Colmanscope
RUNNING IN THE REGION
A lifeless desert passes by at rabid speed.
In the desert, changing the time of day does not only affect the light. In this shower, the days under the blazing sun give way to fellow torturers in the shape of unbelievably cold nights.
The maximum leaky, corridor playing space represented by a series of wagons isolates and closes illegal migrants alone with deadly traps.
Runners, one by one, end up in the hands of a player.
You can’t save everyone. Sooner or later, the fugitive will fall into one of the traps. The next one will try, maybe go a little further, but it’ll hardly come to an end.
The bodies of the fugitives are fragile. However, you break the bones, you break the train.
Deaths on traps slow down and disrupt mechanisms, helping future fugitives to move on, avoid further deaths.
These victims make the Train pass.
FORGET CHANGES TO INSTRUMENTAL FACILITIES
The bodies of surviving migrants adapt to the inhuman conditions of stay on the Train, in a hostile environment.
Bodies change.
mutation modeler: Rogozhkina Catherine
The train doesn’t slow down for a second, but the rabid rhythm of what happens in dangerous cars changes with the peace and luxury of entertainment.
KOLMANSKOP ENTERTAINMENT INC VAGONS.
A SHAMPAN OCEANARIAN!
BAR WITH ALCO‑ORGAIN!
CAZINO, AMERICA’S OBJECTIVE RULE!
Wagons are designed to stay in them forever.
Poison gas is introduced to the premises for uninvited guests one minute before closing.
The world’s perception of the game is subjective, missed through the multi-colored prisms of what the fugitives feel on the Train.
In a similar way, the doubt and the urge to go back home is forced to reminisce about the forgotten past.
THE PEACE THE MIGRANTS WANTED
Places I wanted to run from.
The ruins of a city that almost became a ghost.
Blood spatters on walls opposite graffiti expressing inner, deep personal, protest.
The fragments of memories overlap and form a separate biome in the mind: space distorted by the pink retrospect, paradoxically beautiful, smoldering.
