I Want To See How You See Hallucinatory, luscious, with a hint of darkness: approaching the formulaic but, if so, certainly a winning formula for Rist & as always undoubtedly beautifully & imaginatively wrought, a video portrait of the writer & curator Cornelia Providoli, found on the consistently excellent Lumen Eclipse site.

Botticelli's Venus Landing on the Shore. Boucher's The Triumpf of Venus. The first fishlike species who for approximately threehundred and fifty years ago crawled from water to land. The foetus all covered with water in the belly of the mother. It is all about water symbolizing the origin of life and its never-ending rotation.
Water is a recurring theme in the art of Pipilotti Rist, where the most palpable references are to be found in titles like Selfless in the Lava Bath, Sea of Coffee and Sip My Ocean. The last one is almost only filmed beneath the surface of water. The camera takes you slowly on a voyage of discovery focusing on artefacts that originally belong to the life on earth as they slowly sink to the depths of the ocean. Opposite the slow motions, a consequence of them beeing performed in water, the colours are bright. A contrast captured in the accompaning music, Pipilotti Rist's cover version of Chris Isaak's Wicked Game, where she sometimes hum and sometimes shriek out the lyrics.

The video opens with a sequence recalling the dramatic intent of crime movies: on the narrow metal plank of a delicate, latticed floor, a young woman wearing pointed evening shoes balances her way toward something. In time, the viewer realizes that she is moving closer to a young Asian, who welcomes her approach with the traditional greeting. From this totality develops a kaleidoscope of mesmerizing bodily images, which the camera fabricates before the eyes of the viewers as though on a visual roller coaster of glowing colors.

Ever Is Over All envelopes viewers in two slow motion projections on two adjacent walls. In one, a roving camera focuses on red flowers in a field of lush vegetation. The spellbinding lull this image creates harmonizes with the projection its left, which features a woman in sparkling red slippers promenading down a car-lined street. The fluidity of both scenes is disrupted when the woman violently smashes a row of car windows with the long-stemmed flower she carries. As the vandal gains momentum with each gleeful strike of her wand, an approaching police officer smiles in approval, introducing comic tension into the whimsical and anarchistic scene.