retur                            




Colonel purposely does not use a camera man. He has various strangers film
the situations that occur. Hereby they become witnesses - but also
accomplices - in the process of revealing the hidden mechanisms of the
cultural event.


Colonel is using micro port when handing out the camera to other people as a
guarantee for the technical quality. This lends the perspective of others,
i.e. a female Swedish museum director acts on Colonel's encouragement to
function as a camera man during Colonel's interviewing of a hotshot curator.
But she becomes insecure and rejecting, when she realizes the situation -
which is all caught on camera.


It is easy to be taken in by this innocent project, but when Colonel has
passed the camera on to the more or less random passers-by  on location,
their own position in the cultural event's hierarchy is revealed. As an
overly enthusiastic arranger, Colonel uses all methods to engage people in
the process of THE CURATOR LIFTING-RUNNING COMPETITION, and the film
shootings creates situations that document what we do not normally see at
cultural event such as the Venice Biennial.




retur


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