Evidence

Evidence shows clips from a virtual scenery which begann in OFF, a barren place in a deserted nighttime landscape, where architectures emerge from reconstructions of collective memories. Evidence is a phoney locale, consisting of a constellation of architectures and buildings, reconstructions of fictitious locations and images from media memory, from accidental arrangements that belong to the realm of constructed imaginations. It is no place to visit.
Evidence could be the name of a place, as in Evidence, CA., somewhere in the world in a game of reflections and refractions adding another layer of reality to the expression - as if one could actually travel there. Evidence promises paradise, it conjures up a disenchanted utopia, it mirrors its own formation - it is not more than that which becomes visible, and ultimately only a proof for the fact that something is there to be seen: a silent witness to itself. No other life is being touched here.
Evidence could be a film set or a matte painting displaying the following architectures as virtual reconstructions: A snack stand (from Je t'aime... moi non plus by Serge Gainsbourg, F 1975), a cabin (in Lincoln/Montana, inhabited by the ill-famed UNA-bomber Ted Kaczinsky), a movie theater (from a photograph by Julius Shulman, Terrace Theater Los Angeles 1938), a hangar (a storage belonging to the FBI where Kaczinsky's hut is still being stored as evidence), a stage (from Badlands by Terence Malick, USA 1973), a beach house (from Kiss Me Deadly by Robert Aldrich, USA 1955). These movie sets and backdrops are arranged in a landscape which has not been overtaken by sudden nightfall, but which radiates artificial darkness generated by the complete absence of light.

(Source: http://www.constanzeruhm.net/portfolio/piece-of-evidence-circles-of-conf...)