In the three-channel film installation Clown (2005), the absurd and slightly uncanny figure of a clown emerges from the impenetrable lushness of the Brazilian jungle. His red nose contrasts with the green forest. Starting from the right-hand side, he passes through all three screens, stumbling towards us, following a streamlet, before finally disappearing back into the jungle. As often in Rosefeldt’s work, this film’s protagonist is an uncommunicative, self-absorbed monad: a wanderer in a world
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