in the sylvan environs of what Heidegger called his ‘work world’, the artist’s avatar relaxes in a garden chair (Todtnauberg (Heidegger’s View), 2019) or passes through the walls of the cabin like a ghost, before nonchalantly folding up his scarf (Todtnauberg (Heidegger’s Hut), 2019). As in the Lumière brothers’ 1895 short film Train Pulling into a Station, something happens in each of Kambalu’s films, but that something is not a story. Perhaps it is simply presence, being in time.

¶ 9:36 PM