The subversive, ironic analysis of systems of social control; pseudo-scientific technical experiments, for example with objects of daily use; and the »manipulation« of our visual habits with the help of technical
apparatus these are central aspects of
The moods of his films resemble an atmosphere between the dream and trauma. Brehm treats the dream as a source of strategies for association, similar to the secondary process to which according to Freud all the workings of the unconscious are subject. Die
In Oliver Ressler´s works art becomes a political position.
(Ursula Maria Probst)
A DVD release celebrating the extraordinary young video and electronic music scene in Austria. These are radical avant-garde works that emerge logically from modern electronic music. The images sometimes tie in with the earliest pure abstract avant-garde
With her characteristic consistency Gertrude Moser-Wagner has viewed her work as a sculptress in the conceptual tradition even at a time when other approaches were more in the limelight. She uses very precise artistic stategies, such as the transferral
It is, in a word, glorious.... what I feel is the inherent power and mystery of such material, the arrangement of these images and sounds into a definition of cinema constitutes one of the greatest pedagogic films I have seen.... my main reaction is to ha
With his sensitive awareness, Neuwirth, got hold of dream-like pictures, which in his words, he allows to clatter, make loud noises, hum, thunder and sing.
(media biz)
Lisl Ponger´s photographic and cinematic work investigates the circumstances of places and their territorial occupation by the camera, the acquisation of images, the function of photographic and cinematic representation, and the presentation of cultural v
Constanze Ruhm´s computer animations and films, of which a selection is presented in the framework of this edition, range between architecture, narration and performance, and investigate interrelations between the languages of cinema and new media. By sho
A confrontation with the codes of narrative-representational cinema is one of Peter Tscherkassky´s constant concerns. If one attempts to distill a constant from his films, then this must surely be the oscillation between the abstract and the concrete, bet
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