Counteracting Trivialization
"The blond girl running behind a deer in the forest in 'miniature 5 (Wild Water)' is transformed in Egg's interpretation from a minor to a leading actress. The motif of the child, which otherwise appears only occasionally and seemingly incidentally, catches the eye. Decked out in her impeccable Sunday dirndl amidst the sun-flooded forest, she draws our attention to the anything but innocent staging of the alleged innocence of the countryside. Egg's video work with the subtly changed, recurring or mirrored film segments deflects, as it were, the original films back upon themselves. They are not miniatures in the sense of bite-size tidbits and refinements of certain models; rather they are acts that serve to focus on and also to approach, critically and more precisely, the techniques of trivialization. These images do not absorb stories in the usual sense; there is no identification with the heroes and victims to obscure the fact that they are magical images arising from a precisely designed staging. On the contrary, the manner in which the original film material is transformed allows us to begin to fathom the rules of this magic." Rainer Fuchs (translation: Anne Heritage)
"The blond girl running behind a deer in the forest in 'miniature 5 (Wild Water)' is transformed in Egg's interpretation from a minor to a leading actress. The motif of the child, which otherwise appears only occasionally and seemingly incidentally, catches the eye. Decked out in her impeccable Sunday dirndl amidst the sun-flooded forest, she draws our attention to the anything but innocent staging of the alleged innocence of the countryside. Egg's video work with the subtly changed, recurring or mirrored film segments deflects, as it were, the original films back upon themselves. They are not miniatures in the sense of bite-size tidbits and refinements of certain models; rather they are acts that serve to focus on and also to approach, critically and more precisely, the techniques of trivialization. These images do not absorb stories in the usual sense; there is no identification with the heroes and victims to obscure the fact that they are magical images arising from a precisely designed staging. On the contrary, the manner in which the original film material is transformed allows us to begin to fathom the rules of this magic." Rainer Fuchs (translation: Anne Heritage)
