In four episodes of a shared project, the MAK Center residents reacted to the different possibilities of identification they experienced in Los Angeles. Christof Schlegel and Christian Teckert readdressed historic shoot locations in order to create spatial and temporal relationships that represented their own perceptions of the city. Their episode showed a drive through the urban wastelands of L.A. that shifted seamlessly into a sequence from the 1967 film Point Blank about a mysterious red package, which actually appeared in the three other segments of Ich bin ein L.A.

In her contribution Cat Walk, Christine Gloggengiessser marked different stations of an odyssey through L.A. Between Wandering Dr. and “Highlight Pl., the street turned into a catwalk, the city into a set. As a pedestrian—an endangered species—Gloggengiesser experienced distance and marginalization in the automotive city of Los Angeles.

Nicole Six’s episode presented the test-runs of her specially produced airbags. Partially enveloped in these artificial layers, people moved through city locations such as parking lots and shopping malls, causing immediate changes to their bodies by inflating the airbags, which were defined as shields and catalysts for communication.

In their portion, G.R.A.M. (Martin Behr and Guenther Holler-Schuster) tied the great California automobile dream to the road movie tradition. Their FORD DREAMLOVER 97, repainted like a ’60s toy car, was consecrated in the Nevada desert by artist Reverend Ethan Acres from Las Vegas. A spectacular as well as delightful ritual, this performance combined structures of contemporary art with those of religious liturgy.

In addition to their work on the film, the residents exhibited work that either related to the film or represented current projects.