Duration: 2 min extract (original version 5 min) Format: Video Year: 2005
A video in which we meet a Swedish woman, Mrs. Berliner-Mauer, who has entered into a marriage with the Berlin Wall. Her unusual disposition is objectum-sexual, indicating an emotional and sexual attraction to things. The woman’s personal and sexual relation to the wall is contrasted with its historical political significance. She describes the day the wall fell as the worst day of her life. Her very clear description of herself makes the remarkable story approachable and raises questions about perceptions of reality, differences, desires and morals.
Excerpt from text written by Chen Tamir in relation to the exhibition Life Stories 2008 at Gallery TPW in Toronto
Blatant voyeurism sustains our attention throughout Mozard’s other video work, “Wall of Love.” The subject in this piece is an Animist who identifies as objectum-sexual, and thus is sexually and emotionally attracted to objects. Eija-Riitta Eklöf Berliner-Mauer fell in love with and married the Berlin Wall, and unapologetically explains her pain since its demise in 1989. The video opens with her saying, “Feelings are always hard to explain, but I will try.” Like Babette, Mrs. Berliner-Mauer addresses a viewer she knows is watching. Also like Babette, she is filmed in her own living room, typing on her computer and playing with her many cats, so the viewer is given an intimate vantage-point, as if we are guests sitting on her couch. This makes Mozard’s approach seem softer and less antagonistic than that of the other artists. She doesn’t ask her subjects to reveal intimate details or follow instructions, but simply lets the camera roll, handing over responsibility to her subjects—or so would seem. In fact, Mozard’s off-camera presence is felt throughout the work, not just by her aesthetic choices or her editing, but by the conversations these women conduct and their sense of intimacy. Mozard is invisible but we know she is there, and this reminds us that the camera is there. Mozard’s minimal intervention in these character portraits actually elucidates the provocation of the presence of the camera.