96 pages / color / 2011 / 700 copies / published by Pork Salad Press / € 18.00
Despite the phenomenological questions they pose, and their self-reflexive propositions about the nature of film, Winterling’s works are not entirely hermetic. They may use the propensities of film to suggest a kind of looking-glass alternative reality, but the tricks of perception she employs also reflect other reversals of a more social leaning. In Untitled (the pressure behind your nailcolour my dear), 2009, the wrestling arms are unexpectedly pale and hairless and while one the skin of one is decorated with graphic tattoos, the wrist of the other is wrapped with pearls. The masculine strength test is transposed to female protagonists, each with opposing personal styles. Winterling brings in lace, accessories, jewelry, trinkets and such inconsequential fripperies as unorthodox talisman to shed light not only on questions of a perceptual nature, but also about personal identity, gender inequalities, and the lopsided power relations between men and women. Often focusing on that precarious moment of change in a young woman’s life from girlhood to womanhood, Winterling opens up a space for possibility, where hopes and expectations are still unfettered and not stifled by the reality of social possibilities limited by gender. While Winterling does not depict a parallel world, perhaps it is true to call it a parallel vision, a de-centered view that sidles along the centerfield masculine outlook to suggest an alternative to the social authority it proscribes.