A 2018 | 19 min | HD 16:9 | Farbe | Stereo | engl. UT


Women look at a city. From far above, from a standpoint of isolation: an urban space, divided into housing plots, roofs, street structures, blocks—detached living. From off screen, fragmentary characterizations of the looking women, which become interlaced with one another, and could be describing only one single person who seems to be searching longingly, observing herself, while observing.







experimental, 15min, D: Peter Kutin & Florian Kindlinger  link link


Central to the piece is a massive bulletproof glass pane, which has undergone extreme physical forces, the impacts of which created cracks, cuts, holes, … :
a cinematic metaphor for a society intrinsically linked to the screen. A hundred years ago in the world of theatre they recognized the “fourth wall”, the space separating the stage actors with the audience, and they deliberated whether to thematize or neglect this distance of removal. Today, society is once again removed through its interaction with this new wall, the display screen. Having gone one step further, we live now through abstraction, chasing each other through an ever growing labyrinth of communication. A fifth wall has risen, and can no longer be ignored.





experimental, 7 min, 1st Camera Johannes Hammel, D: Lotte Schreiber  link link facebook


Ein Film als Mahnmal, das die Möglichkeit zur Visualisierung der statischen Zahl der Menschen gibt, welche beim Versuch, vor Krieg zu fliehen, im Mittelmeer ertrunken sind. Menschen, die sich auf einer Straße zu einem Diagramm formatieren, innehalten und wieder verschwinden. Ein kurzer Moment, in dem Zahlen zu realen Körpern werden.








fiction, 9min, D: Michaela Schwentner  link


PERSONNE is a miniature film on visual experiences of performers and the audience.
This one-take film about looking, watching, and observing is staged as an intimate play.
A small number of actions are frozen in long, tableau-like shots.
The narrative structure consists of vague moments which suspend and question the
boundaries of reality and illusion.


personne website Kopie






KÖR, künstlerischer Beitrag, 60min, Kurator: Gerald Sträub  link link


Ende der Fahnenstange. Vom Nehmen und Geben.

Sechs KunstgastgeberInnen laden ein kunstinteressiertes Publikum in ihre Wohnungen oder unmittelbare Umgebung ein.

Unterschiedlichste Biografien (unter anderen von Chucho el Roto, Rummu Jüri, el Lute, Enric Duran, Carmine Crocco, Sánchez Gordillo) dienen als Assoziationsvorlagen für die Arbeitsgemeinschaft aus KunstgastgeberInnen und KünstlerInnen. Daraus entstehen unabsehbare performative Interventionen in Form einer von allen Beteiligten gemeinsam erdachten Geschichte – ein Filmset in sechs Szenen.







ODESSA CRASH TEST (Notes on Film 09)

experimental, 8min, D: Norbert Pfaffenbichler  link link vimeo


When Sergej Eisenstein had a baby stroller dash down the Odessa steps as a furious finale of his fictive massacre in the revolutionary classic Battleship Potemkin, he created one of the most iconic moments in film. The uncontrolled death ride of a helpless baby – the stroller slips away from the mother who has been shot – was simultaneously an illustration of Eisenstein’s montage principles: as ideal contrast to the mechanical rhythm of the soldiers marching back and forth. Many directors have paid tribute to the scene, for example, Brian De Palma as super slow motion shootout side effect in The Untouchables – which was promptly trumped by Leslie Nielsen & Co.’s heroic slapstick use of it in The Naked Gun 33 1/3.








experimental, 19min, D: Michaela Schwentner  link vimeo


This short film examines possible forms of storytelling in an essayistic context. To create her story this contemporary model of Penelope on one hand is knotting and interweaving text fragments (her thread consists of words instead of fabric), on the other hand she and the second protagonist communicate by reenacting several iconic film scenes.
The figure was inspired by Penelope, wife of Ulysses, who now, unlike the ancient figure, has become a voice and as well a story to tell. The modern Penelope has thrown out her husband, and that’s why Ulysses is travelling and therefore absent.  The level of narrative is organised partly following the principle of the mise en abîme. The formal level also follows this principle and consists of fragmented images and reflexions.







CONFERENCE (Notes on Film 05)

experimental, 8min, D: Norbert Pfaffenbichler link link vimeo


Hitler Dead or Alive (1942, directed by Nick Grinde) summed things up long ago: le moustache, c’est l’homme,at least in the world of images. That’s why the Allied hit squad doesn’t have to rub Hitler out—a close shave would be sufficient, and the Führer’s lackeys, unable to recognize Adolf H.’s bare face as that of their idol, would take care of the rest. Adolf Hitler: The 20th century figure portrayed most often in film and on television is for many great actors a dream role, and for some, such as Bobby Watson and Fritz Diez, the supporting role of their life. That’s fitting for a statesman who had postcards made which showed him speaking to crowds in various poses. These images resembled portraits of stage and screen stars for theater lobby cards. Sixty-five actors portraying Hitler make an appearance in Conference. Notes on Film 05, but the original is never seen. However, one has the impression that a little bit of him is present in every one: A toothbrush moustache and side part are all that’s necessary. Or maybe not. All the Conference Hitlers are from after the 1940s, and Norbert Pfaffenbichler filmed them in Super 8 and black and white from a monitor so that they match.


Bildschirmfoto 2016-03-08 um 11.28.21






experimental, 8min, D: Bady Minck  link


A meditation on the certainties of being and perceptual illusions, a circling search in time and space, and at the same time a trompe l’oeil; the spatial dimensions of Morton Feldman’s steady, apparently timeless music are taken literally in the film: The sketched arrangement of a musical ensemble about to perform Feldman’s composition fills with ‘real’ musicians caught in the paper’s two-dimensionality, only to move to the spatiality of the Vienna Konzerthaus. But what is real here, what is a visual fake? Seems To Be dances on this platform of ambivalences, juxtaposing the metaphysics of a solid existential foundation and the agnostic skepticism of an abandonment of being marked by a visual chimera. Godless Feldman, merciless abyss! What we see is looking back at us.