Auf dem Boden der Tatsachen

Cairo, 2011–2012. A historic period. I’m in the midst of events, but I deliberately aim my camera at the ground. I film the ground and anything that happens to get in front of the lens. From this perspective, rubbish, feet, shoes and the ground itself become signs for the viewer’s imagination. By aiming the camera at the ground I quote and deconstruct visual habits, which are tied up with the bird’s eye view and central perspective—not least in order to thrust the aural element into an imaginary visual centre point. For me, the call to prayer that can be heard several times in the film signifies the intertwining of the religious with all areas of life in the Islamic world.