as the video raw material, that is the actual and immaterial magnetic tape carrier, has been re-edited from advertising and film archives. 

In this respect, an intangible, laid-back quality that avoids design interventions is retained despite the large-scale installation, and the boxes, together with the monitor and video tape in a modular Barbapapa, Barbamama, Barbabello, Barbabimbo principle return to the sender (Kaufer or Roggendorf). 

The video images thus have the chance to extend their compositional method into the space, i.e. into an exhibition, and to clarify it without being a video sculpture.