Screening Archive
- Short film evening curated by hungry eyes festival Gießen
- 21.11.2024, 7pm
Screening November 21st, 2024, 7 pm
Held every eighteen months in Giessen, Germany, the hungry eyes festival explores the intersection of film, performance and the visual arts. In its last edition in 2023, they reflected on their conceptual roots in experimental short film and the diversity of international submissions they‘d received. In 2024, the festival hits the road, touring Berlin and Linz with a programme of seven of their favourite short films from recent years. Join us for this exciting programme.
https://hungryeyesfestival.de/
Programm:
Why the Birds? by Tomás de Souza, 2022, 12:16
Swimming Lesson by Vardit Goldner, 05:16
He Had Got Certain Vibes by Greta Alfaro, 2019, 02:31
How I Choose to Spend the Remainder of my Birthing Years by Sarah Lasley, 2020, 05:50
10 Celebrities You Didn’t Know Were Arab by Sarah Trad, 00:12
SOS/Animals/Action by Big Art Group, 2021, 11:48
Reality Fragment 160921 by 七个木 Qigemu 七個木, 2018, 14:02
The films are in English and some are subtitled in English.
Image: Still from Why the Birds by Tomás de Souzas
Exhibition / Screening
Saturday, May 1st 2021, 14:00 –19:00pm
The Film will be screened in a loop. (09:18min)
Please refer to the current Covid19 Regulations!
“pepsi, cola, water?” (2015, 09:18) is a short experimental documentary about Sun Ra’s legendary visit to Egypt in 1971.
Jazz pioneer and philosopher Sun Ra had a deep fascination with outer space and ancient Egypt. Computer animation, archival footage and music from Sun Ra are interwoven to create a recreation/celebration of his legendary visit to Egypt. The result is a film as far out as Sun Ra himself.
You can meet Tom Bogeart at AFO, where he currently has a residency. Also, there is an opportunity to see another Sun Ra related work of his this fall, as he is one of our Open Call residency artists!
Tom Bogaert worked as a refugee lawyer for the UN and Amnesty International until the age of 38. He had his first solo exhibition in NYC in 2008 with the legendary ‘Jack the Pelican Presents’ gallery and moved to Amman, Jordan soon thereafter. Bogaert has widely exhibited in Europe, the US and in the MENA region—mainly in artist-run and non-profit venues. He was awarded first prize at the Videoex film festival in Zurich, Switzerland for his experimental documentary “pepsi, cola, water?” about the legendary jazz pioneer Sun Ra and his infamous 1971 visit to Egypt.
www.tombogaert.org
During the second wave of lockdowns and cultural stop spread all around Europe in late 2020, bb15 invited sound artist Michele Spanghero in a process of “remote residency” for the creation of a compositional work dealing with silence and the emptyness of the cultural spaces.
In times when the current condition could not be imagined, the artist explored acoustically empty theaters in his long-term project “Monologue”, an audio-visual work inspired by the Italian theatrical architectural heritage. Since 2014 Spanghero collects images and resonant frequencies from some of the most important Italian theaters and opera houses, such as Teatro Regio in Parma, Gran Teatro La Fenice in Venice, or Teatro di San Carlo in Naples.
Due to the pandemic limitations all across Europe, theaters – places with a long tradition of social and political relevance – are currently closed. Spanghero re-worked his archive of recordings and he celebrated the Gran Teatro La Fenice in Venice by filling its emptiness and silence through an orchestral composition that blends with the recording of the resonance frequencies of the theater he made there in 2015.
Monologue Exhibition
The video installation was streamed online from December 28th to 31th on this website.
Michele Spanghero (Gorizia, Italy 1979) sound and visual artist
Michele Spanghero’s artistic activity ranges from the field of sound art, to sculpture and photography. He’s research is versatile, yet consistent enough to receive the mention as “Best young Italian artist in 2016” according to Artribune magazine. Spanghero exhibited his works in various international venues such as School of the Art Institute (Chicago), Hyundai Motorstudio (Beijing), Tuileries Garden (Paris), Museum of Modern Art (Istanbul), Ars Electronica festival (Linz), Klangraum (Krems), Mart Museum (Rovereto), Bevilacqua La Masa Foundation (Venice), Palazzo Te (Mantua) and 16th Art Quadriennale (Rome).
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- Michaela Schwentner, Marwa Arsanios, Tatiana Lecomte, Annja Krautgasser, Roma Kollektiv
- Postponed due the actual COVID-19 restrictions
Video Screening:
Postponed due the actual COVID-19 restrictions
The TRANSFERENCE program brings together works that deal with translation. A range of different approaches are shown:
Annja Krautgasser transfers existing film material into a filmic miniature, Marwa Arsanios’ fragmented essay narrative works with re-enactments of documentary material. Michaela Schwentner’s film transposes theoretical text material into a cinematic, figurative setting, and Tatiana Lecomte’s tracing of an actual event is translated into sound using generative techniques.
Program:
Michaela Schwentner — Un divertissement d’amour
A 2011 | 10:40 min
Marwa Arsanios — Have You Ever Killed a Bear? Or Becoming Jamila
LB 2013-2014 | 25 min
Tatiana Lecomte — Ein mörderischer Lärm
A/I 2009-2011 | 21 min
Roma Kollektiv / Annja Krautgasser (Initiatorin) — Remake Romanzo Criminale
A/I 2009-2011 | 13 min
Annja Krautgasser — Re-run
A 2015 | 16 min
Curated by: Michaela Schwentner
The current measures apply.
Attention: Limited number of seats. We ask for registration and seat reservation under: office@bb15.at
- Amy Cutler, Duke and Battersby, Bryony Gillard, Melanie Ludwig, María Molina Peiró
- 03.03.2020
Video Screening:
April 3rd, 2020, 7:30pm sharp
Program:
Unctuous Between Fingers, Bryony Gillard, 2019 (15 min)
The Sasha, María Molina Peiró, 2019 (20 min)
Hacking Nature Documentary, Amy Cutler, 2018 (11 min)
Darwin geht baden, Melanie Ludwig, 2015 (3:31 min)
Here Is Everything, Duke and Battersby, 2013 (14 min)
For the next edition of Cinema Maison, bb15 will screen video works that propose alternative readings of the nature documentary genre. Typically equipped with a scienti c or educational approach, these documentaries shape general knowledge about the natural world. Inspired by lm making techniques, soundscapes or voice narrations of wildlife and ecosystem documentation, the selected works re ect upon the hierarchy that this genre has tended to create between humans and other forms of living critters. Cinema Maison: RECOVERY CHANNEL addresses nature documentaries as an anthropocentric, male-dominated and colonial construct, while at the same time opening up to human and non-human entanglements, the big compost of life and multispecies worlding.
Programmed by Romana Bund and Marie-Andrée Pellerin
- Katrina Daschner, Willehad Eilers, Dieter Kovačič & Billy Roisz, kozek hörlonski, Claudia Larcher, Alexander Martinz, Sabine Marte, Hyeji Nam, Mariya Vasilyeva
- 22.10.2019
Screening
Tuesday, October 22nd 2019, 7:00pm
Selected films by Katrina Daschner, Willehad Eilers, Dieter Kovačič & Billy Roisz, kozek hörlonski, Claudia Larcher, Alexander Martinz, Sabine Marte, Hyeji Nam, and Mariya Vasilyeva
„Horror or porn?“ This question was a constant companion when I worked the last three years together with Alexander Martinz and Peter Kozek on the film trilogy Dämonische Leinwände. In fact, the question came from people who were only peripherally involved in art production, people we asked for permission to shoot, borrowed boats and bought props from or asked for other favors. Even the resale of the props attracted porn producers.
What are the real similarities between the two genres? Are there similarities in the body images, in the staging, or are they the closely related taboo zones of fear and desire? The focus of this evening is on the artistic reflection of horror, queer eroticism and pornography arranged into the themes horror house, homeland, body images and tutorials. Cinéma Maison S01E02 will also show and illuminate the perspective on visual components such as furnishings, costumes and makeup.
Programming and text: Thomas Hörl
Video Screening
Tuesday, June 25th, 2019, 7:30 pm
Program (starts at 8 pm sharp!)
Luzie Meyer, Too Often, 2018, audio, 2 min
Jennifer Mattes, Wreckage takes a holiday, 2018, video, 29 min
Luzie Meyer, Mouthpiece, 2019, audio, 8 min
Christoph Schwarz, CSL, 2018, video, 35 min
bb15 introduces the first episode of its new screening series
„Cinéma Maison“, which will feature two short films by Jennifer Mattes
and Christoph Schwarz, interspersed with sound pieces by Luzie Meyer.
Despite
the different nature of the works, the artists use techniques of
self-representation and doubling of the self. By placing their own
persona as a fictional character, they are creating an ambiguous
closeness with reality. The narrative voice-overs, made by the artists
themselves, stand on their own as a central part of the works
constructing non-linear sequences and multiple climaxes. Role playing is
cynically reflecting upon ones identity, as an author, as a construct
or as a doppelgänger. Trying to withdraw from the mundane existence and
its contradictions, the artists use their own voice to reflect upon
broader political issues.
Ausstellungseröffnung
Dienstag, 13. Dezember, 19:00
In their video „Isle of White“ Antje Feger and Benjamin F. Stumpf explore inner and outer borders which are especially sensible in the living conditions of refugees. In Spring 2010 they travelled to different places along the German-Danish border and on smuggling paths between both countries to research into these places in regard to the view of immigrants. In their final video the research is mostly indirectly tangible. It shows the mental situation, the harassment and affliction of a refugee. The experience and suffering is sublimated into atmospherically condensed scenes that are parallelized with landscape images. Instead of documentary imagery the film works with the forcefulness of the action and the atmosphere of the landscapes. This shows that “Isle of White” does not only refer to the specific border between Germany and Denmark, not only to specific places like isolated accommodations and not only to the present. Moreover, the winter landscape becomes a metaphor for human coldness and the anonymous character of a refugee becomes an image of the basic, existential experience of bondage, homelessness, coldness and harassment.
Antje Feger
1977 born in Lüneburg, Germany. Lives and works in Hamburg, Germany
1997-2005 studies of Fine Arts, Muthesius Academy of Fine Arts and Design and Anglistics, CAU, Kiel
2005-2006 Independent Study Program, Maumaus, Escola des Artes Visuais, Lisbon, Portugal
Benjamin Florian Stumpf
1976 born in Solingen, Germany. Lives and works in Hamburg, Germany
2002-2008 studies of Fine Arts, Muthesius Academy of Fine Arts and Design, Kiel, Germany
2005-2006 Independent Study Program, Maumaus, Escola des Artes Visuais, Lisbon, Portugal
Öffnungszeiten
14. – 17. Dezember, 15:00 – 18:00
- Siegfried A. Fruhauf, Karø Goldt, Manuel Knapp, lia, Johann Lurf, Jan Machacek, Billy Roisz, Michaela Schwentner
- 08.06.2010 19:00
Das sixpack Programm „Prickelfrickl“ ist eine speziell für das bb15 zusammengestellte Auswahl an Videoarbeiten welche den Wahrnehmungsapparat herausfordern: Abstrakte Bildwelten – Texturen, Found Footage Experimente, Bildersalven, digitale Schichtungen – treffen hier auf analogen Noise, Rauschen, Feedbacks und die Stimme von Laurie Anderson.
Screening
Dienstag, 08.06.2010, 19:00
Einführung
Dietmar Schwärzler (sixpackfilm)
Johann Lurf: Zwölf Boxkämpfer jagen Victor quer über den großen Sylter Deich 140 9
Lurfs Diplomfilm verweist auf Found Footage Experimente, wie sie schon die Künstler der amerikanischen Neoavantgarde, etwa Morgan Fisher oder Bruce Connor unternahmen, wobei Lurfs Beschleunigung seiner Bildersalve duchaus die Ambiguität zwischen medienspezifischer Reflexion und Überwältigung sucht. (Rainer Bellenbaum)
Manuel Knapp: Distorted Areas ~ 0.1.
Das Material ist mit Hilfe einer Echtzeitsoftware entstanden. Sowohl die Programmierung der Texturen und Parameter als auch die Abtastung mit der Kamera fand in den Grenzbereichen der Software und der Elektronik statt, wodurch sich eine Reihe von Verzerrungen, Störungen und Verfremdungen der ursprünglichen 3D-Effekte ergaben. Der Sound hingegen basiert of analog noise (input / no input) erzeugt vom Rauschen von Tonbandmaschinen. (Manuel Knapp)
Billy Roisz: Close Your Eyes
Billy Roisz, inspiriert von den halluzinogenen Erfahrungen des Malers und Literaten Henri Michaux, gelingt ein faszinierender Trip ins Abstrakte und Absurde und an die Grenzen der eigenen Wahrnehmungsfähigkeit. (Christa Auderlitzky)
Karø Goldt: I deeply regret
Mein Video zeigt einen Versuch, sich nachträglich mittels einer Machtphantasie aus der Opferrrolle zu befreien. Oder mit anderen Worten: Nach langer, langer Zeit lebt hier jemand die Gegenwehr zur gesummten Melodie von Rocky tatsächlich aus. (Karø Goldt)
Jan Machacek: words
words von Jan Machacek kommt dem Nicht-Mitteilbaren bei, indem es röntgt, vervielfältigt, ironisiert, feiert, verkürzt, unterwandert, verfeinert. Mit der Beständigkeit des Glückspielens wird hier das Nicht-Mitteilbare als ein inneres Pingpongspiel ausgetragen. (Radostina Patulova)
Michaela Schwentner: la petite illusion
In la petite illusion wird eine kleine Geschichte der Leidenschaften in Szene gesetzt: schweres Atmen, umspielt von einer jazzigen Basslinie, ein Kuss, der nächtliche Sturz einer Dame ins Wasser. Der Titel der Arbeit verweist ironisch auf Jean Renoirs „La grande illusion“ von 1937, aber die Assoziation führt ins Leere. Michaela Schwentners farblich asketische elektronische Manipulation gefundener Bilder und Töne ist eine sorgsam in Schwebe gehaltene Studie historischer Kinoaffektbilder. (Stefan Grissemann)
lia: 068
o68 wurde unter Einfluss von Laurie Anderson’s „O Superman (for Massenet)“ hergestellt, und bedient sich sowohl eines Textes als auch den Stimmaufnahmen von Laurie Anderson.
Siegfried A. Fruhauf: Palmes D´Or
820 Ablichtungen sind als Einzelbildabfolge das Ausgangsmaterial. In einer massiven digitalen Schichtung dieser Bildsequenz verformen sich die fotografisch realistischen Aufnahmen zu einem nahezu malerischen visuellen Konzentrat der Zersetzung. Die Illusionsmaschine Kino wird wieder zur reinen Bildmaschine. Das Konkrete des Abbilds verliert sich. Der Titel der Arbeit, Palmes d’Or, richtet die Wahrnehmung auf die darin nur mehr ansatzweise aufblitzende Form der Palme. (Siegfried A. Fruhauf)