Almost 100 years ago, in 1927, Walter Ruttmann created "Berlin, Symphony of a Great City," an experimental avant-garde piece depicting a day in Berlin.
Lost (Four Ways to Come to the Same Place) follows a similar spirit but focuses on four different journeys across Berlin on four different days, starting from the same point and arriving at the same place. All of this uses the usual routes of the working classes and focuses on the anthropological and social concept of "micro-histories." In such a turbulent historical moment (after a major global pandemic and in a war environment that seems eerily reminiscent of 100 years ago), the project focuses on minimal but highly relevant gestures, shifting the focus away from big political or historical figures and instead focusing on everyday life as an expression of a specific cultural form in which the particular is not opposed to the social but is a result of it.

The project, which was initially presented at the Performing Arts Festival Berlin over four consecutive days in the form of four separate videos, eventually evolved into a new piece consisting of a single projection in which the four days and four distinct journeys are presented simultaneously in a large, elongated projection, creating rhymes and poetic connections between the various fragments, which are now shown as a single whole. This tangle of images, fragments, and sound forces the viewer to take an active part in sorting through the information presented, both in images and sound.

Almost 100 years ago, in 1927, Walter Ruttmann created "Berlin, Symphony of a Great City," an experimental avant-garde piece depicting a day in Berlin.
Lost (Four Ways to Come to the Same Place) follows a similar spirit but focuses on four different journeys across Berlin on four different days, starting from the same point and arriving at the same place. All of this uses the usual routes of the working classes and focuses on the anthropological and social concept of "micro-histories." In such a turbulent historical moment (after a major global pandemic and in a war environment that seems eerily reminiscent of 100 years ago), the project focuses on minimal but highly relevant gestures, shifting the focus away from big political or historical figures and instead focusing on everyday life as an expression of a specific cultural form in which the particular is not opposed to the social but is a result of it.

The project, which was initially presented at the Performing Arts Festival Berlin over four consecutive days in the form of four separate videos, eventually evolved into a new piece consisting of a single projection in which the four days and four distinct journeys are presented simultaneously in a large, elongated projection, creating rhymes and poetic connections between the various fragments, which are now shown as a single whole. This tangle of images, fragments, and sound forces the viewer to take an active part in sorting through the information presented, both in images and sound.