"Ordnung herrscht!" So lauft die Meldung der Hüter der "Ordnung" jedes halbe Jahrhundert von einem Zentrum des yeltgeschichtlichen Kampfes zum andern… Ihr stumpfen Schergen! Eure "Ordnung" ist auf Sand gebaut… Die Revolution wird sich morgen schon Rasselnd wieder in die Höh richten und zu eurem Schrecken mit Posaunenklang
Ich war, Ich bin, Ich werde sein! 'Order reigns!' So it sounds, announcing, the protector of the 'Order' every half-century from center to center of the eternal battle. You dumb thugs! Your 'order' is built on sand. The revolution tomorrow will become one of your fear and will rise up to the sky with the confusing sound of trombones.
I was, I am, I will be!

Laboratory of complex systems and artifacts
Software: Illustrator, After Effects
2011

Rosa Luxemburg, the pseudonym of Rozalia Luksenburg (Zamosc, March 5, 1870 or 1871 - Berlin, January 15, 1919) was a political, theoretical and revolutionary German socialist of Polish and Jewish origins.
He participated in the German Revolution in November 1918 and helped to found the Communist Party of Germany, between December 1918 and January 1919. During the 'Revolt of January', which the sixth of the same month, she was kidnapped and later murdered by soldiers of the so-called Freikorps, under the orders of the Social Democrat government.

Starting from the clash made explicit in the poem, I imagined two forces: on one hand 'the revolution', on the other 'the order'. The story of the animation revolves around these two elements that have to clash and penetrate one within the other in the image of Rosa Luxemburg. The work I drew inspiration from is a figurative poem that, through the use of a mono spaced font creates a human form.
I depict this abstract clash into two entities, both formed by cubes, which surfaces are formed from the word 'revolution' and the word 'ordnung' repeated. The two cubes have similar appearance as humans do, but their behavior is radically different. The ones of the revolution remains united against whatever entity goes against them, even though they are constantly moving, just as a group of people working on a revolution would do. On the other side, the cubes of the order have regular movements, all the same, as if they were orchestrated from the top to contain the revolutionary disorder, similar to the armies of the early twentieth century, in which the free willing was canceled. The movements were made as chaotic as possible within the revolution and the most organized and clean in the order; always in sync with the audio, so that, just as in a real combat, at every action corresponds a reaction.
The soundtrack is a part of the Nocturne op. 15 n. 1 of Frédéric Chopin, composed between 1830 and 1831.

© Michele Crivellaro, 2021