Choreography Of The Frame
08 11 - 15 12 2018 / group exhibition / Kunsthalle Exnergasse, Vienna
The exhibition Choreography of the Frame investigates and negotiates positions and strategies of image production – through conceptual or
technical frameworks and shifts in the context of photography and moving image, images and statements are redefined and recontextualised.
The dissolution of established genre ascriptions, borders, and frameworks by individual artistic practices and strategies calls for a re-examination of the image.
Be it an enlarged photograph that takes on the dimensions of a wall or a space, a photograph that is folded into a sculpture, a photographic or filmic work that expands the mise-en-cadre to include or thematise the underlying conditions of image production – in all of the exhibited works the conventions are suspended, while the production process itself and its mechanisms, logics, and conditions are brought into focus.
Participating artists: Marwa Arsanios, Gwenneth Boelens, Maia Gusberti, Yasmina Haddad, Herbert Hofer, Tatiana Lecomte, Gabriela Löffel, Claudia Märzendorfer, Uriel Orlow, Petignat und Scholz, Michaela Schwentner, Lina Selander, Sophie Thun.
Curated together with Maia Gusberti
Exhibition views © Wolfgang Thaler 2018
Exhibition views © Michaela Schwentner 2018
PLAY pt. 1
The Rehearsal /
of William Shakespeare’s
2018 / single channel video / 16:9 / colour / 2:08 min
The video PLAY pt 1. The Rehearsal shows the staging of a text source and refers to one of the great narrations in the
history of theatre in its subtitle. Here the organic-mechanic principle of repetition is replaced by the technical loop.
The Rehearsal, video still
PLAY pt. 2
L’absence est présente
2018 / single channel video / 16:9 / colour / 2:08 min
In PLAY pt 2. L’absence est présente a puzzle, after being put together, displays the text “L’absence est
presente”. It’s the playful attempt to make the absent, the still invisible, the non-perceptible present by the generation of text.
The 2 video works PLAY pt 1. The Rehearsal and PLAY pt 2. L’absence est présente negotiate the philosophical aspect of absence and how it comes into presence by artistic interpretation, particularly by staging a play or a film. Both works question how absence can be glimpsed or displayed.
A play has specific structures and rules. Inbetween those structures — in the interplay of repetition — we can glimpse absence. In this flickering between presence and absence a space unfolds which enables the emergence of poiesis in a hermeneutic sense.
In my artistic practice I examine structures, mechanics and mechanisms of art and image production itself, mainly the frame conditions and production processes. In this context for me the central aspect is the rehearsal as basic element of the realisation of (mostly) text interpretations with their relevant issues and decision-making processes regarding possible forms of staging.
The artistic rehearsal is repeatable. This repeatability is enabled by the repeatability of once present experience in and by remembering — in the play the absent is always revealed and negotiated: the absence of death, of endlessness in the repeated or repeatable imagination (idea/eidos) or in our memory.
PLAY pt 1. The Rehearsal / of William Shakespeare’s Midsummer Night’s Dream + PLAY pt 2. L’absence est présente were realised in the frame of ORTung Hintersee 2018.
L’absence est présente (prototype version), video still
Chorprobe / Choir practice
2017 / single channel video / 16:9 / colour / sound / 2:41 min
In the frame of the residency project Was Anderes? I conceived a small piece for a choir. The reenactment of this choir practice was
and social interaction as well as performance and rehearsal. This scenic fragment was the attempt to connect and combine our various approaches responding to the introducing question in a playful performative way, addressing communality, community and the collective itself. We performed and filmed the reenactment on site in Vairano. The result is the film fragment Chorprobe.
Facing the current populist developments in Western politics and society,
it seemed to be useful and relevant to examine and revise popular and established terms in relation to their social and philosophical meaning. In order to grasp the notions of our time, we wanted to dispute these developments from an artistic perspective.
In an experimental setting, by collecting and developing methods of re-appropriating, re-connecting, re-understanding and embodying terms we investigated the experience of meaning of (socio)political terms.
Despite our diverse, individual ways of investigating and questioning we were collectively and continuously collaborating on instructions for an appropriate choreography within our social frame and on the depictions of personal strategies of social (inter)action. We were consistently searching, creating and collecting notions, vocabulary and ideas for our adaptive alphabet using new possibilities of perception, connotation, contextualisation and interpretation. An essential experimental stage of our reflections and investigations was learning and understanding by doing or acting: by taking action technical or social processes can be reconstructed, tracked or reenacted.
Zusammen (:) was anderes (!)
After 4 weeks of searching, collecting, comprehending and developing a new vocabulary, (self) investigations and developments of action strategies, we would be able to start the filling our abédédaire – C for Choir, Z for Zusammen, …
The Sasso residency collective in July/August 2017 consisted of performer Nicolas Galeazzi, artist Maia Gusberti, graphic designer Miriam Hempel, typographer and graphic designer Nik Thoenen and Michaela Schwentner.
2016 / video installation / 1,85:1 or 16:9 / colour / sound / 9:40 min
This short film is a miniature about gazes and perception, about the experience of
observing and being observed. It consists of just one long, tableau-like shot including a quarter circle pan shot.
The narrative structure's vagueness suspends and questions
the boundaries of reality and illusion.
What do we see, when we look? What do we see, when we watch? What do we learn, what do we know then? Can we rely on our perception, since it is just a partial aspect, one perspective of reality?
The vague and intimate staging creates a surreal, oneiric atmosphere accompanied by a mysterious effect which generates a confusing feeling – we are exposed to the act of observing and thus forced to be voyeurs.
The film is a kind of a "gestell" – a framework for reflections on the essentials and mechanics of film as well as on film production itself. In this sense, the make up scene reveals the actress's transformation into the film figure. Thus, it also refers to Eleanor Antin's video performance Representational Painting from 1971 in which the act of putting on make-up as a traditional mode of self-expression was explored and staged, amplifying the observational aspect.
Also, connections to Ingmar Bergman and Alfred Hitchcock are at hand when it comes to the concept of the figure(s): both figure and idea refer to Bergman’s Persona on the level of the internal conception, on the level of external conception to Hitchcock’s Rear Window.
The cinematic action that follows a prescribed plot was shot over the course of a day. Like in rehearsals, by repeating again and again iteratively the ideal take was worked out. Basically it‘s impossible to do exactly congruent repetitions, so every take within the scope of action is slightly different than others — even by the change of daylight throughout the day a different atmosphere and light situation was created.
The installation personne 1—7 negotiates aspects of film production itself (acting as work, rehearing, decision finding processes) as well as the construction or the backside of presentation. The frame (german: Gestell), the construction of the installation is partly exposed and by becoming visible turns into a part of the concept. 7 selected takes shown one after the other give an insight into the procedures of this particular film shooting. Thus, film production as well as acting or performing become the narrative subject and let us comprehend the realisation of the cinematic image.
The fragmented form of my film essays, which always means reflecting on film and its production in fragments, is mirrored in the installation.
Personne, video stills
Installation views: kunsthalle exnergasse 2018, right: © Wolfgang Thaler
2016 / video installation / 16:9 / colour / sound / 4:00 min
A model for a film. The set design is an assemblage of several small scenes.
The scenery includes some rather iconic images which refer to a sophisticated Europe and its highly developed state of civilisation with its democratic, political and critical consciousness.
Since it is to be feared that Europe is going to abandon its cultural standards, we as European citizens have to question this so-called system of values and even a lot more of our ideas.
This model film is supposed to be transformed into a musical performance with 2 chorus ensembles interpreting the dialogues.
(Women under influence)
2016 / photographic series / pigmented inkjet prints / variable sizes
The cinematic (action) image as a spatial object, providing a new perception
and interpretation of mechanisms and structures of film production (like staging, acting, etc.): Cinematic images of iconic films featuring modern women under a certain kind of influence, though, are transferred into sculptures created of working and household tools.
By transference and the shifting of frames new reflections on aspects of work and conditions of artistic working processes may be initiated.
The sculptures are named after the female leads of those particular films: Camille (Le mépris, J.-L. Godard, 1963), Martha (Martha, R. W. Fassbinder, 1974), Myrtle (Opening Night, John Cassavetes, 1977), Catherine (Jules et Jim, François Truffaut, 1962) and Giuliana (Il deserto rosso, Michelangelo Antonioni, 1964).
The Remains Of Cinema, KM— Künstlerhaus Graz, exhibition views
Fra(g)me(nt)s Of Camille
2016 / aingle channel video / 16:9 / colour / 30 sec
The fragmentation of the digital reproduction of Camille from the series Figures resulted in the Fine Art Print Fragments of Camille and in the video work Frames of Camille.
Fragments of Camille
Frames of Camille
Speed of life
2016 / aingle channel video / 16:9 / colour / sound / 4 min
Contribution to the artistic research project Dizziness -
A Resource, a cooperation of the Institute for Differential Psychology of Karl-Franzens-University Graz, FWF PEEK, Academy of Fine Arts Vienna and Kunsthaus Graz.
The work won the 3rd place of the competition
The Shooting (in progress)
2015-2016 / installation / 2 water sprinklers with coloured liquid
Two sprinklers are "shooting" at each other with black-coloured liquid.
The installation refers to a film dialogue.
Playing Martha (Augarten version)
2017 / performance + multichannel video installation / colour / appr. 10 min
Fragmentary reenactment of the renowned 720º scene from Martha by Rainer Werner Fassbinder,
shot by his cinematographer Michael Ballhaus.
The camera shot is transformed into an installative performance with 4-6 performers with each of their particular interpretation and enactment of Martha, actually their individual mode of slipping into a role by putting on the figure's costume.
IMAfiction portrait #08 Electric Indigo
2015 / single channel video / 16:9 / colour / sound / 22:00 min
Video portrait of electronic music dj and composer
Camera: Andreas Gockel, Michaela Schwentner.
Commissioned by IMA Institute of Media Archeology.
Descending a staircase / in shifts
2015 / performance + video installation / 16:9 / colour / sound / 33:36 minutes
A woman in a yellow bathrobe is descending a staircase - over and over again.
This image of action refers to the film scene from Le mépris (Jean-Luc Godard, 1963).
The main "character" is in fact the significant prop of the scene, the yellow bathrobe.
The scene is performed by 3 different performers over the course of a day.
The piece is at the same time the reenactment of a film shooting, and hence the
reenactment of Camille's role, a reenactment of an actress' work, a reenactment of
Brigitte Bardot's performance and furthermore a demonstration of variations of acting.
It is the reenactment of the work of an actress, a spatial intervention, a performance,
the actual work of the performers and the video installation in public space.
Descending A Staircase / In Shifts was commissioned for Festival der Regionen 2015,
Installation: Festival der Regionen 2015
in the scenery /
A theoretical comedy.
2013-2015 / single channel video installation / 16:9 / colour / sound / 18:45 min
The film shows two women sitting in the scenery of a theatre or in the backdrop of a film set.
It is not clear whether these two figures are already acting or whether they are waiting for their scene, trying to kill time by telling stories
and reflecting on film-immanent matters.
Are they outside their role, outside the film set or are they acting in a film which is about two women playing in a play or a film, waiting for their scene and telling stories which (seemingly) have nothing to do with th situation they are in? Are they rehearsing?
Repeatedly text inserts are displayed which show stage directions but also questions addressing the lead figure Penelope, asked by an invisible audience or other film figures as well as her reactions on them.
Some scenes are repeated several times, but still it is not a rehearsal, but instead a film that uses montage of image and sound to transfer figures from one context into another or a new one and by that question the previous one and furthermore question the production per se and its aesthetic realisation.
This essay film is about the story of Penelope, though a contemporary and emancipated model of this fictive figure. To create her story Penelope is on one hand knotting and interweaving fragments of her story, of stories, on the other hand she is reflecting on film-immanent matters also by reenacting several (iconic) film scenes.
Fragments of stories are interlinked and interwoven to assemblages. These fragmented and
re-arranged narrative threads which refer to different contexts create a new narration-image. The level of narrative partly follows the principle of the mise en abîme. The formal level also follows this principle and consists of fragmented images and reflections. The reflection on narration and on projection has its equivalent on the formal level in the sense of mirroring.
Screenings: Diagonale Graz 2014, Crossing Europe Film Festival Linz 2014, Cairo Video Festival 2014;
Part of the Les Rencontres Internationales vidéothèque Paris
2013-2016 / single channel video / 16:9 / colour / sound / 4:45 min
This essay film is both cinematic reconstruction and staging and refers to a pop-cultural
moment of 20th century history. I was interested in the intersection of historic moments and aesthetical practices and in the
examination of our relationship to collective historic and visual experience.
In a sequence of about five minutes The Contest shows two young female performers in a gymnastic performance situation.
The minimalistic setting of the scene filmed in a real but still staged studio unfolds in static shots and shows the performers primarily in long shots by considering the symmetry of the image.
The performers movements equal real practising movements of figures skaters, still the reduced image composition lets the choreography appear somehow artificial.
The formal aesthetic approach to the historic event which is grounded in the collective memory and visual archive on one hand and to the presentation of subjective experience on the other hand result in a stylised image which is supposed to merge into a timeless form. It was not my intention though, to dissolve the historic event in the aesthetic, but to objectify it by reducing all narrative moments.
The negotiated historic event was a spectacular case in the history of US-American figure skating: during a decider preparation for a championship one of two rivals was attacked and incapacitated; the other athlete got linked with the attack and was subsequently suspended from all further championships.
Screening: Crossing Europe Film Festival Linz 2015
ABDUL SHARIF BARUWA // EVA BODNAR // HERBERT DE COLLE // PLAMEN DEJANOFF // HEINRICH DUNST // MARINA FAUST // VERONIKA HAUER // GERHARD HIMMER // SIGGI HOFER // NICOLAS JASMIN // DANIEL KNORR // ELKE SILVIA KRYSTUFEK // SONIA LEIMER // JOHANN LURF // CHRISTIAN MAYER // ALBERT MAYR //JOSH MÜLLER // MICHAEL PART // ELISABETH PENKER // ROMAN PFEFFER // JOSEF RAMASEDER // BERNHARD RAPPOLD // FRANZ SCHUBERT // CONSTANZE SCHWEIGER // MICHAELA SCHWENTNER // AXEL STOCKBURGER // CHRISTIAN STOCK
2014 / Frottage
3x live frottage Blickle Raum Vienna 2014
reconstruction of botanical archives
by reenacting representative complexities
2014-2016 / pigmented inkjet prints + Baryt prints / series of 7 images / different sizes
What is paradise?
This photographic work is a derivative of one of my previous film projects Prospects: Images of plants in botanical gardens and parks in the Mediterranean.
While for that film I was mainly interested in the garden as a manifestation of paradise, for this work it was the plants themselves — in their appearance as mute witnesses of political conquest.
The prefix re- in the title refers to the reconstruction or the technical reproduction of images and on the other hand it is associated with reparation which refers to Walter Benjamin’s Angel of History.
All depicted plants (monstera deliciosa, ficus elastica, dypsis lutescens, livistona rotundifolia, banana) originate from regions which have been colonised and exploited. Thus, among others these plants found their ways to botanical gardens for educational reasons and to our living spaces for decorative purposes.
Conflicts from the past can’t be rectified ex post facto, but our approach to history can be changed by the raising of awareness.
The pictures of the assembled plants in botanical gardens and parks, mostly from the Mediterranen were printed, copied, rearranged with indoor plants from my studio and photographed again. The result are highly condensed and at the same time spatialised photographs in which the substantial relation between the historical and the contemporary is intensified by technical re-production.
reconstructing archives by rendering representative
complexities into moments of desire
2018 / B/W prints / 17 images / different sizes / transmission oil
In this installation photographed content of botanical archives is transferred into actual
context. In addition to digital b/w prints "archived" techniques, technologies and materials are used, like transmission oil,
a petroleum distillate, as well as developing trays.
Oil seals material and timeliness like film. Film, the coat, transparent and impermeable like varnish, fixates and secures a painting, carries and transports (moving) images - film.
The pictures which were made in botanical gardens refer - like a botanical garden itself –
to something absent or past: plants as witnesses of colonial conquest, diplomatic, political, representative strategies.
The aspiration to fill a gap, to turn the significate into the sign itself, to manifest the referential;
to fulfil the desire for transferring the absent or the past into something representative shifted, is the idea of this poetic-technical arrangement.
Representative complexities create projection spaces and consist of superpositions, layerings, fragmentations and ambiguities in a social, historic, theoretic or interpretative sense. The assembled images in the exhibition are layered shots, originally taken in various botanical archives, which want to create a space of longing in this specific display.
This version of re-PARADISE / was installed at Vienna based offspace ANNA in September 2018.
In the remaking —
After Jeanne Dielman,
23 quai du Commerce,
In the remaking is an essay film that reflects the process of film making and its mechanisms. Reenacting the making of the film, this work demonstrates my ongoing examination of personal and historic (collective) memory and the transformation of the mechanics of film into a work with poetic potential.
2012 / video installation / 16:9 / colour / sound / 11 min
This film is a kind of rearrangement of Plato's Symposion based on philosophic essays on love and it is also inspired by the
Surrealists' Recherches sur la sexualité.
The film structure refers specifically to Sergej M. Eisenstein's definition of the mise en cadre and concentrates precisely on the possibilities of revealing or hiding substantial film-immanent information.
Screenings: Diagonale Graz 2013, Crossing Europe Film Festival Linz 2013, school, Vienna 2013, Cairo Video Festival 2014
Watch excerpt on vimeo.
2012 / multi-channel video installation / 16:9 / colour / 1 min
This work was created during my residency at a remote place near Rome.
It emerged from the situation I was in there for the period of four weeks.
The work was an examination of experiencing time and transience and its impact on me.
Installation: imPORT, Studio PORT, Vienna 2012
(in theory And practice)
2012 / installation + performance / tank tops, zips, fabrics, belts, cords
Bag or dress?
Bag or raincoat ... ?
Content as surprise!
Wearing or carrying!
Brand carrier, a status symbol
Instrument of social positioning.
Transporter of social messages.
A kind of Blödmaschine*
*© Markus Metz and Georg Seeßlen
Presentation performance at Reheat Festival, Nickelsdorf 2012
2012 / multi-channel video installation / 16:9 / colour / sound / 8 min
Modified version of the documentary essay Prospects (2011).
The term prospect is used in a more condensed way, in the way of a promise, in the way travel agencies use it for their holiday offers.
For this work interviews from the essay have been reduced to simple, catchy slogans.
Installation: RHIZ SCREENS, rhiz, Vienna 2012
Prospects / split
2011 / single or multi-channel video installation / 16:9 / colour / sound / 32 min
An essay film about women in the Mediterranean who talk about their ideas
of paradise. It consists of interviews with women from this area and images of "paradisiac" places like public parks, private gardens,
The video is an assemblage of these images and the interviews and it is accompanied by field recordings and subtle sound pieces which have been composed particularly for this work.
Installation: GRENZWELTEN / LEERE LINIEN, Kulturbrücke Fratres 2013
La route du paradis
2011 / fixing pins on cardboard, framed. 34 cm x 22 cm
Side project of Prospects. The map of fixing pins shows the cities in the Mediterranean area I visited for my research and interview
SAUNA, brut Konzerthaus, Vienna 2010
It will all be differerent
2011 / text on memo-cube 11 cm x 11 cm
Error correction by repetition?
Or realisation by repetition?
Can a wish become true if you repeatedly write it down some hundred times?
AFFENARBEIT, Area53, Vienna 2011
2009 / social plastic: sound performance + live radio broadcast / 30 min
Sound composition: Michaela Schwentner
Live radio broadcast of a sound performance in the frame of Reheat Festival at Kleylehof Nickelsdorf, Austria.
The situation of a drive-in cinema was converted into a drive-in radio broadcast.
The live sound performance was broadcast via local radio frequencies and received via radios in cars parked at the venue. In German the pun makes more sense: the Autokino is turned into an Autoradio (which also means car radio).
Des souvenirs vagues
2009 / multi-channel video installation / 16:9 / colour / sound / 8 min
Sound: Michaela Schwentner
Des souvenirs vagues is a film essay about visual memories and their repetitions, shifts and refractions
and about desire. Even the choice of the film material and aesthetics is an utterance of desire: the seemingly analog film aesthetics has
been created digitally. In this way it corresponds to desire as a longing for past times with the only existence of analog film.
It’s also a poetic reference, a blank which senses desire, which refers to an unknown, an unpronounceable desire.
The film's main elements are vaguely remembered, kind of stereotyped scenes en miniature – they could be from a film, but also someone's personal memories or desires.
Like in many of my works this film negotiates (re)constructions of female role models, depictions and images of women which are formed by the absence of the body and by almost pure reflection. In this way, only traces or fragments of actions or the body are perceptible.
Triennale 1.0 Linz 2010, Diagonale Graz 2009, Crossing Europe Film Festival Linz 2009, B3 Biennial of the Moving Image Frankfurt/Main 2017
Watch excerpt on vimeo
2013 / installation / prepared table, projector, variable size / video 4:3 / loop
A projection equipment which has been turned into a space-defining sculpture,
an adjustment with a new prefix. A miniature, adapted for a small sized exhibition space and its site-specific conditions.
The projected film itself is a demonstration of adapted relations: Images which were produced by webcams and saved, collected, sorted, assembled and animated, are available via mouse-click.
The poetic moment is generated from the apparatus, the installation, the illusionist machine, is detected. The apparatus is moved in its true light and therefore into the centre of perception.
Installation: K48, Vienna 2013
2008 / multi-channel video installation / 4:3 / colour / sound / 6 min
Sound: Michaela Schwentner
Alpine Passage is a film comprising individual images about
a journey across the Swiss and Austrian Alps.
The mountains, impressive as a painting, and in front of them
a sort of architecture that enables either a panoramic or a
Screenings (selection): Diagonale Graz 2009, Crossing Europe Film Festival Linz 2009,
BREAKING GROUND tour programme
Watch excerpt on vimeo
2008 / C-print 40 x 50 cm
2007 / single channel video installation / 4:3 / colour / sound / 9 min
Sound: Michaela Schwentner
Snow, fog, clouds and in the midst of it all, a barely perceptible massif. Or, better yet, a white noise from which contours gradually emerge and just as steadily dissolve back into:
As though ghost lights in the digital image-fog that dominates the expanse of this composition. A mountain peak, only vaguely discernible
for the longest time, that halfway disappears again the moment it appears.
The starting material for Bellevue are webcam recordings from Grossglockner that she collected for months and condensed into a nine-minute time image.
Schwentner's method benefits from the rigid takes, mainly because within them, the interplay of appearing and eluding, of revealing and concealing, can develop the greatest possible effect. Thus, the figure of the mountain uncovers and covers itself in a constant, modulating movement: ridges and slopes peel from the whiteness of the surroundings, to then immediately vanish again within it.
Accompanied by a subtle ambient-like rustle, which Schwentner gathered from the direct transformation of the image into sound data, the vision continually clears up and becomes disarranged. As though the mountain, seen and photographed millions of times, does not want to disclose its identity so simply; yes, as though the apparently banal weather panorama recordings harbor a key of sorts to the disappearance of the supposedly most unchangeable natural things.
The beautiful view is fundamentally blurred as a result of Bellevue. Not by things incidentally blocking it, such as snow, fog, or clouds, but by a basic instability in the process of (electronic) seeing itself. The more persistently it pursues the phenomena, the more they keep themselves covered from time to time.
Exhibitions (selection): ALPINE DESIRE, ACF New York 2011; LANDS END, Shedhalle Zurich 2010; LANDSCAPE 2.0, Edith-Russ-Haus für Medienkunst Oldenburg 2009; SCREENING TERRITORIES / Field Textures, Transmediale Berlin 2009
2011 / 10-channel audiovisual installation / 10-30 min
Commissioned audiovisual work for RML CineChamber [w/ Peter Rehberg].
Live presentation premiered at musikprotokoll / steirischer herbst Graz 2011.
Adapted version at KLANGMANIFESTE 2014, k/haus passage Vienna.
Watch excerpt on vimeo
2011 / sound installation / Loop
The sound installation Chanter toujours
is an allegory: a special sound is extracted from its original context and is transformed into an new one: the always singing cricket prolongs the summer and should be – as sound intervention – hopefully a nice surprise in the cold season. At the same time Chanter toujours is an infinitive invitation to sing or make sound - more and almost any time!
Installation: KRPYTOPHON, Hörstadt Linz 2011.
Composition set //
image transformed //
2006 / single channel video / 4:3 / colour / sound / 1 min
Sound: Michaela Schwentner
The idea was to transform a picture of Mozart on the basis of a new composition arranged with
the so-called musical dice game, sound-controlled manipulation and also a dismantling of the common clean
and kitschy Mozart image.
A bright frontal picture postcard view of a Mozart statue is turned into a rough, decaying picture. This turnaround within an extremely short period of time also represents life's progress and decay. The alteration is equivalent to a life cycle: The lush color from the beginning fades, the leaves shrivel, the tree disappears, the postcard with Mozart's picture yellows and becomes a Mozart of stone.
The manipulation on the musical level was inspired by the musical dice game as played in Mozart's days.
The composer himself wrote short pieces and re-arranged the individual measures according to a roll of the dice. For the film short samples of violin concerto #3 and symphony #38 have been used and processed.
Commissioned work for Mozartjahr 2006.
Screenings (selection): Diagonale Graz 2007, Crossing Europe Linz 2007
2006 / video installation / 4:3 / colour / sound / 9 min
Sound: Michaela Schwentner
A bridge with an arched metal structure stretching over it is visible on a white field. The colours are subdued - grey and black,
various shades of brown, blue and green – though they seem quite intense on the light background. The places connected
by the bridge aren't visible; portrayed as an isolated structure, it becomes the focus
of an analysis in the medium of film.
In contrast to some of the other videos made by Michaela Schwentner, the subject
is easily recognisable in this case. At the same time the artist discovers an individual life in the architecture, which lets the concrete form slip into abstract patterns. The perspective shifts repeatedly, and different views of the structure appear. One shot fades into the next, and the movement of the pixels can literally be observed. This creates graphic and painterly moments, the play of light and shadow, lines and planes turns into a hypnotic game of deception.
The camera's gaze is directed at the structure's details and unusual views so that individual portions of the bridge no longer seem to be bound to a certain function, and other fields of association open up in its formal structures. The geometric shapes resemble sketches, the cables between the bridge and its superstructure are like drawn lines, which lends the originally monumental structure of concrete and steel something fragile, translucent and with that a buoyant lightness.
In contrast to a sketch, however, swinging also makes the three-dimensional character of its subject tangible, not least through the use of the soundtrack which was also created by Michaela Schwentner. The shimmering of the dimensions and the materiality of the representation are underlined by the audio level. Each kind of material seems to have its own characteristic sound, and after electronic alteration
it creates an acoustic landscape surrounding the bridge, which seems to «swing» from time to time. (Andrea Pollach)
Screenings (selection): Diagonale Graz 2007, Crossing Europe Film Festival Linz 2007
La petite illusion
2006 / single channel video / 4:3 / colour / sound / 4 min
Sound: Michaela Schwentner
A little story of passions is told in La petite illusion: heavy breathing garnished by a jazzy bass line, a kiss, a woman falls into water at night.
While the work's title is an ironic reference to Jean Renoir's 1937 «La grande illusion», the association is a dead end: Neither the images nor the soundtrack contains a direct quotation of Renoir's pacifist fable, nor is a similar motif touched upon. The patina of early sound film which is celebrated in La petite illusion stands as the sole vague connection to the «grande illusion» - the sound and the look, the aesthetic stereotypes of Francophone cinema made between the wars.
Michaela Schwentner`s chromatically ascetic electronic manipulation of found sounds and images is a study of emotional images from the history of cinema which is carefully kept in the air. The story told in La petite illusion is itself a kind of little illusion: It has the mere suggestion of a plot, a kind of mini-melodrama with built-in interference. While the narrative lines remain unresolved, irrationally linked as if in a dream, the film's images themselves become unstable: They seem to melt, run into one another; just after coming together they fall apart, speed up, slow down, hammered with the artist's omnipresent influence. «Animated Cubism» is the term she gave to her work method: The flat film images are committed to a virtual digital space, a different kind of illusion, and the material is released into a state of partial abstraction. In the referential space, filled with romantic ruins of images, fragments of emotional declamation and salon conversation in French, with canned music and the bright singing of anonymous film divas, emotions are transformed into signals, and the individual parts of trivial film tragedies are translated back into neutral cinematic symbols. (Stefan Grissemann)
Screenings (selection): VIENNALE 2006, Diagonale Graz 2006, Crossing Europe Linz 2006
Der Kopf des Vitus Bering
2004 / single channel video / 4:3 / b/w / sound / 5 min
When Vitus Bering completed his circumnavigation of northeast Asia on 13 August 1728 to
prove that Asia and America are two separate continents, the coast of America was covered in fog and remained largely
invisible to the discoverer.
On the tracks of discovery and at the same time groping through the dark; a confusing state, the various levels of which are made evident in Michaela Schwentner's video the head of Vitus Bering. The picture shows the black silhouette of a landscape emerging from a brilliant white. The landscape is grouped on a horizontal and in some places also on a vertical axis. It changes, seems to oscillate between various aggregate states. Forms become visible or invisible; colors fluctuate between white-gray-black. A type of fata morgana in a desert of ice.
Also the sound and the text make reference to a state of madness - or at least heightened sensibility; the violin bows are tense, the voices entangle and distort.
Konrad Bayer's text Der Kopf des Vitus Bering (1958 ff), which provides all of the quotations, is Schwentner's immediate reference point. Bayer is interested in the figure of Bering as a location from which relations can be created and quotes André Breton, according to whom reality is not the sum of the facts, but rather, the sum of possibilities. Bayer's text is a mosaic of facts, thus on the one hand history – and on the other, thoughts and speculations, mounted according to strict rules. He creates a dense atmosphere whose quality lies in the gaps that hold the knowledge of wealth, of reality. Also Schwentner's video breathes this intensity; text, sound, and image combine to something greater than the sum of what happens and what is heard. It presents the abundance in its emptiness. (Sylvia Szely)
2003 / single channel video / 4:3 / b/w / sound / 3 min
Sound: Michaela Schwentner
On a white background, black rectangles fall from the left upper edge of the picture. They amass to form larger surfaces,
to then immediately thereafter shrink or shift on top of one another, and from time to time be lifted off each other by thin white lines.
Similar to the cinema screen, the rectangular surfaces carry the schematic, digitally processed image of a woman, which is difficult to recognize as such.
Instead, its large-pixel outline merges with the abstract forms, which constantly form anew. Like in a puzzle, individual facial details show up in different places;
the various parts are continually put together, yet without ever revealing a completed picture.
The stark, reduced soundtrack, which stems from Antonioni's Il deserto rosso, as does the initial visual material, emphasises the clarity of the images and opens the gaze to the constantly changing forms.
The face – reduced to flickering black and white areas – takes its place in this strict composition. At one point, the picture becomes almost completely black from the steady overlapping of different layers. Shortly thereafter, the schematic contours of the face push into the field of vision. In the end it seems to have almost won out over the abstract forms. This impression is supported by the replacement of the noise on the soundtrack with human voices. However, before the music (which begins suddenly), can spread out, and the black and white contours become completely recognizable as the reproduction of a human form, they turn quickly to the side and the picture disappears into the blackness. (Corinna Reicher)
Screenings (selection): Avanto Festival Helsinki 2003, Diagonale Graz 2004, Crossing Europe Linz 2004
VISUALISATIONS OF SOUND COMPOSITIONS
Elements II 2013 / single channel video / 4:3 / b+w / sound / 8 min
Mouvements/caduques III 2010 / single channel video / 4:3 / colour / sound / 10 min
Canranc 2010 / single channel video / 4:3 / colour / sound / 12 min
Speech 2009 / single channel video / 4:3 / colour / sound / 8 min
Tester 2004 / single channel video / 4:3 / colour / sound / 6 min
Jet 2003 / single channel video / 4:3 / colour / sound / 6 min
r4 2000 / single channel video / 4:3 / b+w / sound / 5 min
Transistor 2000 / single channel video / 4:3 / b+w / sound / 5 min
TRANSISTOR (excerpt) on vimeo.
The future of human containment
2001 / single channel video 4:3 + 35mm / b+w / sound / 4 min
Screening at Sundance Independent Film Festival 2003 / Section New Frontiers
2004 / single channel video / 4:3 / colour / sound / 6 min
Sound: Charmant Rouge
How do you want M.?
Part 3 of MAZY
2003 / single channel video / 4:3 / colour / sound / 4 min
Sound: Heinz Dietsch
Take the bus
2002 / single channel video / 4:3 / b+w / sound / 4 min
Sound: General Magic
2001 / single channel video / 4:3 / colour / sound / 6 min