Lucius Burckhardt describes Disneyland Paris as a "hyper-typical landscape of modernity,"¹ a "deliberately designed combination of spectacular—i.e., object-like—and narrative elements."² The work Welcome to Disneyland refuses to depict Disneyland itself; instead, it lets the viewer’s own imagination take its place. Welcome to Disneyland is recorded on the massive parking lot on site. The film turns a mechanical movement into a dramaturgical device: using the moving walkway that transports visitors from their cars to the entrance of Disneyland Paris, the camera glides across the vast expanse. A voiceover welcomes the guests and instructs them to remember the location of their car—as if their own vehicle were the last point of connection to the outside world. Alternating with music that plays over loudspeakers throughout the parking area, this absurd welcome gesture forms the soundtrack of Welcome to Disneyland.

¹ Lucius Burckhardt, Warum ist Landschaft schön? Die Spaziergangswissenschaft, ed. by Martin Schmitz, Berlin: Martin Schmitz Verlag, 2011, p. 110. (Translation by the author.)