Law, Order

Two works by Anja Krautgasser frame a programme in which it is not always possible to be clear about the value of the image created. The legality of filmic perception and the perception of filmic legality is central. Is Krautgasser's scenery a “real” film set? Where does the set end and where does it begin in Klaus Pamminger's film? Does the ambiguous cinematography of Michael Palm (referencing the Canadian experimental filmmaker Michael Snow) obey physical or physiological laws? Johann Lurf and Rainer Gamsjäger investigate real terrain as filmic terrain. Rather than interrogating the viewer, Michael Ascher prefers a strategy of allowing them to lose themself in the observed situation, and Almut Rink's analytic video essay is about different ways of losing oneself in the observation of nature, or of art or the practice of an occupation, which generates immersive “flow”. “From the material library, I pick ‘troubled water’.”
(Georg Wasner)

Innerer Monolog
ri-m#07_LP
Laws of Physics
12 Explosionen
Trifter 1
24/7 – Into the Direction of Light
Foamywater – Ground Moving Makes the Sea Look Deeper
beyond