Noema

The film confronts us firstly with a protagonist (the 93-year-old visual artist Tatjana Gamerith) whose progressive loss of sight by no means prevents her from painting, and it does so in a way that couples the technically mediated and necessarily distanced vision of the camera with the synesthetic qualities of conscious bodily perception. The result is a good half-hour-long reflection on perception, seeing, and the possibilities of representing what is seen, in the course of which it becomes tangible that the system of perception underlying both painted and moving images is based not only on visual but also on haptic principles.