Lyrically poignant yet contained, “Like Rats Leaving a Sinking Ship” is an intimate piece that combines personal subjectivity with the clinical objectivity of medical reports, challenging the very notions of these categories. The film is partly based on the author's psychiatric assessments diagnosing her with Gender Identity Disorder, in accordance with the International Classification of Diseases. Along with the discourse of the legally mandatory documents for transgendered people are her own personal writings that reflect upon the nature of memory – the present interpretation of the past - and question the possibility of any coherent biographic or filmic narrative. As evocative images inconspicuously blend with found family footage, a multilayered reality emerges in which the distinction between what is true or false becomes unimportant and obsolete. Although in line with topics such as general assumptions of gender, or “popular knowledge” of transgender people, “Like Rats Leaving a Sinking Ship” is, in fact, a deep reflection on the relation of “abnormal individuals” to authority apparatuses such as state, law and psychiatry.

The view we get is one of non-participation, an inaccessible anomaly to any form of definition which is the precise perspective the artists want to experiment with when looking at the space and surroundings of what signifies the German political centre, at political geography and urban landscapes of power. KINGDOM COME was initiated by the artists’ discovery of pigeon photography: a method used mainly during World War I in the field of what would nowadays be called ‘unmanned reconnaissance’.