The film looks at the process of creating images of memory and history through filmmaking via a reenactment of the complex friendship between so-called ‘Nazi hunter’ Simon Wiesenthal and Albert Speer, the third Reich’s chief architect. (Berlinale 2014)
Vom Grller is seated in a dentist’s chair. She is undergoing a treatment that involves several phases and is composed in an escalating rhythm. Why Life Is Worth Living is a question and an answer at one and the same time: Why is it really worth it (Berlinale 2014)
Already the title leads one astray: Vom Grller′s film Im Wiener Prater is, namely, not about the amusement park that one normally associates with this name. The spectacle in this film takes place in a much more basic sense. (Berlinale 2014)
Guilty Until Proven Innocent is a portrait of a group of women standing behind a wire mesh fence. The camera searches perhaps for traces of guilt and innocence. And in the meantime it documents traces of living. (Berlinale 2014)
Kren took some scenes from a number of movies by filming directly from the screen without looking through the camera's view-finder. He inserted the missing sexual climax, by taking material left-over from (his documentation of) Mühl's Libi-Aktion. (Hans Scheugl: "Die Filme. Eine kommentierte Filmographie," in: (ed.) Scheugl Ex Underground Kurt Kren. Seine Filme, Vienna 1996)
Actions by: Günter Brus, Otto Muehl Peter Weibel, Oswald Wiener, an unidentified masochist. Experimental documentary film about the famous happening at the University of Vienna, a consequence of which was Günter Brus being forced to leave Austria. The original material is combined with sequences from the "material-action nr. 54" by Otto Muehl and a film about how to keep dogs....
In Adjunct Dislocations (1973), for example, the artist is transformed into a technologically-enhanced entity. Strapping an 8 mm cameras to her chest and back, Export traversed a number of different environments, moving erratically in a purposely wayward trajectory while filming both ahead and behind. Having herself filmed in the process, the resultant piece projects all three ...
All the shots of the slapstick comedy “A Film Johnnie” (USA, 1914) are shown simultaneously in a symmetrical grid, one after the other. Each scene, from one cut to the next, from the first to the last frame, is looped. A pulsing visual polyrhythm is produced as a result, because of the shots’ varying lengths. The total length of the mosaic film corresponds precisely to that of ...
Der Arbeitsraum als Welt für sich. Bruce Naumans Abhandlung ist die Untersuchung dieses Kosmos, dessen Vorführung, seine Grenzziehung. In Derek Jarmans Film wird das Atelier zum Lebensraum. Im Zeitraffer wechseln Motive: Arbeit, Freundschaft, Liebe und urbanes Ambiente. Vilardebós Studie ist das Portrt des Künstlers als Zirkusdirektor: Der Produktionsraum, das inszenierte Spek...
Hyperbulie is a performance work that pushes the body to its physical extremes. The performance elements are first established: a framework of wires are connected to electric batteries. VALIE EXPORT appears and makes contact with live electricity as she negotiates the wire construction.
The nature of communication between the sexes is predetermined in our society. The politics of behavior that our society imposes upon men and woman can be demonstrated in physical form.
The escalator, consisting of stairs moving downward, demonstrates the existing communication systems in five separate phases. A man and a women are connected by a rope tied around their bodies.
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On a weekend in June 1983, in what was deemed a “country outing,” an impressive number of Berlin-based artists went to a small German village to give the local residents a taste of Berlin’s avant-garde art scene. Back in Berlin, the footage was manipulated to produce an “experimental examination.”
