Film und #4 STILL

Program

Yvonne Rainer, Hand Movie, 1966, 6 min 
Theresa Hak Kyung Cha, Mouth to Mouth, 1975, 8 min 
Basma al-Sharif, The Story of Milk and Honey, 2011, 10 min 
reMI (Renate Oblak, Michael Pinter), zijkfijergijok, 2003, 3 min  
Karin Fisslthaler, Sie puppt mit Puppen, 2024, 3 min 
Pauline Boudry, Renate Lorenz, Silent, 2016, 8 min 
Liza Béar, Earthglow, 1983, 8 min 
Tarek Lakhrissi, Hard To Love, 2017, 5 min 
Veronika Eberhart, Garten sprengen, 2022, 12 min  
Anahita Asadifar, ... a response, 2021, 6 min 
Mara Mattuschka, Kaiser Schnitt, 1987, 4 min 

In the foyer
Jyoti Mistry, Loving in Between, 2023, 18 min 

Duration: 73 min 

Curated by Jonida Laçi and Stefanie Reisinger

The program brings together works of moving images that enter into a relationship with poetry or (poetic) text in the broadest sense, according to their respective media-specific means and at times even against their conditions. This not only means that they are searching for translations of literary or linguistic forms into filmic or cinematographic ones. Rather, they mediate between what they do with or in response to each other when they share the screen and cinema as a common framework.

In the selected works, which were created between 1966 and 2024, this audiovisual encounter sets in motion metamorphoses and symbioses. In addition to elaborate, historically established formulas of text in image, text with image, or text as image – and vice versa – grammars that at first glance seem far removed from text are also examined for their poetic, as political, potential. Gestures become language, bodies signs and signifiers and facial expressions placeholders for expectations (of their sounds, for example). Sometimes letters are these sounds, then filmed forms on paper or made of dough, or digits – as the common origin of text and image as well as their destruction.

The perception is accompanied by irritations, which sometimes in detailed repetitions, sometimes painfully casual, initiate reflections on the construction of meaning through image and text, as well as the immanent role of language in this process. However, these irritations also expose its plurality and porosity, pursue its loss or offer its refusal.

Here the term STILL, which gives the program its title, intends to linguistically capture precisely such aggregate states and understand them as subversive states. Still, especially in English, can simultaneously describe the auditory and visual level of film and in both cases paradoxically means the escape of their characteristics in order to register them as a quality: the sound is still, mute, the image is still, motionless. One might ask whether it could also designate the areas between the words, the white, the pause, the moment to take a breath, the rhythm, precisely that which is essential for the metric form? As states receptive to an intervention, or capable of causing one. (jl)

Film and _ is an open invitation to exchange ideas: The new series of events at the Blickle Kino aims to explicitly shed light on the artist film, both historical and contemporary positions, in its interrelationships with other visual, applied, and time-based art forms and to (re)activate it with regard to its current potential.

A collaboration between Belvedere 21/Blickle Kino and sixpackfilm.