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In NavelFable Mara Mattuschka subjects herself to a second birth through endless pairs of tights. Her body struggles so hard and in such a deformed manner from out of the layers of nylon that the sheer struggle for survival becomes visible. (Peter Tscherkassky)

Hands vigorously pull scraps of paper from an antiquated printing press, while their owner remains invisible. Then Mimi Minus and a razor blade - the incident is still shocking. The shrouded head, wrapped in muslin, reappears, and black paint is daubed over the top ... no image retains its integrity, for each is crossed through, painted, double-exposed, spilt, soiled. (Stephan Settele)

Eyes and ears are slightly reduced.

The birth of the alphabet.

Titania, a clumsy adolescent, sits in the tub, on the top of the plug-hole, the entrance to a murky world full of filth, bugs and hazards, which connects her to all the ass-holes in the world. Elements of this world now hover like Ghosts on the surrounding tiles, while Mimi Minus ruminates on the impossibility of love. (Peter Tscherkassky) "Nobody understands love better than a woman, who enjoys it for the last time." (Mara Mattuschka)

Mimi Minus, the star, advertises a new, sticky, black, brain-cleaning agent. She uses it first on her reflection in a mirror in order to clean one half of her brain and subsequently applies it to her whole body... (Christa Blümlinger)

In a Spanish magazine, I found a list of characteristics considered by the Catholic church to be positive or negative. With two exceptions, the positive characteristics represented passive attitudes. In the film, I represent them mimetically. Using animated imagery, I let the juices which are stimulated by sympathetic and parasympathetic nervous system flow over the body: tears, sweat, sperm, vaginal secretions. (Mara Mattuschka)

"The desert grows..."

The generating material for Rhythm 94 is a sequence of photographs taken by the cinematographic pioneer Eadweard Muybridge. The sequence is transposed into a single movement across the screen. The basic pattern arising out of the abstract nature of the photo animation is available for repetition at various speeds and in various spatial relationships.