Journeys, wanderings, voices

The camera's eye touches on buildings and landscapes, records rituals and spatial relationships, experiments with sinister approaches, measures inner and outer spaces, and still rebounds off the visible surface.
sculpture house by Aglaia Konrad is a filmic meditation on a building, and time. Images of the mossy concrete outer skin of the building, reflections of the surrounding gardens – a look at, and a sense of the place shot on 16mm – single frames flicker like the fluttering of an eyelid. While, from changing perspectives, Konrad's camera slowly approaches ever nearer, Angelika Brudniak and Cynthia Madansky swiftly set off in a speeding car to get fast moving landscapes on film, an air force base including its arsenal of nuclear weapons in the midst of an empty landscape. Voices recount stories of everyday life in this eerie dystopian scenery, and the things hidden beneath the surface. Nina Mayerhofer also engages with that which isn't apparent in Gruß Gott, Auf Wiedersehen, and it's only at the end that we actually find out the occupation of the men who “feed” the time clock in a morning and evening ritual. In home.movie by Martin Bruch and Reinhilde Condin a seemingly abstract drawing turns out to be the plan for a track system, which will aid Bruch to film and move through his apartment at the same time. In Angelika Fuentes, The Schindler House, Sasha Pirker tells of a home and its caretaker. A narrator talks of her magical place, which has long been a museum, as it fades to and from black, its structure out of focus,
(Judith Fischer)

Minot, North Dakota
Grüss Gott, Auf Wiedersehen
sculpture house
Angelica Fuentes, The Schindler House
Home.Movie