Ana Torfs uses video and cinema as a kaleidoscope of memory. Somewhere between fact and fiction, the reality that interests her is often from another time and appears in fragments and insignificant detail. But the subtle way they are combined produces a fascinating and unexpected view of history. Rather than showing hectic action on screen, Torfs uses the illuminated silence of faces, landscapes and objects to bring the past into the present with an immediacy which is both alive and remote, away from all frames of reference. The Beethoven she evokes in her work Zyklus von Kleinigkeiten (Cycle of Trifles) seems very different from the man we know ­or the man we thought we knew.