Anahi Juárez
Geisterjagd
Geisterjagd begins with a hunch: that digital images—those bodiless entities circulating through screens, networks, and devices—are ghostly in nature. They are collective hallucinations, fragile and fleeting. This project attempts to trap them through a deliberately archaic gesture: painting directly onto computer screens, cameras, and laptops, sealing these devices as haunted objects—ritual surfaces that can no longer be updated, reproduced, or connected.
Once painted, the devices are carried into the forest and photographed at night, using flash. In these encounters, they appear as magical relics, as if they were archaeological traces of a lost techno-mystical civilization. The images evoke the uncanny kinship between the internet and the woods, echoing the iconography of online paranormal culture—haunted videos, abandoned cameras, glitches that rupture reality.
Ultimately, Geisterjagd is a spectral hunt: an attempt to think with images, through them, and against them. A search for what still resists domestication by the logic of digital transparency.
