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A girl on a graveyard touches the tombstones. Her hand glides over the letters, the carved inscriptions.
Can she read death, can she see death? In Ash Tree, the beginning of all knowledge, the alphabet, mingles with the end of all knowledge, death.
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Large parts of Goma were covered with lava after the eruption of the Nyiragongo volcano in January 2002. Today kids live in the ruins on the lava. They sell paper hankies to grown-ups in the city, and lava rocks to construction builders. Meanwhile, the kids are building their own city on top of the old one, a city complete with radios and tv’s, white jeeps and blue helmets, presidents and vice-presidents, commercials and hate campaigns, cemeteries and election fever.
The kids emerge from the lava, as it were, and reveal the world underneath the rubble.
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video-installation, 2 projections, ca. 10 min
B&W, super 8mm, sound (no dialogue).
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The power goes off and the screen goes black: one of those innumerable moments of darkness when the buried memories from decades of conflict suddenly resurface. In the streets of Goma, children play at being news correspondents: Congo is preparing for its first democratic elections since 1960. Using a variety of sources, Sarah Vanagt collects elements from personal stories in a region torn apart by hatred and violence. Images and sound recordings taken by the children of Goma, TV news-clips and young soldiers’ accounts serve as her visual and audio material. Power Cut is a powerful documentary installation on the memory and imagination of young Congolese on the eve of potential political change in their country.
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