
Marcus Kaiser embedded camera obscuras into the Berlin Wall, turning the border itself into an image-making medium. The resulting diptychs capture East and West simultaneously, visualizing the act of ideological differentiation within the image. An experimental laboratory for third-order observation, critically reflecting and deconstructing political boundaries through the medium itself.

Rudiments of institutionally mediated art education on the one hand and ever new signs of free, often wild, destructive creativity on the other. Partly standing next to each other incoherently, unconnected, overlapping and complementing each other, these remnants of various youth cultural forms of expression evoke an aesthetic that can also be found in current trends of contemporary art. He associatively gives the individual pictures titles such as “Meeze”, “Hirschhorn”, “Majerus”, “Planet of the Apes”.