FF/REW, 1998, video, 17 min.
The strategic basis of Ene-Liis Semper's work is her psycho-physiological
experience seeking expression from her bodily surface. The
works spring from this context and are often fragmentary,
frequently founded on mere bodily reflexes. These works are
not easily verbalised, and are not as a rule subject to descriptions.
They are, however, vaguely and distantly discernible, perceptible,
comprehensible and recognisable. The video presented in Manifesta
3, FF-REW, is based upon one of the most elementary and fundamental
technological characteristics of the video as a medium. As
such, it also serves as a commentary on the medium itself.
The basis of this work is the capability of video to manipulate
time, to break down the linear and narrative structure of
events, to continuously change them around, to move both backwards
and forwards from the starting point. In doing so, Semper
is at the same time the model for her action and the distanced
viewer. "I have always been interested in getting ahead of
words and consciousness (REW) or getting behind them (FF)",
she says. An ironic manner of looking at herself is revealed
here in a forced symbolic form through oscillation and an
endless reversible chain of theatrically stilted suicides.