14. MARCH – 15. APRIL 2006
FOTOGALERIE WIEN – KINO
TU-FR 16.00-19.00 / SA 10.00-14.00
Actually, everything is completely different. The filmmaker Wilhelm Gaube.
A 2004, Digi Beta 4:3 Color Mono 51 Min.
The onset of the film, Actually, everything is completely different, must have begun with questions such as the following: how do you portray someone who, for more than forty years, has put their artistic effort into making portraits of artists? How do you portray someone who has persistently aimed at getting closer to those portrayed rather than their art? And, finally: how do you make a portrait of someone who, for decades, not only hid these portraits from the public, but also in his films made himself vanish as much as possible as well as in public discussion of the same? The film has found an astonishingly simple solution for these questions: in order to make a portrait of someone who makes portraits, it is sufficient to apply to the portraitist the methods developed in these portraits.
The application of the Gaubesian scheme to Wilhelm Gaube himself, is, however, not to be confused with a reproduction of this scheme: the film could have shown Gaube at the editing table, similar to the way that Gaube showed many of his portrait subjects – with the artist (Gaube) between the film maker (Burger) and the images (the portraits). The film avoids the danger of this type of reproduction, which jumps to the conclusion that the cinematic portrait is art and the filmmaker an artist, by allowing a portrait of Gaube to arise from the traces of his presence in the portraits. It thereby not only uncovers the interpretive power of Gaube’s scheme, but at its core it also preserves its secret. Actually, everything is completely different.
(Vrääth Öhner / Translation: Lisa Rosenblatt)
There is a direct relationship between seeing and image. Perception and our habits of perception in regards to point of view and levels of reality are questioned.
bonsoir, 2005, Min. 26 Sec., Color-B&W, Sound
Documentary styled Video-Clip: Studio #1441, Cité international des Arts – Paris (April-June 2005)
raumvermessung_1 (room measurement), F/A 2005, 4 Min. 33 Sec., B&W, Sound
4 minutes und 20 Seconds, 46 Meter Room
channel hopping, F 2004, ca. 6 Min., Color, Sound
(…) Imprisoned in symmetrical systems with their almost endless possibilities. Contrasting abstract perception and the perception of actual intention depending upon distance. (…) (from: "Exemplary Reports "by Nicola Hirner,)
new york new york, USA 2002 (3 Min. 20 Sec. / Color / Sound)
Flags, storm & smoke; New York City Sound. Chelsea-Manhattan observed from 21st floor, 4 months after 9/11)
run SBG, A 2001, ca. 6 Min,. Color-B&W, Music
An endless run through an over crowded touristy street in Salzburg, dark ages & junk* thoughts ringing through the mind (* nomeansno / small parts isolated and destroyed, 1989)
Auf Wiedersehen/ Good-bye, A 2004, 5 Min. 30 Sec.
After the twelve-hour flight Osaka-Vienna the flight personnel and passengers exchanged goodbyes.
I would be delighted to talk Suffrage, GB 2003/5, 47 Min., OV: Engl., Music: Nick Cash, O.UT
The Suffragettes began their radical fight for the rights of women more than one hundred years ago in the USA and UK. Using protest, civil disturbance, official meetings, formation of their own Parties and newspapers, all the way to hunger strikes for the equal voting rights for women. When the 1910 bill amendments failed their goal was to extend the rights for women spectacular actions ensued including stoning shop windows the burning of large estates and public buildings.
In the video I would be delighted to talk Suffrage villages, squares, and buildings in London are put in relation to each other in this marginalized writing of history. At the same time it works as a City Tour Guide, oral history document, and collaged costume film.