press release

Galerie schleicher+lange is pleased to announce the group exhibition, Vergänglichkeit, bringing together the works of five artists based around the concept of transience and the different aspects of time; ephemeral, eternal and repetitive. Tinnitus by Laurent Montaron (*1972, France) is a tone inscribed upon the surface of a vinyl record that gradually destructs itself over time. Each time in use, the sound, imitating the medical phenomenon of ‘tinnitus’, is further altered; thus creating a form of auto-destruction that over time puts an end to the unpleasant ‘ringing’ that is left in one’s ear.

In the photographic work 9 ways to say it’s over by Alexander Gutke (*1971, Sweden), the notion of transience, in opposition to the eternal, exists in relation to its foreseen end. Nine film stills, taken from various black and white films from 1920 to 1960, announce ‘The End’ in a variety of languages. The linguistic diversity of these signs tells us something about the universal perceptions of romance, loss and the finality of life. The filmic usage of ‘The End’, however obvious it may seem today, played a huge role in defining how our experience had come to an end. The film arrives at its final narrative destination while the psychological space created between the viewer, the characters and the story continues to live a life of its own. Gutke’s installation The white light of the void simulates the deterioration of a seemingly empty 16mm film that gathers dusts and scratches until it gets jammed and due to the heat of the projector’s lamp gradually melts away. The narrative is stripped down to the bare essentials of film; light and the wear and tear that the film material is exposed to.

When the film burns out, the loop is completed and we find ourselves back at the beginning with an empty film running towards its eventual meltdown. Although presenting what we know to be an inherent aspect of the cinematic medium, the deterioration has in fact been created artificially with digital software. Because of the films fragility and the exposed nature of the loop system, real deterioration soon starts to mix with the fictional representation, as the recurrent enactment of a fictional end leads eventually to the films real destruction.

Death and the vanity of life are also part of Sonja Engelhardt’s work Birthmarks: The smooth surface of a plate of granite is broken up by small alterations that are based on the birthmarks of the artist’s own body. The black plate bears a strong resemblance to gravestones in that the durability of their materiality allows for a short existence to be eternalized. For the artist, (*1975, Germany) the birthmarks and their constellation on the plate’s surface formally also recall a starlit night sky, touching on references to the universe and the question of eternity.

Pernille Kapper Williams (*1973, Denmark) equally eternalizes an ephemeral event in her most recent work Homage to Bas Jan Ader (PLEASE DON’T LEAVE ME), a tribute to the Dutch conceptual artist who disappeared in 1975. Referring to his famous work Please don’t leave me (1969, installation, painted writing on the wall), Pernille Kapper Williams uses the same quotation but this time writes the words with her finger tips on a steam covered mirror: once the steam has vanished, the writing becomes invisible. By losing the original purpose of reflecting an image, the object acquires another function: to reveal a hidden message which content is in itself an appeal for survival and longevity. The spectator thus enters into a dialogue with the work in which his own image and the writing that réalité créée artificiellement, à partir d’un logiciel informatique. A cause de la fragilité des films et de leur mode de présentation, la réelle détérioration commence très vite à se mélanger à une représentation fictionnelle, tout comme la réalisation récurrente d’une fin fictive mène éventuellement à la destruction réelle du film.

If one considers that nothing disappears and nothing gets created ex-nihilo, but rather everything is just a permanent transformation, like an event that has no focal point in the continuity of time, such as a length of time of an extended temporary movement, Transience in this sense is linked to the eternal through the repetition of a cyclic movement. Made especially for this occasion, Mel O’Callaghan (*1975, Australia) presents All in one day, a sculptural installation consisting of a shallow container filled with an uncertain body of water that constantly changes its consistency: the water gradually freezes so that it moves from a liquid state to a solid one and vice-versa. In constant flux the water becomes ice and melts again in an eternal circle, a progress that is similar to certain ideas that surround the creation and destruction of the universe, an idea that one finds also evident in Gutke’s, The White Light of the Void and Laurent Montaron’s, Melancholia which is a soundless space-echo built into a wall that is realised both graphically and schematically this temporality.

Death and the vanity of life are also part of Sonja Engelhardt’s work Birthmarks: The smooth surface of a plate of granite is broken up by small alterations that are based on the birthmarks of the artist’s own body. The black plate bears a strong resemblance to gravestones in that the durability of their materiality allows for a short existence to be eternalized. For the artist, the birthmarks and their constellation on the plate’s surface formally also recall a starlit night sky, touching on references to the universe and the question of eternity.

The installation The white light of the void simulates the deterioration of a seemingly empty 16mm film that gathers dusts and scratches until it gets jammed and due to the heat of the projector’s lamp gradually melts away. The narrative is stripped down to the bare essentials of film; light and the wear and tear that the film material is exposed to. When the film burns out, the loop is completed and we find ourselves back at the beginning with an empty film running towards its eventual meltdown. Although presenting what we know to be an inherent aspect of the cinematic medium, the deterioration has in fact been created artificially with digital software. Because of the films fragility and the exposed nature of the loop system, real deterioration soon starts to mix with the fictional representation, as the recurrent enactment of a fictional end leads eventually to the films real destruction.

In the photographic work 9 ways to say it’s over, the notion of transience, in opposition to the eternal, exists in relation to its foreseen end. Nine film stills, taken from various black and white films from 1920 to 1960, announce ‘The End’ in a variety of languages. The linguistic diversity of these signs tells us something about the universal perceptions of romance, loss and the finality of life. The filmic usage of ‘The End’, however obvious it may seem today, played a huge role in defining how our experience had come to an end. The film arrives at its final narrative destination while the psychological space created between the viewer, the characters and the story continues to live a life of its own.

Homage to Bas Jan Ader (PLEASE DON’T LEAVE ME), is a tribute to the Dutch conceptual artist who disappeared in 1975. Referring to his famous work Please don’t leave me (1969, installation, painted writing on the wall), Pernille Kapper Williams uses the same quotation but this time writes the words with her finger tips on a steam covered mirror: once the steam has vanished, the writing becomes invisible. By losing the original purpose of reflecting an image, the object acquires another function: to reveal a hidden message which content is in itself an appeal for survival and longevity. The spectator thus enters into a dialogue with the work in which his own image and the writing that defines the work cannot co-exist.

If one considers that nothing disappears and nothing gets created ex-nihilo, but rather everything is just a permanent transformation, like an event that has no focal point in the continuity of time, such as a length of time of an extended temporary movement, Transience in this sense is linked to the eternal through the repetition of a cyclic movement. All in one day, a sculptural installation consisting of a shallow container filled with an uncertain body of water that constantly changes its consistency: the water gradually freezes so that it moves from a liquid state to a solid one and vice-versa. In constant flux the water becomes ice and melts again in an eternal circle, a progress that is similar to certain ideas that surround the creation and destruction of the universe.

Melancholia is a space-echo, a product commercialised at the end of the 1970s and aimed at musicians. Its function was to artificially reproduce the acoustic of spaces producing a reverberation or echo of a sound. The echo effect was achieved by laying down a recorded sound on magnetic tape, which was then looped and read in succession by a series of juxtaposed tape heads. As the tape came back to the start of its loop, the sound was silenced by a final tape head that erased the recording.

This seemingly complex mechanism is here shown as a ready-made, presented vertically like a painting or a high relief. The work is shown in a niche in the wall, low enough that the object risks being taken for a technical element of the exhibition space. Wilfully emptied of its sound function, the mechanics of the infinite magnetic tape here produce no sound, leaving instead place for the contemplation of the endless arabesques performed by the tape, making and unmaking its wandering scrolls. By the slow undulation and its never-ending circular movement, Melancholia draws a strange Möbius Strip and embodies a certain vision of temporality, of which the film Readings also offers a poetic representation.

Tinnitus is a sound played in a loop, lasting a few seconds and inscribed on the surface of a Dub plate, a vinyl record that has the particularity of being unique. The fragility of this medium only allows for a limited number of uses, as the sound that is produced is altered every time it is played. Here, a sound is recorded on the only groove that reproduces as close as possible a ringing in the ears, similar to what we perceive after having listened to very loud music. The auditory persistence of the buzzing, hissing sound whose unpleasant experience we cannot seem to be able to share beyond words, and yet familiar to all, is ‘objectivized’ here: what usually belongs to the intimate sphere joins, for some time, that of the collective. Collectively experienced in the exhibition space, paradoxically it is when we listen to it once again that the buzzing sound physically disappears, in order to remain, on the contrary, engraved in the memory of each one of us.

THE ARTISTS

SONJA ENGELHARDT

Née en 1975 à Mönchengladbach (D) vit et travaille à Cologne (D) 2001-2006 Kunsthochschule für Medien, Cologne (D) 2004-2005 Kunstakademie, Düsseldorf (D)

EXPOSITIONS 2007 Vergänglichkeit, galerie schleicher+lange, Paris (F) Togetherhold, Kunstraum BLAST, Cologne (D) Geração Transterritorial, Paço das Artes, São Paulo (BR) Kunststudentinnen Kunststudenten stellen aus, Bundeskunsthalle, Bonn (D) 2006 Autopsía, Sonderschau auf der Art, Cologne (D) heute/hier, Kunstraum BLAST, Cologne (D) Geladen:Videokunst, Kurzfilmprogramm der Jungenkunstfreunde, Kino des Museum Ludwig, Cologne (D) Ohne Ende, Neues Kunstforum, Cologne (D) Geração Transterritorial, Paço das Artes, São Paulo (BR) 14th Curtas Vila do Conde Filmfestival, Vila do Conde (P) Loop, Art Barcelona (E) LUX, Max-Ophüls-Festival, Saarbrücken (D) 2005 Außer Konkurrenz, Short Cuts Cologne (D) Loop, Art Barcelona (E) Muse heute? – Inspirationsquellen aktueller Kunst, Städt. Galerie im Buntentor, Brême (D) Medienmestizen, Sonderschau auf der Art Cologne (D) KunstFilmBiennale, Cologne (D) KölnKunst 7, Cologne (D) Guten Tag Auf Wiedersehen, Rutgers Art Instititute, New Jersey (USA) 24h DVD-Editionen, Verein für Original-Radierung, Münich (D) Touch me-Festival, Zagreb (HR) LUX, Max-Ophüls-Festival, Saarbrücken (D) 2004 Rheinschau-art cologne projects, Cologne (D) atelier Oktober, pact Zeche Zollverein, Essen (D) Probeweise Gewalt auf Vorrat, Galerie Annie Gentils, Anvers (B) I suit my case, Rutgers Art Instititute, New Jersey (USA) Postdigital Fury, Kunstverein Tromsø (N) 2003 Ars Electronica, Linz (A) Ikonorgasmus, Galerie Projektraum, Cologne (D) 2002 Break 21_6th International Festival of Emerging Artists, Kapelica Gallery, Ljubljana (SLO)

ALEXANDER GUTKE

Né en 1971 à Gothenburg (S) vit et travaille à Malmö (S) 1996-2001 MA of Fine Arts, Malmö Art Academy (S) 1995-1996 Hovedskous Skulptur, Gothenburg (S)

EXPOSITIONS PERSONNELLES 2007 Sies+Höke, Düsseldorf (D) Marabou Park Annex, Sundbyberg (S) 2005 Galerija Gregor Podnar, Ljubljana (SLO) Baltic Art Center, Visby (S) Elastic, Malmö (S) 2002 MUU Galeria, Helsinki (FIN) UKS, Oslo (N) Luna International, Berlin (D) 2001 MA-Exhibition, Peep, Rooseum, Malmö (S) 1999 Wednesday Project, Y-1, Stockholm (S)

EXPOSITIONS COLLECTIVES (SÉLECTION) 2007 Vergänglichkeit, galerie schleicher+lange, Paris (F) Die Wörter, die Dinge, Kunstverein Düsseldorf (D) On Metaphors, Pori Art Museum (FIN) Dreamland Burn, Mucsarnok Kunsthalle, Budapest (H) 2006 Objet à part, La Galerie, Noisy-le-Sec (F) Humour Me, H&R Block Art Space, Kansas City Art Institute (USA) 2005 Temporary Import, Art Forum, Berlin (B) Nothingness, Galerija Gregor Podnar, Ljubljana (SLO) 2004 Rendez-Vous 2004, Musée d’Art Contemporain, Lyon (F) (dys) function, Lunds Konsthall (S) Nothingness, Galerie Eugen Lendl, Graz (A) The Way Home, Gallery Martin Kudlek, Cologne (D) ...and in between, Galerie Grita Insam, Vienne (A) Emotions Eins, Frankfurter Kunstverein, Frankfort (D) Ventures, Galerija Gregor Podnar, Ljubljana (SLO) Minus 10 Minus 2, IASPIS, Stockholm (S) Attraktion, Sthlm Art Fair, Stockholm (S) 2003 Cultural Territories, Galerie für Zeitgenössische Kunst, Leipzig (D) 10e Biennale de l’Image en Mouvement, Centre pour l’Image Contemporaine, Genève (CH) Nya Namn / New Names, Malmö Konstmuseum, Malmö (S) Modesty, Galerija Skuc, Ljubljana (SLO) Wild Strawberries and Familiar Haunts, Suite 106, New York (USA) Old Habits die Hard, Sparwasser HQ, Berlin (D) OK, Video Art, National Gallery, Jakarta, (RI) 2002 Cinema Paradiso, Galleri Charlotte Lund, Stockholm (S) Steirischer Herbst, Modesty, Pavel Haus, Laafeld (A) PAUSE, 4th Gwangju Biennale, South Korea (with Signal) (ROK) Malmö-Oslo 1-0, oVERstation, Passenger, Astrup Fearnley Museet, Oslo (N) Greetings from Liverpool, Bluecoat Gallery, Liverpool (GB) VI, Nomadsland, Rooseum Center for Contemporary Art, Malmö (S) Blick: New Scandinavian Film and Video, Moderna Museet and NIFCA, various venues. (S) Videoshop, Edimbourg (GB) Viva Scanland, Catalyst Arts, Belfast (GB) Zwischenraume 4, Kunstverein, Hannovre (D)

LAURENT MONTARON

Né en 1972 à Verneuil-sur-Avre (F) vit et travaille à Paris (F) Diplômé de l’École d’art et de design de Reims en 1995

EXPOSITIONS PERSONNELLES 2006 FIAC, présentation personnelle, galerie schleicher+lange, Paris (F) Rounded with a sleep, galerie schleicher+lange, Paris (F) LMAKprojects (Chelsea), New York (USA) 2005 La Galerie, Centre d’art contemporain de Noisy-le-Sec (F) LMAKprojects (Williamsburg), New York (USA) Joymore Gallery, New York (USA) 2001 L’Atelier / Centre national de la photographie, Paris (F) 1999 Le Collège / Fonds Régional d’Art Contemporain de Champagne-Ardenne, Reims (F)

EXPOSITIONS COLLECTIVES (SÉLECTION)

2007 Free Electrons - videos of the Lemaitre collection, International Centre for Contemporary Culture, San Sebastian (E) Vergänglichkeit, galerie schleicher+lange, Paris (F) I am a future melancholic (screening), Tate Modern, London (GB) Inky toy affinitas, Cerealart, Philadelphie (USA) Partners in crime, gallery MC, New York (USA) Various small fires, Royal College of Art, Londres (GB) Des mondes perdus, CAPC musée d’art contemporain, Bordeaux (F) Intouchable. L’idéal transparence, Museo Patio Herreriano, Valladolid (E) 2006 Dormir, rêver…et autres nuits, CAPC, Musée d’art contemporain, Bordeaux (F) The Last Generation, Apexart New York à la galerie Jousse Entreprise, Paris (F) Noir c’est la vie, Abbaye Saint-André, centre d’art contemporain, Meymac (F) Usual Suspects, Bureau d’Hypothèses Université Paris 1 Pantheon Sarbonne (F) Supernova, Domaine Pommery, Reims (F) Accords exentriques, Centre artistique et culturel Domaine de Chamarande, Chamarande (F) Action, FRAC Provence-Alpes-Côte d’Azur, Marseille (F) Intouchable, Villa Arson, Nice (F) Printemps de Septembre, Toulouse (F) 2005 The Last Generation, Apexart, New York (USA) I Still Believe in Miracles, ARC / Musée d’Art Moderne de la Ville de Paris (F) Radiodays / De Appel, Amsterdam (NL) 2004 Célébration ! Onde claire / FRAC Champagne-Ardenne, Reims (F) Video Window Box / White Box-Cohan and Leslie, New York (USA) 2003 International Studio and Curatorial Program Open studios, New York (USA) Faits et gestes / Dispositifs d’exposition, Arles (F) Suspendu, f a projects, Londres (GB) 2002 Subréel, MAC, Marseille (F) Mental Shifts / UKS Gallery, Oslo (curators : gb agency) (N) Promotion, Espace Ricard, Paris (F) 2001 Post 01, Zoo galerie, Nantes (F) Blanches Neiges / L’atelier / Centre national de la photographie, Paris (F) Street Life, galerie Chez Valentin, Paris (F) Alchimie de la rencontre, Le Collège / FRAC Champagne-Ardenne, Reims (F) OGM, Rencontres Photographiques, Orthez (F) 1999 Le temps libre, son imaginaire, son aménagement, ses trucs pour s’en sortir, Deauville 1998 Propositions II, Musée départemental de Rochechouart, Rochechouart (F) Troisième Volet, Centre d’art Mira Phalaina, Montreuil (F)

MEL O’CALLAGHAN

Les sculptures, installations et films de cette artiste australienne sont des représentations environnementales et architecturales qui se font écho dans une idée d’abandon et de fusion. L’être humain n’est que spectateur d’une nature déserte et dont il suit passivement les mouvements, s’abandonnant aux aléas de l’univers dans lequel il se trouve piégé malgré une illusion de fuite possible qui le mène d’une extrémité à l’autre d’un même espace clos.

BIOGRAPHIE

Née en 1975 à Sydney (AUS) vit et travaille à Paris (F) et à Sydney (AUS) 2003-2006 MA of Fine Arts, College of Fine Arts, The University of New South Wales (AUS) 2001 Bachelor of Science Architecture,Faculty of Architecture, The University of Sidney (AUS) 1998 Bachelor of Visual Arts (Hons), Sydney College of the Arts

EXPOSITIONS PERSONNELLES

2005 The Fall, galerie schleicher+lange, Paris (F) somewhere, Sherman Galleries, Sydney (AUS) somewhere, galerie schleicher+lange, Paris (F) 2004 The Fall, Cité Internationale des Arts, Paris (F) The Fall, Annandale Galleries, Sydney (AUS) 2003 In the Half Light, 4A Gallery, Sydney (AUS) 2002 The Fly and the Mountain, Art Gallery of New South Wales, Sydney (AUS) On this day it was cold, Room 35 Gallery, Sydney (AUS) We had walked all day, Department of Public Works, MK17, Sydney (AUS) 2001 Today we looked at walls, Sherman Artbox, Sherman Hargrave Gallery, Sydney (AUS) The Fall, permanent outdoor installation, Prague (CZ) mel+nell, Room Gallery, Rotterdam (NL) Vagari Assault, Foundation and Centre for Contemporary Art, Prague (CZ) 2000 nell+mel, Stadt Munchen Gallery, Amsterdam (NL) mel+nell, Room 35, Sydney (AUS) Rubyayre Gallery, Sydney (AUS) 1999 nell+mel, Room 35, Sydney 1998 mel+nell, Room 35, Sydney (AUS) Lot, CBD, Sydney (AUS) Side On Inc., Sydney (AUS) 1997 Illume, 1st FLOOR, Melbourne (AUS) 1996 Automate, First Draft, Sydney (AUS

EXPOSITIONS COLLECTIVES (SELECTION)

2006 National Sculpture Prize, National Gallery of Australia, exposition itinérante (AUS) National Sculpture Prize, Dell Gallery, Queensland College of the Arts, Brisbane (AUS) Cutting Fields, Firstdraft, Sidney (AUS) Place Marks, 4A Asian-Australian Artist Association, Sidney (AUS) 2nd Athens Video Art Festival, Athens (GRC) VIDEOFORMES Festival, Clermont Ferrand (FR) 2005 GLAD WRAP UP, Sherman Galleries, Sydney (AUS) 16th Impakt Festival, Utrecht (NL) New Vectors, 15th International Exhibition of Electronic Arts Videobrasil, Sao Paulo (BR) The National Sculpture Prize, National Gallery of Australia (AUS) The Helen Lempriere National Sculpture Award, Werribee Park (AUS) 2004 Site (Unseen), Sherman Galleries at Dank Street, Sydney (AUS) The Lakes Project, Teipei Centre for Contemporary Art (TAIWAN) A Cut Across, Plymsoll Gallery, The University of Tasmania (AUS) Festivus 04, Sherman Galleries, Goodhope, Sydney (AUS) 2003 Printroom, Witte de Witt, Centre for Contemporary Art, Rotterdam (NL) Artbox Inc., Sherman Galleries, Goodhope, Sydney (AUS) Printroom, Gurtrude Street, Centre for Contemporary Art, Melbourne (AUS) Mop Gallery, Sydney (AUS) Festivus 03, Sherman Galleries, Goodhope, Sydney (AUS) 2002 Festivus, Sherman Galleries, Goodhope, Sydney (AUS) Shoproom, Gun Gallery, Oslo (N) Shoproom, Linz (A) 2001 Shop room, Room Gallery, Rotterdam (NL) That was now, this is then, Gitte Weise Gallery, Sydney (AUS) Helene Lampriere Travelling Art Exhibition, Artspace, Sydney (AUS) I’m an artist and I need my sleep, Rubyayre Gallery, Sydney (AUS) Black to Basics, 1st FLOOR, Melbourne (AUS) Black to Basics, Rubyayre Gallery, Sydney (AUS) Foundation for Contemporary Art, Prague (CZ) 2000 Stuff, Stuffed Gallery, Londres (UK) Do They Know it is Christmas, Rubyayre Gallery, Sydney (AUS) O/K, Lancome Cosmetics Paris, Pioneer Studios, Sydney (AUS) Untitled, Rubyayre Gallery, Sydney (AUS) Garage Sale, Rubyayre Gallery, Sydney (AUS) 1999 A Wolf in Sheep’s Clothing, 1st FLOOR, Melbourne (AUS) 1998 Making Fancy Cake, 1st FLOOR, Curator: David Rozetsky, Melbourne (AUS) Sleepwalker, Caravan, Curator: Bronia Iwanczak, Adelaide (AUS) 1997 69, Side On Inc., Sydney (AUS) 1996 Ten - Ten Year Anniversary Show, Firstdraft Gallery, Sydney (AUS) Experimenta - Short, Sharp, and Very Current, Lonsdale Power Station, Melbourne (AUS)

PERNILLE KAPPER WILLIAMS

Née en 1973 à Odense (DK) vit et travaille à Frankfurt / Main (D) 2002-2006 Staedelschule, Frankfurt / Main (D) 2000-2003 Det Fynske Kunstakademi, Odense (DK)

EXPOSITIONS (SÉLÉCTIONS) 2007 Croy Nielsen, Berlin (D) Vergänglichkeit, galerie schleicher+lange, Paris (F) Kapitaler Glanz, Kunstverein Duesseldorf, Duesseldorf (D) 2006 Me and My Rythm Box, Silverman Gallery, San Francisco (US) Fuer die Ewigkeit, Jet, Berlin (D) Cooling out, Lewis Glucksman Gallery, Cork (IRL) Cooling out, Kunsthaus Baselland, Muttenz / Basel (CH) Irrational thoughts should be followed logically, Elizabeth Dee Gallery, New York (US) The Graduates, Staedel Museum, Frankfurt / Main (D) Mirror, Mirror on the Wall, Ritter & Staiff, Frankfurt / Main (D) 2005 Irrational thoughts should be followed logically, Galerie Reinhard Hauff, Stuttgart (D) Jahresgaben 05/06, Kunstverein Braunschweig, Braunschweig (D) Therefore Beautiful, Ursula Blickle Stifrung, Kraichtal (D) Wer von diesen sieben..., Studiogalerie Kunstverein Braunschweig, Braunschweig (D) 2004 Papierarbeiten, Lythion, Frankfurt / Main (D) Heimspiel, Frankfurt / Main (D) 2003 Heute, Hessisches Museum für Wissenschaft und Kunst, Wiesbaden (D) Efteraarsudstillingen, Charlottenborg, Copenhagen (DK) The state of the upper floor: Panorama, Kunstverein Muenchen, Munich (D) Attachment, Studio W12, Staedelschule, Frankfurt / Main (D) Studio W12, Staedelschule, Frankfurt / Main (D) 2002 Dybbroe Moeller, Greenfort, Kapper Williams, Meise, Otto, Wohnung Jourdan, Vienne (A) 2001 Dd Ffinitive Kkunstnerisk Uundvaerlighed, Pantheonsfloejen 1920, Odense (DK) 2000 KP 2000 - Kunstnernes Paaskeudstilling, Aarhus Kunstbygning, Aarhus (DK) LE MONDE, 31.03.2007

only in german

VERGÄNGLICHKEIT

mit Sonja Engelhardt, Alexander Gutke, Laurent Montaron, Mel O´Callaghan, Pernille Kapper Williams