This work operates within the production of judicial evidence in supply chain logistics.The stage set is the replica of a crime-scene, as appropriated from a video-advertisement for a forensic camera, (in which police are the intended consumers). Actors manually reposition the house (as infrastructure) in different ways. One, is the performing of a mnemonic technique used by barristers in court. The second is the act of designating the furniture as props, for reenacting a moment in which a fiction-filmmaker was hired to produce legal evidence in court, for a shipping company to prove that cargo arrived according to regulation. The representability of supply chain logistics and the criminalization of its potential interruption, interweave through a fictional group of characters in a blue house, providing testimonies and conceptual enactments to the camera. The spectacularity of the logistical image is embodied in a quasi- theatrical soap opera, and with the camera as the centre figure, the film reflects on how constructs of logistical representability serve as foundations for geographical emplotment and labour negotiations.
This component applies the metaphor of UPS' "Move Or Die" campaign (to prove that the flow of cargo is as necessary to human survival as the migration of animals is to theirs), to a taxonomical inventory, looking at the temporality of storage within museological time. The set design is based off of the interior design of the Agricultural Museum in Cairo. The actor is providing instructs for "How to Animate Resilience".
