An obviously empty white sculpture pedestal near a wall. A film projector projects from within the pedestal a small size picture onto the nearby wall, displaying the following silent film (2 x three minutes):
The seats of an empty movie theater from the back, seen from the right side. The lights go out, the curtains open while the camera starts moving to the right parallel to the screen. Some short old black&white film sequences of a Tasmanian Tiger in a cage appear on screen. The Tiger sleeps, eats, strays around, yawns. After three minutes the film is over. By the time the curtains close again, the camera has crossed the cinema room from left to right. The light goes on, the camera pans in on the empty seats of the left side, and the picture turns black. In the black a white writing appears: „Next screening in 3 minutes“, then the three minutes are counted down until the film starts all over again. 

The 16mm film from 1934 is the only film footage ever of a living Tasmanian Tiger, caught in the early 1930ies and here ready to be shipped to a zoo in London. Infact it shows the last Tasmanian Tiger before the species was declared extinct. The Tasmanian Tiger was actually a strange kind of hybrid animal: the front part is canine, it looks like a wolf or a dog. The back with its stripes is feline, it ressembles a tiger or a big cat. It was regarded as ugly and hunted down to extinction in Tasmania. Since 2001 biologists actually try to recreate the animal by cloning. 

With the installation I was interested in the different forms of Absence and Presence inherent in film and sculpture. In allusion to the „Paragone“ of the Renaissance, the title Perfect Sculpture (Tasmanian Tiger) refers to the mythical characteristics of the creature as a lost object and foil of strange desire as well as to Cinema itself which is here filmicly orbited and encircled.