superimposed horizontal and vertical patterns in dark, saturated colors cross the screen in pleasantly slow tempos. the starting material for these abstract, floating image impressions were—contrary to the contemplative effect of the video—recordings of speed. Krzeczek achieved the effect of unfocused movement by filming exclusively underground from moving subway trains. in this way, the eye of the digital video camera was no longer able to supply clear recordings.

in Unterwerk the “nihilism of speed”(paul virilio) is stylized into a formal, aesthetic experience. The abstraction is achieved by purposely crossing the boundaries of what can be filmed (or perceived).
whereas the multilayered combinations of fades and superimpositions continuously result in new image patterns at the visual level, the soundtrack is formed by a monotone loop. this sound—a loop consisting of unprocessed noise from a ventilating system lasting only a few seconds—attains clearly musical qualities through its constant repetition. one is forced to listen more closely to this “acoustic waste product”and has an impression of beginning to notice minimal variations. yet these are not present on the tape, they are solely the result of the reception situation.
in this way, props from a real urban environment are used to create a clearly structured, abstract scenario, which, in addition to its convincing aesthetic quality, offers a penetrating reflection on everyday schemata of perception. (norbert pfaffenbichler)