CARGO

WARUM 2.0 takes the form of a dream, of hallucination even, but without the loss of control normally involved in dreaming and hallucinating. It is not so much based on speed, as it is on suspension. Repetition and suspension that is, of what could have been live, alive, testimony, archive and memory. This space has nothing to do anymore with confusion, neither between fiction and reality, nor between the real and the artifice. It manages and produces illusion.

Warum 2.0, as 2.0, takes the pictures of Daniel Demoustier, the pictures he originally took from war victims, and projects them on transparant screens. The pictures are then repeated, enlarged, doubled and enhanced, until they fill a studio and form a stage, in which hosts and visitors perform as actors. Users and victims, pictures and positions start to double, repeat and mirror each other endlessly through media, until they form a world that becomes real as event, which in turn can be filmed again, even as a newsevent. Of course this event is a pseudo-event. It is an illusion. Like the real in reality tv, it is a non-reality. It is a tv reality, without tv. In the same way the real is no longer where it once was, television does no longer need that kind of real reality. It needs mediareality (no problem, television produces it itself), and it needs ‘us’ in it, to make the event come true.