Eva Meyer (b. 1950) and Eran Schaerf (b. 1962) live and work in Berlin. They collaborate since 1997 on a memory for two. Their most recent films include 'My Memory Observes Me' (2016/2008), 'Pro Testing' (2010), 'She Might Belong to You' (2007) and 'Flashforward' (2004). Their films were shown, among others, at 'Putting Rehearsal to the Test', VOX Centre de L'image, Montreal; 'Theatrical Fields', NTU CCA Singapore; 'Ambulante', Documentary Film Festival, Mexico; Séance: Performing Film, Mumok, Vienna; 'Skulptur Projekte Münster' and 'Cinema without Walls', Rotterdam Film Festival. Publication: 'Gedächtnis zu zweit. For the Performance of Europe', Munich, 2000.
Eva Meyer is the author of numerous books on cinematic thinking including 'Zählen und Erzählen. Für eine Semiotik des Weiblichen' (1983, reprinted 2015), 'Architexturen' (1986), 'Die Autobiographie der Schrift' (1989), 'Von jetzt an werde ich mehrere sein' (2003), 'Legende sein' (2016). She edited with Vivian Liska 'What Does the Veil Know?' (2009). Her many essays include 'The Limit of Limitlessnes', in: 'The Whole Earth. California and the Disappearance of the Outside' (Diedrich Diederichsen and Anselm Franke, eds., 2013).
Eran Schaerf's cross-disciplinary work focuses on architectures of narration. He has exhibited at the Venice Biennale (2011); Manifesta (1998); Enterprise, ICA Boston (1997); and Documenta IX, Kassel (1992). His publications include among others 'Frequency Modulated Scenario' (2015), 'Listener's Voice' (2001) and 'Re-enactment' (1996). His radio plays are on the air at the Bavarian Broadcasting, BR.
In the Habit. A Set Piece, 1997, film stills; © Eva Meyer, © (Eran Schaerf) VG Bild-Kunst Bonn, 2017
'In the Habit' is a documentary fiction about how to adapt oneself to unknown regions without surrendering to them. This movie is situated in Mombasa and Zanzibar, where you can find a material called kanga that hovers between language and architecture, and in fact turns into a habit. Kanga is a piece of cloth printed with a pattern and a saying, ready to wear or to be displayed, for carrying a baby, protection against the sun or against being seen. Doing this implies however that one allows others to read what you want to say. A habit now has become something that you can put on and take back off again. It has incorporated a critical fiction, involving the reader as well. Giving in to its material, the movie is not following a script. Instead it's edited according to a pattern relying on habits and habituality, of bodies and houses. The pattern, that language that makes both walls and veils to billboards, turns into an architecture of layers that covers the international style and re-orient it. It turns veiling into a form of perception. While veils and walls are supposed to protect religion and possessions, the sayings involve these veils and walls in a public conversation in which everyone participates. (artist statement)