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Museum für Gegenwart Magazin, Marc Ries

In the rapid sequence of shots, however, the pages divide themselves; their entirely undramatic concatenation during the editing process sees them reduced to parts, to particles, which nevertheless open themselves up to one another – immediately and directly – and whose formal idiosyncrasies foment a strangely seductive »game with history«.

The written figures, the pictorial fragments, the drawings transpose themselves into unusual narrative splinters. Here, the causative cinematographic animation of image sequences – a legacy of Eadweard Muybridge – presents itself as a surprisingly new perception of an opening up of the sequenced shots towards an »affection of the whole«, to an »open whole« (Deleuze) – that of a film – and furthermore to the open whole of the whole life of Heinz Emigholz.

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