Since studying film at the San Francisco Art Institute in 1978-79, I have used the medium of photography to create Erinnerungrahmen (Memory Frames) that represent still films about people, events, and places in my life. The picture story of Innocent Addiction consists of 8 photographs of a small dog that, during an opening in 2007 in front of a Berlin gallery, played a happy and communicative game with the only requirement of a red ball.

„...These series of images resemble short film sequences, composed of a respective row of stills, ‘film stills.’ Gisela Weimann, who also describes her Memory Frames as ‘still films,’ sees their origin in her work in film. These ‘still films’ differ from classic cinema by their absence of movement, as well as by the fact, that Weimann’s ‘films’ describea cycle without beginning or end, thus ignoring a limitation, set upon the typical, linear course of a cinema film. Weimann’s Memory Frames are related to avant-garde cinema, which dissolves the antagonism between photography and film, between static and movement...

...The cinematic principle of Memory Frames is realised via a dialogue between viewer and images. The fragmentary, partial views show clippings from sequences of movements, which can be completed and made dynamic by the viewer’s imagination. In the viewer’s mind, the missing images are located between the visible pictures... Weimann leaves a symbolic void in the middle of the frame and uses the frame, itself, as the place creating the scene... 

Claudia Lüdtke (Berlin 2002)