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Concrete Forms
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quadro |
Though the title doesn’t mention architecture explicitly, this discipline is omnipresent in all its diversity in both the objectification of structures and descriptions of space. From the Adriatic coast to California, utopian concrete masses take on a form of their own, or even as humorous vehicles to sell shoes. Sound-driven works, from a younger generation of collaborative audiovisual artists in particular, accompany abstract and animated forms with vigor and intelligence. |
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Lotte Schreiber |
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Besenbahn |
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Dietmar Offenhuber |
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Humanic Spot – Würfel 1 Humanic Spots – Cubes 1 |
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Axel Corti |
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John Lautner – The Desert |
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Sasha Pirker |
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Void.Seqz 5 |
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n:ja (Annja Krautgasser) |
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Humanic Spot – Würfel 2 Humanic Spots – Cubes 2 |
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Axel Corti |
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Hyperbulie |
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VALIE EXPORT |
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Random |
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Marc Adrian |
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Chronomops |
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Tina Frank |
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Humanic Spot – Und immer Humanic Spots – Cubes Again |
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Axel Corti |
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The_future_of_ |
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Michaela Schwentner |
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Sea Concrete Human |
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Michael Palm |
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Machination 84 |
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lia |
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03 |
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Cinema Revisited
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Alone. Life Wastes Andy Hardy |
Revisiting classical cinema in order to reinvent and create entirely new artistic visions is an attribute of Austrian avant-garde audiovisual production over the past twenty-five years, and it also represents a source of fascination for today’s curious filmgoers. Here, images of Barbara Stanwyck are reappropriated, Anna Magnani’s voice accompanies scenes of Italian suburbia, Mickey Rooney and July Garland are vivisectioned, Barbara Hershey is attacked by the apparatus, and the poetry of early cinema is resurrected in all its beauty in Film is. All this, in addition to material taken from hundreds of other sources, contributes to the creation of unique cinematographic languages. |
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Martin Arnold |
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Borgate |
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Lotte Schreiber |
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Outer Space |
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Peter Tscherkassky |
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Film ist. |
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Gustav Deutsch |
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MOSAIK MÉCANIQUE (Notes on Film 03) |
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Norbert Pfaffenbichler |
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Picture Again |
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Linda Christanell |
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Zwölf Boxkämpfer jagen Viktor The quick brown fox jumps over the lazy dog |
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Johann Lurf |
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04 |
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Daily Business
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Hernals |
Observations of everyday events and life are transposed with irony and humor through choreographic touches, performative actions or documentary real time. Static scenes become mini cinematographic voyages: a kiss enhanced through repetition and recreation, bicycles loaded into an elevator or being repaired, workers finishing their day, or bodybuilding as an artistic performance in itself. The ordinary is subtly tweaked to create wry visual motifs for our undisguised pleasure. |
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Hans Scheugl |
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Byketrouble |
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Carola Dertnig |
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pièce touchée |
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Martin Arnold |
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Nach “pièce touchée” |
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Albert Sackl |
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Hotel Roccalba |
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Josef Dabernig |
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Bodybuilding |
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Ernst Schmidt jr. |
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Livingroom |
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Sabine Hiebler & Gerhard Ertl |
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Danke, es hat mich sehr gefreut |
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Mara Mattuschka |
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05 |
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From A to Z and back...
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Inspired by the first film images ever shot in La Ciotat, to sophisticated references to Hitchcock, this program questions media, the passage of time and different technologies used to create moving images. From the horizontal to the vertical and at differing speeds, intensities or fluctuations, various modes of cinematographic dislocation are explored. And in doing so nearly every possible manner of moving from one place to another is employed, whether traditional or virtual. |
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Peter Tscherkassky |
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Luukkaankangas – updated, revisited |
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Dariusz Kowalski |
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mir mig men |
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Karø Goldt |
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Perfekt 2 – Tacoma, Washington |
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Dietmar Brehm |
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Film – An Exercise in Illusions II |
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Lisl Ponger |
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Adjungierte Dislokationen Adjunct Dislocations |
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VALIE EXPORT |
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15/67 TV |
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Kurt Kren |
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Alpine Passage |
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Michaela Schwentner |
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Vertigo Rush |
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Johann Lurf |
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06 |
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Here's Looking at You
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Neon |
From the harsh lights illuminating the stage to the wonder of reproductive technology, these works elucidate the intimate through a delightful range of genres and techniques. The artists in this program have used self-portraits, documentary and fictional narrative methods, performance, animation and choreography to ask a question essential to cinema: Who’s looking at whom? |
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Nik Thoenen & Timo Novotny |
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Legal Errorist |
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Mara Mattuschka & |
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Spucken Spitting |
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Friedl vom Gröller |
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Maria Lassnig Kantate |
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Maria Lassnig & Hubert Sielecki |
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Pullover |
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Gunter Brus |
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8/64 Ana – Aktion Brus |
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Kurt Kren |
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November |
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Hito Steyerl |
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Copy Shop |
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Virgil Widrich |
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07 |
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In Awe
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Exposed |
Is there really an alternative to regarding one’s self or another without a sense of awe? Radical explorations of TV’s early beginnings, and sexual desire expressed and imagined off screen and framed in closeups, are major artistic contributions to the reputation of the Austrian avant-garde. This program brings together works that thematize cinema’s one-way communication and the codes normally involved, which turn the spectator into a naïve onlooker. When our “iris” dilates with the “famous women of Vienna,” you don’t necessarily need to “close our eyes” for the “happy end.” Can we maintain our voyeuristic gaze until the conclusion? |
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Siegfried A. Fruhauf |
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Adebar |
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Peter Kubelka |
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Schwechater |
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Peter Kubelka |
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Iris |
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Maria Lassnig |
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Le Barometre |
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Friedl vom Gröller |
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Berühmte Wieneriennen nackt: Die Geschichte des Pip-Ups Famous Viennese Women naked: The History of the Pin-Up |
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Ernst Schmidt, jr. |
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TV + VT Works |
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Peter Weibel |
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Close Your Eyes |
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Billy Roisz |
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Mann & Frau & Animal |
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VALIE EXPORT |
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22/69 Happy End |
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Kurt Kren |
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08 |
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Passing Time
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The passage of time and a certain amount of distance were probably necessary before visual artists began questioning the reality and aftermath of Nazism. This program introduces several rarely screened works that directly confront recent Austrian history, and they had obvious and radical social, political and artistic repercussions for the Viennese Actionists and the student protests of May ’68. Time has passed over dark horizons, to also become permeated with transforming cities, or history in neighbouring countries through the use of judiciously chosen found footage. |
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Linda Christanell |
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NightStill |
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Elke Groen |
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Kunst & Revolution Art & Revolutionn |
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Ernst Schmidt jr. |
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55/95 |
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Gustav Deutsch |
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Ein drittes Reich A Third Reich |
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Alfred Kaiser |
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Tito-Material |
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Elke Groen |
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cityscapes |
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Michaela Grill & |
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20/68 Schatzi |
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Kurt Kren |
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09 |
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Whose Reality?
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6/64 Mama und Papa |
These four ‘choreographed’ documentaries play out in the interstices between inside and outside, public and private, visible and invisible, being in control and out of control, and they explore different aspects of the political arena. From a performance to an essay on the status of refugees and illegal immigrants in Fortress Europe, surveillance, public spaces and hyper-real public housing are questioned and traditional family models are undermined. |
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Kurt Kren |
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Body Trail |
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Michael Palm, Willi Dorner |
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Forst |
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Ascan Breuer, Ursula Hansbauer, Wolfgang Konrad |
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Somewhere, |
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Ella Raidel |
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10 |
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Visiting our Neighbours
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An diesen Abenden On those Evenings |
Small or isolated countries have always had a disproportionate interest in the world surrounding them. The key issue in these works is analyzing the observation of “exotic” images, editing and re-editing material of the past and present. Fictional and documentary approaches and reconstructed found footage question social interactions within a 1950s farming community, moral and visual colonialism, the view of foreignness and a collective experience with migrants and refugees. Formally, they function by transposing sounds and images, and aesthetically through the displacement of communities and individuals. |
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Herbert Vesely |
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Ostafrika East Africa |
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Dietmar Brehm |
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Sonne halt! Sun Stop! |
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Ferry Radax |
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Key West |
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Thomas Aigelsreiter |
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Film ist. Film is. |
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Gustav Deutsch |
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Passagen Passages |
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Lisl Ponger |
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Unsere Afrikareise Our Trip to Africa |
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Peter Kubelka |
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Curator and Programme texts: Brent Klinkum
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sixpackfilm |
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