4K Videoloop, 7:01 min

A series of smartphone-based 3D scans are gathered into an ongoing video collage. The individual fragments follow the movements of their own digitization. The digital model becomes visible through a large number of individual frames marked by glitches caused by the tentative circling and approaching of the camera.

‚Echoes and Bodies‘ combines objects whose commonality seems unremarkable at first glance: ancient sculptures, fragments of mannequins, a fist, a tree stump, a tire stop, water, stones, or worn Asics sneakers. Despite their diverse origins, they form an ensemble that repeatedly refers to the human body—to its history, its representatives, its traces, and its absence.

In the digital scan, objects lose their material specificity. They become point clouds, surfaces, and algorithmic reconstructions. Their scales dissolve; their original contexts recede into the background. What remains are relationships. The objects appear as bodies in transition—between physical presence and digital model, between touch and calculation, between memory and simulation.

‚Echoes and Bodies‘ understands 3D scanning not merely as a technical method, but as a cultural gesture and perhaps as a second form of existence for objects. The desire to fully capture, measure, and translate the world into data becomes the very subject of the work. This raises the question of what remains of things when they are transformed into digital representations—and what notions of the body, life, and reality are inscribed in this process.

The phrase We will stay here in the sunshine and in the shadows opens up a space of resonance beyond the visible images. It directs our gaze toward a possible “we” that encompasses people, objects, and their digital images alike—and points to a present in which bodies increasingly exist as both material and data-based entities.