In “pêche”, two screens display parallel, 11 minutes long loops, which feature the artist herself, holding her thirteen months old daughter Laylah in her arms while she splashes around in a big gold fish bowl. The motif stems from the short film “La pêche aux poissons rouges”, by the brothers Lumière, which premiered in December 1895 in Paris and is an integral part of the very beginning of the history of film.  It’s easy to recognize that the two films are separated by more than a hundred years of technological advancement: While the Lumières had to film outside due to their technical limitations, Baranowsky shot her videos inside her studio as well as outside in a a park in Berlin.  While the original is a silent movie, “pêche” is dubbed with a lyrical soundscape that just seems to belong to the images.  The videos have been artificially depleted of all color with the exception of the orange-like red of the gold fish and the green of the trees in the park.  And while the video shot outside follows a linear pattern, the images showing the artist and her daughter inside the studio run backward and forward in rotation.  Most of these systematic technical manipulations are so subtle that one only notices them after watching the videos for quite a while.  “As we automatically believe in the truth of a photograph, we are also intuitively convinced of the viewing pattern, regardless of how obviously artificial today’s HD-dreamscapes are?