J: Uh, wait, that doesn’t belong here, ... I don’t think that’s even in Eisenhüttenstadt, is it?
L: No, ... it’s in Berlin or something.
J: You could say a lot about it actually ...
L: … starting with the composition, ...
J: the non-composition!
L: Yeah, well sure, but... it doesn’t belong here, it’s just some random picture.
J: Of some apartment somewhere, ... , ... but first of all we want to show a city. Not the inside. We don’t know the inside.
J: Probably outside!
L: By the way, this is not just any picture, it’s an advertising picture.
J: But it could look like this here
L: Look at these two. Maybe they are talking about their next vacation? Camping in Hungary.
J: Maybe the daughter would go camping with her kids later?
J: Or would he rather go to Italy?
L: To Venice, I think that’s Venice ...
J: Venice is actually also a planned city ...
L: Yeah, ... well ... maybe at the very beginning ...
J: Exactly, like Stalinstadt ...
L: I wonder if he wanted to go there.
L: Wait, is she wearing a mask?
J: The man is not!
L: You can see everything from a distance! Almost everything!
J: Yes, these long street canyons make it possible!
L: Well, street canyons isn’t quite right, more like street lines, building lines!
J: But the pavement here … the panels are rather irregular …
L: Right about here she will be sitting later!
J: Later? Is that really later? We’d have to ask Gabriele Urban!
L: She’s waiting? Relaxed. Why not?!
J: No, she’s looking happily to the right there, to the front, to the street, to Leninallee ... Lindenallee ...
L: She sees who is coming or going,
J: Sometimes there is a coming and going ...
J: She should actually be up there on the left, because she’s standing under the Womacka.
L: Yes ... And ... How long has she been standing there?
J: She’s got the size of a model!
L: She is one!
J: A capitalist functional sculpture.
L: There were mannequins in the GDR, too.
J: That’s where we are right now!
L: She’s most likely not accidently in the picture.
J: She seems very crowded, cramped at the building. Like she’s looking for backup.
L: But where is she looking? At least not in the direction she’s going.
J: And these two?
L: They are running. Out of the picture, into the off.
J: But you can’t run off-screen that fast in Eisenhüttenstadt.
L: No, on these wide streets you really only get smaller very slowly.
L: There he is again, he is in the picture, in the view, ...
J: His body is just there, as if exhibited in the city.
L: One is an object as well... that others can look at.
L: And that’s clear to everyone.
J: Yes, exactly, everyone is aware that they are also being looked at. That’s why everybody talks with their body ... somehow ... with the others.
J: Right? What is the child thinking ... he is looking into the distance.
L: What’s this about?
J: It’s a sticker from a Hanuta or something.
L: Another foreign picture.
J: I’m not quite sure why this is here either.
J: Now we’re in a backyard. These slides don’t exist like this anymore.
L: From the houses you could see the children.
J: The one on the slide ... where is she looking?
L: I think she’s looking at another kid!
J: What could she have said?
L: "Come on up!" Or, "Yes, I’m about to slide!"
J: I guess today no one is looking anymore.
L: Well, everything is pretty nice and clean here.
J: Yeah, pretty much ... and why did the sign painter pretend that this town never sleeps?
L: That used to be different.
J: Now the sign looks like a stage set.
L: How fitting. Because the guy in the white suit is Dieter Kalitzki. He was singing and dancing on all the stages in Eisenhüttenstadt. Often 80 times per year.
J: Children are allowed to play ... always and everywhere.
L: No. Not exactly. --
J: Yeah right, the signs at the playgrounds say: Only until 8 pm.
L: There’s work going on in town, too.
J: Children are being dragged from A to B.
J: "Mom ... can I have a soda" ...
L: "Wait a minute, I have to go shopping first".
L: Hey, and with the stroller it’s a special type of hel
L: up there, in there, no elevator.... What were they thinking?
J: Nothing!
L: Yes, with a stroller every curb is an obstacle. You try to get around the high ones. Didn’t work out here, it seems.
J: Oh ... we always look from the outside, we don’t find out anything!
L: Sounds like Brecht. And he was right, but ... ... the city is also a surface ... a surface ... on which things are taking place. Like on a stage.
J: Well ...
L: Yes!
J: Aha! Yes, well, something is happening. There is talk ...
L: Oh, her again!
J: She just can’t handle the stroller!
L: That’s what I said: She really should have gone for the Bugaboo!
J: They’re expensive, aren’t they?
J: And here is this Kalitzki again!
L: Right after a performance with this vocal group Ekova, at the Gewerkschaftshaus, I think.
L: He just doesn’t seem to fit in here ...
J: I couldn’t help it, he’s just too well lit.
L: That’s why you ruined the whole slide.
J: And what’s going on here?
L: Imagine they are looking at each other. At themselves, but later.
J: Which doesn’t work!
L: Well, there is this part in the Star Diaries ...
J: From Lem - Wemm ?!
L: Who did we get that from again?
J: Bernd Geller’s tip: Stanislaw Lem.
L: “I cleared my throat louder, but even at that moment the figure seemed strangely familiar to me, and when she got up I recognized her. That was me. It was like looking in the mirror. Incidentally, I had already experienced a whole series of such encounters.”
L: Exactly! … Do not you know that? When you see yourself in old photos and think: I was there? That was me?
J: Well, photography is sometimes the true science fiction.
L: Because time travel is possible?
J: Haha, yes.
L: You ask yourself: What was I wearing?
J: But when were you there ?!
L: And what did I have in this huge bag?
J: Ok, it was summer ?!
L: Now I remember!
J: You just didn’t want to be in the picture?
L: I wasn’t ready ...
J: And now it looks at you.
L: I look at myself!
J: Scary!
J: Is that a parable?
L: The city is looking at itself?
J: But that’s not possible!