WORK IN PROGRESS

MY SENTENCE

Short film, in production

Trans­la­tion of the play “Kas­par” by my fath­er into a film with my moth­er as prot­ag­on­ist.

NO. HOT_​L

Site specific intervention process, Work In Progress

Hol­i­day apart­ments, trans­itions, memor­ies, recyc­ling, uneas­i­ness, fake and reverse steal­ing.

PINK BRIGADES

Touristic artivism, Work In Progress

In col­lab­or­a­tion with art-lodge.

25 DRAWINGS PER HOUR

ca. 230.000 drawings, Work In Progress

A copy /​remake of “Chronik der laufenden Ereign­isse” (1971), a film by my fath­er, as draw­ings of single film frames.

ONE, TWO, FOUR

Documentary film, in production

A semi doc­u­ment­ary tale told from the point of view of a child and its first ten years of per­ceiv­ing the world.

ACADEMY ALBUM (2017 – 2018)

The Academy Album is an artist­ic video por­trait of the Academy of Fine Arts Vienna high­light­ing its his­tory and present in fifty-two short epis­odes. The epis­odes explore con­cepts of art, sci­ence, and teach­ing, inter­pret­ing
them in dif­fer­ent ways by pur­su­ing an exper­i­ment­al, inform­at­ive, absurd and/​or doc­u­ment­ary line.

Watch the Academy Album on the Academy’s web­site

IN FERMATA (2016)

7′, HD, colour, sound

In Fer­mata might be pidgin Itali­an for “at the stop” or “closed in”. The cam­era is locked inside a room (“cam­era”) look­ing out. There are bars. The inside is invis­ible, it is excluded, but still enclosed — as opposed to a part of the seem­ingly wide and free out­side. A motif of many films, since the begin­ning: Are pass­ers-by look­ing at the cam­era, the room or the per­son behind it? Is the cam­era look­ing back or is it us? Are the people play­ing or being authen­t­ic – and is there a dif­fer­ence and where? Is a view from a room still the pre­de­cessor and inspir­a­tion of theatre and cinema, even before there was mobil­ity, car and train rides?

WISHING CAST (2016)

Talk Show (30′) + Web Serial (5x3’)

HD, colour, sound

The talk show Wish­ing Cast, pro­duced in the frame­work of Pixels, Bytes and Film*, invites pro­fes­sion­al per­formers of dif­fer­ent ori­gins and dis­cip­lines (a dan­cer, an act­ress, a comedi­an, an enter­tain­er, a cab­aret artist and a bur­lesque per­former) to a con­ver­sa­tion about their dream role. The guests tell tales of super her­oes, revenge fantas­ies, escape adven­tures, war his­tor­ies and boat tax­is. Of sex, viol­ence, humour, self-determ­in­a­tion, authen­ti­city, manip­u­la­tion and a happy life. Wish­ing Cast devel­ops into a poly­phon­ic tale about role per­cep­tions and life goals. The bor­ders between real­ity, desire and fic­tion blur, per­haps they nev­er even exis­ted. Just as the format Wish­ing Cast itself.

*cooper­a­tion of the TV Sta­tion ORFIII, the Aus­tri­an Fed­er­al Chan­cellery and the Academy of Fine Arts Vienna

CAST

Guests:

Denice Bour­bon, Per­former

Nadja Maleh, Cab­aret Artist

Michi­kazu Mat­sune, Dan­cer

Sim­plice Mugir­aneza (Soso), Comedi­an

Anat Stain­berg, Act­or

Dirk Ster­mann, Enter­tain­er

Host:

Amina Handke

WEB SERIAL

MOTHER OF MOTHER (2015)

19′ 46″, HD, colour, sound

I asked my moth­er – an act­ress – to reen­act her moth­er who I barely knew. But she remem­bers very little.

Moth­er of Moth­er recounts of scrappy memor­ies and brittle fam­ily rela­tion­ships of three gen­er­a­tions, marked by absences and sep­ar­a­tions. Also by the effects of a war or – more gen­er­ally – the influ­ence of ideo­lo­gies and con­ven­tions on con­cep­tions of women’s and moth­ers’ roles, and how these are being passed on and reflec­ted. Daily life thus coined is so unspec­tac­tu­lar that it is per­ceived as nor­mal­ity.

QUOTENPUBLIKUM (2014)

13 video portraits (13 x 3′, HD, colour, sound)

Quoten­pub­likum is a series of 13 Por­traits: 16 renowned Aus­tri­an experts with dif­fer­ent pro­fes­sion­al rela­tions to media cul­ture are por­trayed watch­ing TV. They rep­res­ent a sub­ject­ively selec­ted, diverse cross sec­tion of a pro­fes­sion­al audi­ence and seem­ingly imper­son­ate the abstract notion of the “Quote” (Ger­man term for audi­ence rat­ing), whose rep­res­ent­ativ­ity and eli­cit­a­tion meth­ods are addressed and ques­tioned.

The pro­duc­tion of Quoten­pub­likum was fun­ded and first broad­cast by Aus­tri­an pub­lic tele­vi­sion ORFIII in 2014.

HYSTERIA 2.0.0 v01 (2014)

Video (DV PAL, colour, sound), 2′ 34″

A selec­tion of emo­tion­al face­book statuses about ser­i­ous mat­ters is recited by oth­er per­sons than the authors and recor­ded with mobile tele­phone or com­puter micro­phone, in a qual­ity match­ing the medi­um. The video mater­i­al is com­posed of allegedly sen­sa­tion­al (instead of inform­at­ive) record­ings that cor­res­pond only in part to the top­ics on the sound track. Their selec­tion is inten­tion­allly determ­ined by obscur­ity and unas­signab­il­ity.

APPROPRIATED BEGGARS (2013)

Seven channel video installation (HD, colour, sound)

Nine per­sons – partly per­formers, partly beg­gars in real life – por­tray beg­gars, them­selves or them­selves as beg­gars. The defin­i­tions of pro­fes­sion­al por­tray­al and authen­t­ic situ­ations blur facing the impossib­il­ity of recog­niz­ing “real” adversity by obser­va­tion. How must beg­gars – com­par­able to the demands of oth­er work­ing envir­on­ments, not just in per­form­ing arts – por­tray poverty in order to ful­fill the expect­a­tions attached to their role? Is the authen­ti­city of the por­tray­al more rel­ev­ant than the authen­ti­city of the adversity?

Restrict­ive deal­ing with beg­gars and poverty determ­ines pub­lic dis­cus­sions in the media and polit­ics. Here a ten­or toward symp­tom elim­in­a­tion and con­spir­acy the­or­ies (“Beg­gar mafia”) appears to mark a cli­max in the help­less­ness regard­ing con­sequences of world­wide injustice.

Emo­tions evoked by the adversity or help­less­ness of the “oth­er” can be observed and reflec­ted in a “pro­tec­ted space” – that is, time- and space­wise shif­ted – as we do not have to react imme­di­ately to encoun­ters with present per­sons.

This work, based on Kutlug Ataman’s video install­a­tion Beg­gars, is an homage to the artist and can also be regarded as an ambigu­ous com­ment­ary on the con­tro­ver­sial and com­plex dis­cus­sions about copy­right law and art. Incon­sist­en­cies between rules pro­tect­ing intel­lec­tu­al prop­erty and the ref­er­en­ti­al­ity based art pro­duc­tion sys­tem are made clear by delib­er­ately refer­ring to the idea as jur­ist­ic­ally not pro­tect­able basis of artist­ic work.

In this work, ref­er­en­ti­al­ity as a basis of cul­tur­al devel­op­ments is being con­cat­en­ated with pat­terns of social phe­nom­ena and struc­tur­al con­di­tions of artist­ic pro­duc­tion.

TRYING TO REMEMBER TO FORGET (1978 /​1999 /​2001)

Single channel video, 7:23 min

A recon­struc­tion start­ing from an audio tape from child­hood on which two friends – Amina Handke and Lojang Soen­ario – inter­view each oth­er and a pho­to­graph show­ing the two: Isn´t memory always a con­struc­tion of the past, shaped by its remains (or those that are miss­ing) and in the present?

Also released on Video Edi­tion Aus­tria