Title: In Death’s Dream Kingdom
Year: 2002
Production: Argentina/Germany (Post-produced at ZKM/Center for Art and Media, Karlsruhe)

In Death’s Dream Kingdom marks other instances in Marino’s work with mono-channel video. It constitutes a proposal that could still be catalogued as a documentary although with other variables, because this time he does not resort to archives, nor does he attempt to portray characters of the author’s background, but it does continue with the line of study of those particular bodies, in their deformity or illness. Nevertheless, it is outside the parameters reserved by the show business for these so-called true situations, of a supposed reality of lonely characters, living in overwhelming situations. […] The recordings of these fragments, bodies, songs and displacements are the minimal parts trimmed from one anatomy in the presence of the Other, who is diverse, enclosed and sick and does not merit being looked at. The construction of the sound track is another intensely elaborated element, which rids itself from the realist fatality of life streaming. […] His allusion to T. S. Eliot’s poem The Hollow Men, from 1925, is a formal and conceptual reference for a series of ideas that Marino stages about desolation and despair which serve as an ontological fable to conceive interpretations of man in the virtuoso materiality of his rational and social decadence.(‬La Ferla, Jorge, "Audiovisual Creation According to Ivan Marino", in Nor in this case, MEIAC, Badajoz, 2008.)‬