The short extracts of texts are

presented in the liveries of the

airlines that operated out of

Tegel between 1960 and 2012.

​

Exchange & Affect

The texts are chosen not for

their content, but for their

moments of intensity; one

may follow the next, but they

are not in conversation, rather

they represent an exchange.

Taken out of context and

stripped of their extratextuality,

including punctuation, new 

extratextual elements between

the texts appear.

 

What happens when I am

airside – am I, too, stripped of

my extratextuality? Depending

on where I am travelling,

I wear different clothes, read

different books, eat different

foods and speak a different

language. I present my ‘self’

out of context.

All the texts have been formally

referenced and credited,

but does this serve any 

purpose other than spurious

intellectual validation for the

viewer?

​

In order to arrive airside, I

have to affirm who I am by

showing my passport. Stateprescribed

information is

factual but isolated. In this

‘no-place’ that is airside, do I

present as a series of affects

held together by a small burgundy

book, proving I exist.

​

Temporality

Animation as a medium

reflects and represents the

frozen moment I experience

when I am airside. A series of

captured, fragmented instances

that make up a whole.

I constantly check the departure

screens, planning my

finite time around shopping,

eating, smoking in a vacuum-packed

cell, going to the toilet

to see how my ‘self’ is looking,

and yet there is always a 

mad dash to the gate, mild but

unnecessary panic rising as

I fear the object of my desire

will be missed.

​

This sense of suspended

temporality, of time both

speeding up and slowing

down, is reflected in the film

through the use of a fictional,

animated timeline; the viewer

knows how long the film lasts,

but time is being inaccurately

charted.