Displaced searches for modes of remembrance and their transferal across generations, it longs to accept the unwillingness to speak and to grasp the state of displacement.
We see the clockwork gears turning a stack of prisms in front of a slide projector. The prisms capture fragments of images, re-project them onto the walls, distort and set them in rotation. We see a hand, a face of a man with a hat, and a child standing on a bed looking directly into the camera. The pictures become animated material. They occupy the room. They circulate and surround us. An image fragment shows the entry sign of a displaced persons camp.
On the sound track we hear a conversation between the artist and her uncle. She asks what he remembers from the pictures. He says that he does not remember much because he was still a child. She should ask his brother; he must know better. They talk about how the installation should look. Should there be the sound of waves or maybe the music of a crying violin? This is how such a story is usually told.
In its constant rotation, the installation Displaced sketches out a family history of migration. The images of transition projected in this work are family portraits taken after the war in a DP camp in Berlin.