SHE
SUPER HISTORIC EPOS


SHE is a fiction.
SHE is an epic.
SHE is a mythos.

The text SHE is an invitation. The world of SHE is both familiar and challengingly different.
A protagonist we all know.
We have encountered signs of SHE before.

SHE is a contemporary epic.
The verses come from a dataset of over six million film titles from a mainstream porn platform. A fragment of these titles are put into a rhyme scheme and into four-verse stanzas. It tells the story of SHE.
This story is one possibility of endless other narratives that lie in the multiverse found in this body of data.
The text captures a moment in time, it is neither completed nor does it follow a chronology. As the dataset changes continuously, so does the texture that weaves the story of SHE.
SHE tells about the eponymous hero SHE. At first glance the world of SHE could be understood as profane. But then the text reveals a hero in the original sense - a figure that rises far above the merely human. Like the ancient Greek heroes, SHE forms the basis of a mythology of her own, at times contradictory and inconsistent. SHE - like all heroes - is a mirror of the society that produces them.
SHE unites all identities, shifts between them, rises above them and dissolves in them. SHE is the sum of all fantasies. SHE is contradiction. SHE is a call for tolerance of ambiguity. SHE is a yearning.
In ancient times, the boundaries between myth and history were fluid. One made little distinction between them, neither does SHE.

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SHE - SUPER HISTORIC EPOS:

PROLOGUE

CREDITS

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SHE

She, before having any meaning, is a noise. The train you hear in the distance, the sound that is slowly approaching but moving quickly, smoke that you blow out and distribute throughout the room, a kettle whistling. The sound starts quietly coming outof nothing, steaming, ending in a high note louder than the beginning, ringing throughthe atmosphere. A noise is not without meaning. Simultaneously, it is an abbreviation, and a vessel for countless images, and meanings, and words synchronised. She is polysemic.

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THE DISEMBODIED VOICE

The disembodied voice is free and floating, ever present – a humidity you can feel in your hair and on your skin, the clothes soaking on your body; it is on every wall around you, dripping from the ceiling. The disembodied voice seeps into the reflective audience, who notice it at first in their heartbeat. The disembodied voice then takes a soft walk around each and every body, slowly making a home in stomachs, thighs, calves, arms, hands.

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THE TINGLING TABOO

The tingling taboo is a line, circling around every single being, like the rings of Saturn. It is made of everything one has ever experienced. Each one of us will always stroll on our own line and this line will always follow us – together, side by side, on and into each other and among themselves, you will exceed limits and define the space beyond.

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THE REFLECTIVE AUDIENCE

The reflective audience is the reflection of the happening – in a way it is like a periscope, with which all present fantasies and desires are made visible. It is not a linear reflection, it is orbital. The reflective audience is the embodiment of the disembodied voice that permeates the atmosphere.

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SHE

CREDITS:

VOICES:
Rieke Bogena
Clara Hofmann
Lea Langer
Constanze Burger
Zora Asse
Roxana Rios
Pauline Großmann
Johanna Ziemer
Cristina Zickert
Lea Fucks

CONCEPT, DESIGN & TEXT:
Cristina Zickert

INTRODUCTION:
Clara Hofmann

CODING:
Emma Chapuy
(Atelier Polza)

TECHNICAL SUPPORT:
Victor Zickert
Peter Cornicius

ENGLISH EDITING:
Susana Zickert
Jamie Morris

CONTACT:
Cristina Zickert
Ludwigstraße 80, 04315 Leipzig
contact@cristinazickert.com

2022