Compilation of compelling audio fragments taken from films about love stories set in different geographical areas and cultural contexts. The text fragments heard from within several boxes deal with love-related problems that are linked to the social situation of the place where the goods originated.
This installation has been shown at
Come in and find out, Vol 2, Podewil, Berlin, 1999
-How are you?
-You look well.
-Where are you living now?
-You won’t tell me where?
-You wouldn’t know it.
-I better go.
-I follow you.
-I won’t stop trying, I promised you.
-Do you love me? Do you still love me?
-I won’t come again, if that’s what you want, but I need to know.
-You’ve always known.
-Sue, come with me.
Jude, Micheal Winterbottom, London, 1996
-For months you’ve skillfully succeeded, like a conjurer, in preventing me from seeing how things really are. So I took the initiative.
-Initiative? Seeing what? That I’m married? You’ve always known that.
-From what you say, your rapport with your wife is only a formal one.
-That’s not true. And it’s obvious when you’re together. You’re like all the bourgeois husbands of this world, my dear. They swear to their lovers they’ve rejected their wives and do the same with their wives. But I won’t accept such pettiness. You know I’m a free, liberated woman and not only in words, like you.
-You’re jealous of her.
-I won’t share a man with another woman. Not even with his wife.
-You’re not sharing me and you know that, all I think of is you. You’re always inside of me. I feel your presence constantly, it’s persistent…even hostile.
L’innocente, Luchino Visconti, Italy, 1976
-Say something! React! If you answer today I won’t bother you anymore.Give me your answer. If you love me, say: “yes, I love you!” If you don’t, explain that look, that look that you gave me on the cemetery. Since that look I’ve been following you, I’ve been saying to myself that you want me, but that you’re scared of your grandmother! Some girls are more beautiful than you! Better than you! I could marry one, but I won’t! I want to marry you. You, who have neither father or mother. What are you thinking? You’re not speaking, at least give me the flowerpot to carry. If I’d known it was yours. I’d watered it. I wouldn’t have Mahammadi touch it. Have you got a heart of stone or what? Your heart’s made of stone. Do you only think of the way you look? I’m just doing it for your future. Hossein can have plenty of women… I can find one anywhere… Tahereh, please, answer me.
Through the Olive Trees, Abbas Kiarostami, Iran, 1994
-Do you love me?
-More than anything.
-More than your car-lax-oil?
-More than my car-lax-oil.
-More than a priester loves God?
-More than Jimmy Swayer loves Julie Swayer.
-You better kiss me then.
Love and a .45, C.M. Talkington, USA, 1994
-Why? Why did you do it? I thought you didn’t love me? Why did you do it?
-I love you. I hate it when you make love to me without loving me. But I cannot reject you, that’s why I don’t want to see you anymore. You’re wrong when you think I’ll go with you. I don’t want to see you ever again.
-I love you.
-That’s a lie.
-I love you.
-It’s the truth.
-Do you mean it? Do you really mean it? The last time it wasn’t true, but today it is? Maybe you mean it. I cannot live without you. Can I?
Naked Youth, Nagisa Oshima, Japan, Tomio Ikeda for Shochiku, 1960
-You’re Jay. Are you my boyfriend?
-That’s what I thought from the kiss the other day.
-That was last night.
-I dreamt of you.
-What did you dream?
-I’m not telling you.
-You have to do memory exercises.
-Do we live together?
-It’s four years now.
-A long time.
-In an apartment by the beach.
-We were meant to go on vacation today. To a campsite beside a lake. Do you know what a lake is?
-Well, imagine the two of us, lying in the sand by a lake. We’ve been imagining it for three months.
-What do you work at?
-I musn’t tell you everything. You’ve got to discover me bit by bit.
-Do I love you a lot?
-How do you know?
-Everyone does, you’re crazy about me.
-What about you?
-I’m the same.
-Then kiss me. Like the other day.
La arilla roja, Julio Medem, Spain, 1993
-Saga, I’m happy. It was good. You’re as good as ever. I want to live with you, but it’s impossible.
-Because of your loved ones.
-You musn’t say that. You were away for so long. Two years.
-You’re right. But everywhere, all the time I thought of you. I love you.
Tilaï, Odrissa Ouedraogo, Burkina Faso, 1990
-I can’t do without you. Throw your wife out.
-Then leave her. We’ll live in my place, or we can find something bigger…
-In 10 years I’ll be an old man.
-You are when you talk like that. I love you…old, fat, sick, aging, I don’t care. It’s deep inside of me. Where’ll we be in 10 years? Dead, maybe… You, or me. I never loved anyone like this. You made a woman of me. Can’t you see I’m begging you?
-What’ll we live on, love and dreams?
-It’ll be romantic. What do you mean?
-No one’ll tolerate a teacher my age living together with a student.
Noce blanche, Jean-Claude Brisseau, France, 1989