In the presence of Kurdwin Ayub.
The emotional landscapes of young women and their relationships with young men are a central theme in Kurdwin Ayub’s miniature videos; a slightly different bed, a different outfit; a different make-up each time. There is frequent singing, too: as a slightly enervating rehearsal situation in ADELE 1, or in HASENZAHN – synchronous but somewhat off-key, which makes it emotionally even more engaging. Ayub employs a welltimed gaze into the camera as a consistent formal gesture that works both as a mirror and means of contact with the outside world. In SCHNEIDEREI and KATZENHIMMEL Ayub focuses on narration, a form of speech that always contains peculiar twists and turns, nicely timed pauses and ironic irritations; rather than promising any depth it scratches on the surface. Ayub’s most recent work, FAMILIENURLAUB (SzENEN 1–17), takes a new direction: She no longer dominates the picture alone but adds the whole family clan. Facets of private self-enactment based on stories of everyday life, containing documentary forms of the political context: It is a balancing act that works surprisingly well. (Dietmar Schwärzler)