THIRD ROOM: curated by_ cinema
Vienna galleries’
carte blanche:
film and video program in relation to curated by_ 2016
GALERIE NÄCHST ST. STEPHAN ROSEMARIE
SCHWARZWÄLDER
CLEMENS VON WEDEMEYER
Mass, 1998
2:35 min
Fade-overs of found-footage sequences of mass
assemblies and political demonstrations from the 1920’s thicken into a grey
surface. Scarcely has the viewer’s gaze landed on a detail when the layers pile
up over one another again. The video is based on scenes from Panzerkreuzer
Potemkin (USSR, 1925), a.o.
GALERIE MARTIN JANDA
JUN YANG
The Center of the World, 2013
8:50 min
The Center of the World was filmed in Beijing in April 2013 depicting a
white collar office worker. A man in his early thirties – the first single-child-generation
in China. Representing a new image of an idealized urban successful booming China.
The protagonist reflects on these social urban pressures, family expectations
as a single-child, he reflects on his status competition and the definition of
success and failure.
UNTTLD CONTEMPORARY
SVEN JOHNE
A Sense of Warmth, 2015
15:35 min
„I’m not going to make it. I’m a loser. Not good
enough. Exhausted. Thirty-three years old, fucked by life.“ – Mindy bleibt den
gesamten Film unsichtbar, wir hören nur ihre schöne Stimme, ihren
eindringlichen Bericht, der pittoresken SW-Bildern unterlegt ist. Mindys
Ausstieg aus der digitalen Arbeitswelt, ihre Überfahrt auf eine einsame Insel,
ihr neues Leben. A Sense of Warmth
katapultiert uns ins vermeintlich „echte“ Leben – ja, Paradies –, in ein Leben
ohne Ausbeutung, Krieg, Umweltzerstörung, kurzum: in ein Leben ohne
Kapitalismus.
CHRISTINE KÖNIG GALERIE
CANA BILIR-MEIER
Ein Raum Mit Bildern Von Provinzen, 2015
06:30 min
A Space With Images Of Provinces: Eleven-year-old Yağmur
Şimşek is telling imaginary/ fictitious fairy tales. Fragments of these stories
become part of a chain of associations of found footage material and issues of
narration in films. The Library of Babel
by Jorge Luis Borges describes the reflection on storytelling and collecting.
Just as every portrait is telling a story about its subject a film also creates
a story about filmmaking itself
GALERIE KROBATH
SOFIE THORSEN
SCHNITT A-A’, 2012
5 min
The leading role in Schnitt A-A’ is played by the architecture of the open-air cinema
in the Slovak National Gallery, which was conceived in the 1960s. By night, an
architectural projector illuminates the brick-built film screen in the middle
of the space. But there is no film or audience. The numerous and varied
perspectives, surfaces and materials in the space are the focus of the camera.
GABRIELE SENN GALERIE
WERMKE
/ LEINKAUF
Die neonorangene Kuh, Berlin 2005
6:20
min (Loop)
An
expedition through Berlin at nighttime. This approach dealing with public space
opens the view to something new in the known. Berlin from a different
perspective.
GALERIE KRINZINGER
ERIK SCHMIDT
Bogged
Down, 2010
15:55 min
In Bogged
Down the artist moves through a series of highly atmospheric locations; new
metaphors of his identity are revealed with each change of scene. The film
switches abruptly from the introductory sequence of a party on the balcony of
his flat in the big city, suddenly showing footage of an autumnal field, a
Baroque landscaped park and an old spa resort.
KERSTIN ENGHOLM GALERIE
CONSTANZE
RUHM, EMILIEN AWADA
Panoramis Paramount Paranormal /
The Ghost Casting,
2015
23:05
min
The
history of a specific place within the history of film, and the history of
certain films related to this place. The project focuses on the site of the
former film studios of St. Maurice near Paris, founded in 1913 and destroyed by
fire in 1971: later in the 1970s, an apartment complex, Le Panoramis, was built
there.
CHARIM GALERIE
LISL PONGER
déjá-vu, 1999
23 min
In einem subtropischen Land drängen sich weiße
Besucher an eine Stelle, wo dunkelhäutige Landarbeiter ihre Erntekörbe
ausschütten. Touristen zücken ihre Kameras, ob vor Großwild oder berittenen
Kamelen, ob angesichts geschmückter Menschenkörper oder alltäglicher
Arbeitsvorgänge. Bisweilen richten sie selbst ihre Blicke in die Kamera, für
später, für zuhause, wenn sie stolz die “exotischen” Fundstücke
zeigen werden.
GEORG KARGL FINE ARTS
GEORG KARGL
How the artwork makes its way / Wie ein Kunstwerk seinen Weg macht, 9.
9. 1992
GEORG KARGL
Hans Ulrich Obrist, Schwalbenstrasse
10, St. Gallen, 1994
Ich habe die Filme ausgewählt, um einen
persönlichen Beitrag passend zum Thema von curated by 2016 Meine Herkunft habe ich mir selbst ausgedacht, zu leisten. Aus
meiner Sicht muss ich nichts an meiner Herkunft verändern und will es auch
nicht.
GALERIE CRONE WIEN
KAY WALKOWIAK
Stages of Rest, 2013
10:40 min
A man carries a black wooden frame on his back
through a snow-covered winter landscape. He steadily paves his way through the
snow to move higher and higher up into the mountains. The black lines of the
minimalist object contrast against the white color of the snow.
Inspired by the imagery seen in depictions of
nature experiences and scenes of everyday life in the era of Romanticism, the
focus of Stages of Rest is on the act of carrying a Sol LeWitt sculpture.
Nature seems elevated and picturesque, while simultaneously representing the
cause of great hardship.
