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PRELIMINARY MOVEMENT (Zakharov, Nitschke) - Burying the first Cuckoo Clock

MAIN MOVEMENT (Nitschke) - Long walk with Orson Welles

PARALLEL MOVEMENT (Nitschke) - Carrying Davids Eyes and Nose

THIRD MOVEMENT (Nitschke) - Erasing the Pan of Picasso with the Happiness of Vadim Zakharov

     PRELIMINARY MOVEMENT (Zakharov/Nitschke)  - Burying the first Cuckoo Clock 


At the centre of the sphere dedicated to family and education, close to a hill called 'Zanatberg', the first cuckoo-clock is buried on a forest-covered hilltop. From this place on can peer through the treetrunks on a vast grainfield.

MAIN MOVEMENT (Nitschke) - Long walk with Orson Welles


The most important tool used on this visitation is a grey box divided into three compartments which can be carried on the back like a backpack. A sponge is stored in the smallest pocket, the pocket next to it has the exact size to contain an open Macbook Pro 13''. The big pocket underneath is almost square. It has a doubled back plane which is painted with black board paint. Behind the black plane there is another pocket, an opening on the left side of the box allows to store there further equipment. The black plane shows a drawing after a lithography by Pabo Picasso done with white chalk. The lithography depicts the head of Pan with a double flute surrounded by leaves. The movements' concept stipulates to show the movie 'Citizen Kane' of Orson Welles on the MacBook and to walk direction of south through the forest as long as the film runs. Nitschke carries the box with the running film and Zakharov and Rena Müller-Kaden have the opportunity to watch the film while walking. After about forty minutes Zakharovs suggests to have a picknick and the group settles down at a junction, having drinks and food with the sequence within the film playing when Kanes succesful candidateship for the american presidency is sabotaged by his opponent revealing Kanes love-affair to the public.


PARALLEL MOVEMENT (Nitschke) - Carrying Davids Eyes and Nose


On their way, while accompanied by the film, every of the three participants carries a supersize walking stick. The single walking stick is made of a trunk of a young birch with a part of a relief added on the thicker end. The relief, showing positively on one side the eyes and nose of Michelangelo's David, on the other, negatively, an image from the film: the still is part of a sequence when Kane is informed about his banrupcy by two of his bankiers. Its two elderly men sitting on both sides of a big table, behind which the spectator is looking deeply into the space of the image. From this governing center in the spatial depth the black silhouette of Kane is approaching in a manner typical for the film. To the junction of every part of the relief and the respective trunk ribbons of satin in white, red and black are mounted which flutter in the warm wind.


THIRD MOVEMENT (Nitschke) - Erasing the Pan of Picasso with the Happiness of Vadim Zakharov


As the film approaches its end the group climbs a soft hill which used to be cleared and is now shrouded by young trees. At the top of the hill the credits begin; Nitschke tucks the three trunks of young birches with their respective part of the relief next to each other into a pile of branches left from the clearing and reassembles the relief that way. From the pocket in the box he fetches two casts of another relief modelled after a photograph taken at the bridge close to Fürstenberg, showing Zakharov in a bright and happy moment (see visitation 2). The casts have a cavity at their backsides, to allow to cover ones face with a cast like with a mask. Nitschke gives one of the reliefs to Zakharov and asks Rena Müller-Kaden to take the sponge from the box and to erase the drawing of Pan after Picasso with red wine from a plastic bottle she will find as well within the box. As she erases the Pan, he and Zakharov hide behind the reliefs.

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