A passage from Theodor Fontane’s Effi Briest is projected onto a wall. A woman’s dress stands upright in the room. A voice is reading out the passage, and the sounds described in the passage are heard in the background: the rustling of a woman’s dress while walking, or “un doux frou-frou”, as this subtle, delicate sound is described in a poem by Rimbaud.
None of this is true.
The projected quote is inverted and only appears correctly by passing through a mirror, the dress is a short night- gown extended with white curtains and is hanging on a string, and the “frou-frou” is but an edited arrangement of white noise. The serene poetics of the installation fade in the reveal of their disso- nant, hollow and blunt facade.
