Film und #5 Photography

Karø Goldt, Ilox, 2001, 3 min
Sasha Pirker, Closed Circuit, 2013, 2013, 3 min
Hollis Frampton, NOSTALGIA, 1971, 38 min
Kurt Kren, 20/68 Schatzi, 1968, 3 min
Pille-Riin Jaik, Tangled, 2017, 6 min
Rychèl Thérin, Sion Ditons, 2016, 3 min
Kervin Saint Pere, Wir sind alle Kanaken, 2021, 22 min  

Curated by Stefanie Reisinger and Dietmar Schwärzler

Film and _ is an open invitation to exchange: the format is explicitly dedicated to artist film and its interrelations with other visual, applied and time-based art forms.

In the fifth edition, film plays with its older sister photography. It opens with an abstract video by Karø Goldt, for which over two thousand digitally manipulated photographs of the eponymous plant Ilox were animated to a congenial soundtrack by rashim. In Sasha Pirker's conceptual experimental arrangement Closed Circuit, 2013, the two analog formats Polaroid and 16mm film meet - including their respective specifications of duration and their specific material-aesthetic formulations. The short, very concise film makes it possible to directly observe the creation of a photographic image in a dual sense of movement: the development process of a static shot through the moving image. At the heart of the program is a classic: NOSTALGIA by Hollis Frampton, one of the most sophisticated experimental films, which perfects the relationship between image (successively burning photographs) and narration (spoken by Michael Snow) in the form of a demanding image/sound disjunction. 20/68 Schatzi is one of Kurt Kren's few decidedly political films, in which he successively makes a photograph perceptible by superimposing positive and negative. While Tangled by Pille-Riin Jaik deals with the emotionally changing processes of falling in and out of love by means of a photograph sewn together with pinpricks, Sion Ditons by Rychèl Thérin uses a slide series to address the loss of the little-known language Jersey French. Although Thérin grew up in the traditional, rural Jèrriais culture, she never learned to speak this language, which is inscribed on the slides. Finally, We are all “Kanaken” by Kervin Saint Pere explores the originally positive semantics of the term Kanak, which only became an insult due to the racist practices of European colonialists. Consequently, this film primarily focuses on historical colonial postcards and photographs of the colonies in the global South.

In Kooperation mit Belvedere21/Blickle Kino.