Films & Visual Essays

Beyond agency

A body reaches towards the world while remaining exposed to forces it cannot command. This exposure can appear in a landscape, a gesture, a prolonged pause or an image whose meaning refuses to settle. The series stays with the uncertainty of such moments. Vulnerability names the gap between wanting to determine an experience and discovering that something in it remains beyond our reach. The photographs and films give this feeling a temporary form without claiming to resolve it.

Time and substitution

Time continues through our attempts to retain it. An image can preserve an appearance while the person, place or feeling it records keeps changing. Technological development adds another uncertainty: bodies and experiences increasingly seem capable of being translated into data, reproduced or substituted. The series approaches the anxiety of losing a sense of oneself within these changes. It asks what remains of an experience when its visible trace can persist independently of the body that lived it.

A body held by an image

The title describes a second vulnerability in the means of representation. A vulnerable body is carried by another vulnerable form: a photograph, a fragment of film, a surface that offers an encounter without the reciprocal presence of the person or world it shows. Fragility here concerns more than the durability of a material. It also concerns the tenuous relationship through which an image can hold our attention, evoke a presence and leave its absence intact.

Immersion makes this relationship especially uncertain. As attention enters an image, the body doing the looking can recede from awareness, becoming almost transparent to its own experience. Song’s installations explore situations in which movement, orientation and material encounters may bring that body forward again. This series stays with the vulnerability of its withdrawal: the intimacy of an image that draws us in while offering no stable place from which to hold what it presents.

Fragments in relation

Polaroids, photographic fragments, images of forest and bodily forms, and collages of body and nature sit alongside the films A Lying Man and Mir ist bewusst, was Freiheit bedeutet. Their proximity allows sensations to pass between stillness and duration, between an image retained and an experience already slipping away. The series remains open to new arrangements. Each work offers a partial encounter with the difficulty of remaining present to a world, and to a self, that cannot be secured once and for all.