Distribution

The filmmaker uses watercolours to reconstruct memories of her father: together they go back to the year in which the Yom Kippur War began. The attempt to deal with his memories reveals a gap between the invincible father and one who hides within himself an unforgotten war and a fear of death.

The agit-pop songDistribution “1000 Thomas” by Rolf Blumig came out just in time for the comeback of Thomas Gottschalk's show “Wetten Dass..?” A song that could suggest a certain annoyance or perhaps disgust at this talk show host supreme. The incomprehensible video accompanying the single takes us into Mare Hakamushi's digital world of glitches and montage. He turns Gottschalk, currently known best as a pushy know-it-all on Bild.TV, into a blonde, super-German monster mutant that is always breeding, the invincible and eternal final boss of old West Germany.

The magical, the dreamlike and the performative coexist in the particular world of "Las Traviesas" – a group of trans women from the Embera community, living and working in the Colombian coffee region. An aesthetic and conceptual universe with a particular stamp, in which documentary and fiction are indistinct palettes to draw the struggle to maintain indigenous identity.

Park. Apartment. 6-core processor. My avatar learns a backflip.

André wants to be brave and sleep in his own room, but every night he gets up and sets off for his grandmother’s room. In the dark of his own room, the house fills with noises, and he imagines the worst. He is only protected in his grandmother’s room, where the deep sound of her snoring tells him he has come to a safe haven.

Bóng Xà Bông was made in my attempt to explore and understand how the brain works in terms of constructing stereotypes and processing negative information, with the focus on news-generated stereotypes of the LGBTQ community in Việt Nam. In this film, I play a gay superhero who uses his first-ever queer memory in different forms to ponder upon the power of memory.

Heleny Guariba, philosopher, professor and theatre director, disappeared in 1971 under the Brazilian dictatorship. Inspired by the arpilleras, a unique form of political resistance that emerged from the horrors of Pinochet regime in Chile, the stitched and animated memories of her loved ones reveal to us what could not be told in words.

The small cruelties of a subliminal fog roll in. A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colourful creatures question their futures and navigate the longing for connection. This is the fifth collaboration between Jessie Mott and Steve Reinke.

What do we say when we don’t talk? Dancen looks at the fleeting impulses that live in between moments of the day. Their precise quality is situated between quiet habits: that is, the space inhabited by yearning, daydreams, surrealism. How would a day look made of just the meaning in between the lines, the momentary glimpses of truth?

In 2021, my life was chaotic, absurd and flustered. I was forced to spend more time facing the screen. I shoot in games and on the internet, and reconstruct these unfamiliar but increasingly real images.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

As if hypnotised, Chris Imler dances against the awakening from ambivalence. Increasingly excessive movements turn the dance into an incantation against the pressure to decide and for the plurality of options. The melody “…for emergencies I got this melody from a hypnotist…” serves as a protective spell.

The first single from the collaboration project between artist Jonathan Meese and DJ Hell, entitled ‘Dr No’, set to a collage-style video consisting of behind-the-scenes material from the studio and a variety of other elements.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colourful heat stirs the new fire of their cosmic dance.

A stuffy family breaks free from its clutches through rituals and dances and finds itself together anew.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

The video is an exploration into the human emotion of disgust. It dives into images we often avoid and recontextualizes those that usually bring us pleasure, juxtaposing delicious moving images with repulsive ones in order to bring new life to these free stock clips gathered from around the internet.

Is it a reconstruction of memory in the silence, or rather notes before the memory disappears? The voice cannot be heard again, but one can still feel it through the eyes. The camera turns tactile into textile. The filmmaker connects with her grandma from her own craft to hers.

We witness a cell phone conversation between a post-studio artist and a job centre employee in which the artist struggles to explain and justify the expenses of her practice. The same script is performed in various contexts: in a hotel room, a fast fashion store, a rental car. The director’s voice occasionally intervenes, blurring the boundary between the cinematic scene and the real conditions of its production.

You can’t bring back a dead horse, but there are ways to step into a place that was lost. Homesick Lungs is an experimental farewell. The film delves into the lungs of a dying horse and the history of a sold family farm. 3D animations, screen recordings and documentary footage combine to form an essay on reconstructed memory. In the end, the wind brushes through virtual nettles.

Isolated from the outside world, grotesque figures negotiate the pandemic state of emergency using language quotes from end-time movies. The video evokes fear, loneliness, illness, as well as threat and defence scenarios.

Scattered dreams of the subconscious mind to become someone, some other being that is not “me.” Brighter skin colour, glamorous shapes, bigger nose, bigger eyes, more wealth and more power... With the help and guidance of “the Mother”, “I” summon the fantasies towards the void of desire, becoming all of them themselves. It is a journey to confront the power and at last, to be born again.

An audio-visual affinity unfolds in an episodic narrative interspersed with various landscapes and literary references. Creation of languages and abilities to send out signals are conveyed as characteristics of sensitive and fragile constitutions as well as a form of empowering, such as those found in such diverse forms as mimosa or dyslexia.

Part-time Twitch streamer, part-time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over. Are these the final days of both – the illusion of overarching narrative and of Jerome the Saint?

In 2019, filmmakers Paul Shemisi and Nizar Saleh travelled from Kinshasa to Frankfurt for a screening of their new film. During a stopover in Angola, they were stopped at the airport because the airline didn’t trust their papers. In this short film, the testimony from the filmmakers provides an insight into the impossibility for Congolese artists to travel trouble-free and in safety.

Los Angeles, city of film sets: LA Screen Memories brings together 19 looped film scenes that were all shot in the 2nd and 3rd StreetTunnels. Their soundtracks were replaced by 19 field recordings made at the original location. The sound spectra of these recordings from the “real” world were manipulated. The result is an eerie acoustic  that reflects a blurred reality.

Various electronic eyes of mobile phones tell the journey of a group of young migrants. Left without job opportunities in Germany’s first lockdown, they leave Berlin to work and live in a remote flower factory. Like a kaleidoscope, the film brings together a multitude of intimate images destined to be forgotten.

John and Yoko deep in the world of lovers of all kinds.

The hit man in the world of Colombianization represents the lowest link on which an entire criminal structure is supported. He is the one who makes the decision to become a hitman for reasons linked to social advancement. 

This video is part of the video performance project @colombianizacion. More information at: www.colombianizacion.com. 

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

The author’s grandparents were Aromanians, a Balkan minority of nomadic shepherds, without territory or written language, wandering between mountains and seas. Their story is told from the subjective point of view of the artist, who passionately reproduces in staged scenes this perpetual, tragic wandering, also full of hope and courage to live.

I attended this Caribbean cruise with my parents in 1995 when I was 9 years old. My main memory is endless buffets with ice sculptures and eating soft ice cream non-stop. Back then not many thought about the impact that cruise ships could make on the planet. They have tripled in size and capacity since. In one day, a single cruise ship can emit as much particulate matter as a million cars. Without strictly enforced international rules, the cruise ship industry will continue to disregard possible solutions.

In 1976, Josef Beuys demanded “Show Your Wound”, thus prompting the flaunting of suffering in art. For this video, friends and colleagues of the band re-enact body art performances, trying out how the human body becomes artistic material in the process. In a game of showing and concealing, the borders between costume and body become blurred, interrogating the boundaries between nature and artificiality, desire and suffering, lust for life and fear of loss.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

"Perforated Realities" started out as a diary, an attempt at dialogue, through a daily interaction between the organic surroundings and the fleshy vehicle typing these words. Urged on by new realities imposed by covid-19, as solid became fluid, structures imploded, re-evaluated and questioned in a new light refracted through a virus-prism. 

After reuniting with an old friend, an unseen narrator embarks on a quest to uncover the truth behind the mysterious disappearance of his beloved childhood video game, Punctured Sky. Along the way, he must contend with a series of strange encounters on and offline and confront the precariousness of memory, truth, and selfhood in the Internet epoch.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

When I started living alone and decorating my room with flowers, I started to get excited. There are many beautiful flowers outside, but is this someone else’s property? Even if they look like weeds, they might be someone's pleasure to pass by here, so I end up buying flowers at the florist. I wonder if flowers are something you buy with money.

The transparent, holographic portions of Canadian dollar bills are contact-printed onto 16 mm film. A camera-less, dizzying closer look at the monarch, maple leaves and colonial structures that secure and validate our legal tender.

The water reached up to our necks and over our heads. The mountains became islands and the islands became hills. The palms became sea anemones and the sea anemones remained what they were. Wall Street was still full of sharks. Venice floated a while longer, and then…If a global catastrophe is a state of mind, then music is the raft.

A woman wants to get up. But the chairs she is sitting on won’t let her go. The woman’s room becomes her universe and the way out of it is, of all things, the armchairs.

When did you last look at flowers | When did you watch your cat in peace | As it disappears behind the red and green chequered ceiling | From Miami | When did you think of the parties in Beach Miami | Of the carcass of the baby shark | That you saw lying on the beach after the swim at dawn | When did you think of the cheating gallery owner | Who didn’t want to know about you |

A vacation house in a rural Swedish forest setting is observed by mysterious forces transforming into modern ghosts in city life. Shifting into forms of what we cannot yet deal with. Kaleidoscopic visuals following a constant shift between micro and macro perspective inform the form and narrative in this experimental hybrid art movie exploring film from a post-humanist perspective.

After finding the video material from her childhood, the director reprograms her mythology as an infant and reflects on her body traversed by affections, fictions and years.

Winkler collected image material from the archive of the Rhenish Missionary Society in Wuppertal, primarily private pictures taken by missionaries who were active in Namibia, Tanzania and many other countries, predating or accompanying colonization. These layers find additional expression in a literary form, where actual dialogues accompany her filmed and photographed tracings.

20-20 is a compilation of 5 short, video-journal reflections on 2020. Each

was created as Karen Trask’s contribution to an exquisite corpse

video project called 2GatherApart. Organized by a group of Montreal

artists, it was a way to stay connected and creative during the

pandemic. 20-20 is a personal and humorous look at an unusual year.

The Ladies eat, the gentlemen beat.

There is a good girl. And there is the Internet. This might seem weird but this might be real.

Park. Apartment. 6-core processor. My avatar learns a backflip.

“Blacktivist” reflects on police brutality, selective enforcement, and the right of self-defence. Scenes reminiscent of the aesthetics of conventional music videos come together with found footage, documentary shots and 3-D animations.

A woman hurls lightning bolts; ghosts gather about her and want to bring her under control. She fights her way through until the ghosts fall silent.

Bóng Xà Bông was made in my attempt to explore and understand how the brain works in terms of constructing stereotypes and processing negative information, with the focus on news-generated stereotypes of the LGBTQ community in Việt Nam. In this film, I play a gay superhero who uses his first-ever queer memory in different forms to ponder upon the power of memory.

Tired of being despised by his colleagues – a bunch of lowbrow office machos – Mr. Lorenz opposes them and designs his own evening adventures. Free from all constraints and insults, he devotes himself to the charm of the night, of alcohol and karaoke bars.

When the mayor of a little village decides to take in forty refugees, a wave of dislike and hatred befalls him and his family. The short animation tells of a fight against fear and the courage to stand up for your convictions despite the threat of one’s life.

People tend to hurt each other, leaving long-lasting wounds, and this is no different amongst families.

It is not clear what is up and what is down. Gravity is suspended. Only the moment provides orientation – in brief, we are left clueless.

A

full-length curtain moves only in parts and unnoticeably; the reason

remains unclear. Only the title and the sounds in the film hint at

what is

behind it. The

spartan use of stylistic devices that suggest a proximity to the

horror-film genre creates a mysterious atmosphere.

The small cruelties of a subliminal fog roll in. A pandemic thwarts intimacy. Perched from their little planets, this cast of wildly colourful creatures question their futures and navigate the longing for connection. This is the fifth collaboration between Jessie Mott and Steve Reinke.

‘Copyshop’ accompanies Berlin-Köpenick rapper Romano on a voyage of discovery to Hong Kong, where he reviews his past as a copy shop employee in Berlin. It’s all about megacities, stereotypes, creative spaces, rap music, Romano’s copy shop biography and the copy of the copy of the copy ...

The song by Tall Juan dedicated to all those people who live in the street. Made with acrylics, pastels and pencil on paper.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

Petra wants to relax, Martha is anxious and Maria simply doesn’t get up. The waves rush, and the lapdog gives in. It is hot and the wound is gaping.

In a silver catsuit and with a cigarette Sandra Hüller plays a superhero, whose glorious days seem to be long gone. The personal song deals with love, missed chances and finally letting go. These topics also appear in the video, with communication (or its absence) playing a central role, too.

Doors of Reception is a collage of door sounds from various science fiction films, creating an abstract sound painting of opening and closing colour fields. A recurring theme of the genre is passing through doors and being locked in or locked out on one side or the other, a condition that became the painful reality for many in times of the pandemic.

In the nest of the sun, Xolotl, Huitzilin and Xochitl meet to recover the dance of radiation, whose colourful heat stirs the new fire of their cosmic dance.

Disguised as a straightforward promotional music video, an iconic 1970 performance by a messianic Elvis Presley is transformed by editing and music into a dark meditation on addiction and the hollowness of celebrity culture.

Based on a flea market find of Super 8 family archives. A father is placed at the center of the image, staging himself in front of the camera as a smug tyrant. A voiceover re-contextualises the images by telling a story of what is not visible.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

Puppets on strings rave, eat and fly.

An Afghan hound, oscillating between ancient breed and modern day Instagram model, poses in all its mysterious glory.

The people in the video 'FragMANts' worship their consumer goods like religious cult objects. The religion venerated here is that of capitalism, which reveals itself to be superficial and meaningless. The believers of this religion are only uprooted fragments of themselves.

The lyrics illuminate the juxtaposition between Europe’s closed-door immigration policies and the free global movement of consumer items. Visually, we are invited into the world of the successful elite where every key position is occupied by – supposedly – immigrants.

‘The older I am, the smaller the pixels become. It attracts me, but why? I take off, I fly.’

Junkerhaus is shot in the residence of Karl Junker (1850 -1912) who dedicated his life to building his house in Lemgo, Germany. Reflections, projections and changes in light form abstract shapes which animate surfaces and structures, producing a psychological portrait that offers a new appreciation of Junker’s architecture as a mystical and visionary experience.

Upright video of a mobile phone that is filming a band and turning it into art.

Two lovers explore a patterned jungle world and meet some animal friends along the way.

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

The camera moves in on a disturbingly normal home, closer and closer; the door opens as if by magic, and the camera flies through a maze of repetitive rooms. The start becomes the ending and the ending becomes the start.

I always make choices and take action. But sometimes, my heart and body are drawn to something before thinking in the head. Then I change my shape and reach an unknown place. I can’t control where I go.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

You against me. Us against the world.
We do not get along anymore, but we long for each other.

Since 2017 the two giant panda bears Meng Meng and Jiao Qing have been
hired out to the Berlin Zoo from China. Unfortunately for the Zoo, this
profit seeking attraction did not work  – in fact, it
worked backwards. Meng Meng, the female panda will only walk backwards.
Kerstin Honeit’s video aligns Meng Meng’s protest with other
performances of protesting bodies using movement in public space to
address grievances

The Story of a little Furry, who will make a great discovery by overcoming the fear of the unknown.

A man walks through the forest and tries to find berries. Instead, he finds an empty French dressing bottle. A genie comes out of the bottle and grants the man three wishes. The man uses the wishes traditionally but constantly resorts to bad language which the genie does not approve of. So the man is going to learn a lesson.

Girardet's visual transfer of Second Chance Man, "a song about risk" (Stuart Staples), is part of The Waiting Room Film Project, a track by track interpretation of Tindersticks' latest album by various directors.

‘Sento’ is a Japanese public bath. This particular public bath features fascinating details such as a wall-size print of  Mount Fuji, pop yellow plastic washbowls, asymmetrical mirrors and other things fusing in a dance.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

When I started living alone and decorating my room with flowers, I started to get excited. There are many beautiful flowers outside, but is this someone else’s property? Even if they look like weeds, they might be someone's pleasure to pass by here, so I end up buying flowers at the florist. I wonder if flowers are something you buy with money.

A chubby, red-headed, mini-anarchist is about to become your idol. A sweaty, round-faced, pre-teen boy is our protagonist. Walking amongst ruins in his trackies, he smokes, stuffs his face repeatedly and pulls out some pretty mad shapes.

A present-day adaptation of an old story from Utsjoki, Sápmi. It is a legend of the director’s relative, Ovllá-Ivvár Helander, about what he did during the Spanish flu epidemic in 1918 in Utsjoki. Ovllá-Ivvár decided to fool Death and take his fate into his own hands. The protagonist of the film is walking in Ovllá-Ivvár’s footsteps.

The transparent, holographic portions of Canadian dollar bills are contact-printed onto 16 mm film. A camera-less, dizzying closer look at the monarch, maple leaves and colonial structures that secure and validate our legal tender.

„You can always be in two places at once, did you know? The real world and the magical world." 

The voice on the phone whispers in your ear -there's a way to alter reality. A journey through Graveyards, unknown waters, poems, dreams and wishes, telling us that what we long for is waiting for us and that we can meet it in our very own underworld. A film in love, like a prayer, an attempt to reclaim of what seems lost, to open the gateway and enter the real world.

The water reached up to our necks and over our heads. The mountains became islands and the islands became hills. The palms became sea anemones and the sea anemones remained what they were. Wall Street was still full of sharks. Venice floated a while longer, and then…If a global catastrophe is a state of mind, then music is the raft.

A train ride reveals strange incidences.

A woman wants to get up. But the chairs she is sitting on won’t let her go. The woman’s room becomes her universe and the way out of it is, of all things, the armchairs.

The video 'Three Casualties' is an investigation of three movie scenes, showing stunts that lead to the deaths of the stunt doubles performing them. In some cases these scenes were left in the films so that a large audience simultaneously witnessed an actual death as well as a fictional one on screen. 

Accompanied by a lilting soundtrack, characters wander through London's concrete jungle as an unknown female voice reflects on the current state of the city and imagined future.

Rufus Wainwright turns himself into a fictional character based on the editor-in-chief of Vogue, Anne Wintour. A commentary on life in a reality that can be artificially altered and on the price of fame.

In the middle of the night, a broken farted finds music in the arms of beautiful strangers.

An actors’ tutorial about crying fake tears on camera. Ten actresses don’t only explain, how to make oneself cry in ten easy steps, they also give their best to demonstrate it.

We haven't gone viral.

A reference system shows the question to all answers: the filter bubble, the fake news, the algorithm and Henry Maske.

The filmmaker uses watercolours to reconstruct memories of her father: together they go back to the year in which the Yom Kippur War began. The attempt to deal with his memories reveals a gap between the invincible father and one who hides within himself an unforgotten war and a fear of death.

The agit-pop songDistribution “1000 Thomas” by Rolf Blumig came out just in time for the comeback of Thomas Gottschalk's show “Wetten Dass..?” A song that could suggest a certain annoyance or perhaps disgust at this talk show host supreme. The incomprehensible video accompanying the single takes us into Mare Hakamushi's digital world of glitches and montage. He turns Gottschalk, currently known best as a pushy know-it-all on Bild.TV, into a blonde, super-German monster mutant that is always breeding, the invincible and eternal final boss of old West Germany.

André wants to be brave and sleep in his own room, but every night he gets up and sets off for his grandmother’s room. In the dark of his own room, the house fills with noises, and he imagines the worst. He is only protected in his grandmother’s room, where the deep sound of her snoring tells him he has come to a safe haven.

Bóng Xà Bông was made in my attempt to explore and understand how the brain works in terms of constructing stereotypes and processing negative information, with the focus on news-generated stereotypes of the LGBTQ community in Việt Nam. In this film, I play a gay superhero who uses his first-ever queer memory in different forms to ponder upon the power of memory.

What do we say when we don’t talk? Dancen looks at the fleeting impulses that live in between moments of the day. Their precise quality is situated between quiet habits: that is, the space inhabited by yearning, daydreams, surrealism. How would a day look made of just the meaning in between the lines, the momentary glimpses of truth?

In 2021, my life was chaotic, absurd and flustered. I was forced to spend more time facing the screen. I shoot in games and on the internet, and reconstruct these unfamiliar but increasingly real images.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

As if hypnotised, Chris Imler dances against the awakening from ambivalence. Increasingly excessive movements turn the dance into an incantation against the pressure to decide and for the plurality of options. The melody “…for emergencies I got this melody from a hypnotist…” serves as a protective spell.

The first single from the collaboration project between artist Jonathan Meese and DJ Hell, entitled ‘Dr No’, set to a collage-style video consisting of behind-the-scenes material from the studio and a variety of other elements.

A stuffy family breaks free from its clutches through rituals and dances and finds itself together anew.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

The video is an exploration into the human emotion of disgust. It dives into images we often avoid and recontextualizes those that usually bring us pleasure, juxtaposing delicious moving images with repulsive ones in order to bring new life to these free stock clips gathered from around the internet.

Is it a reconstruction of memory in the silence, or rather notes before the memory disappears? The voice cannot be heard again, but one can still feel it through the eyes. The camera turns tactile into textile. The filmmaker connects with her grandma from her own craft to hers.

We witness a cell phone conversation between a post-studio artist and a job centre employee in which the artist struggles to explain and justify the expenses of her practice. The same script is performed in various contexts: in a hotel room, a fast fashion store, a rental car. The director’s voice occasionally intervenes, blurring the boundary between the cinematic scene and the real conditions of its production.

You can’t bring back a dead horse, but there are ways to step into a place that was lost. Homesick Lungs is an experimental farewell. The film delves into the lungs of a dying horse and the history of a sold family farm. 3D animations, screen recordings and documentary footage combine to form an essay on reconstructed memory. In the end, the wind brushes through virtual nettles.

Isolated from the outside world, grotesque figures negotiate the pandemic state of emergency using language quotes from end-time movies. The video evokes fear, loneliness, illness, as well as threat and defence scenarios.

Scattered dreams of the subconscious mind to become someone, some other being that is not “me.” Brighter skin colour, glamorous shapes, bigger nose, bigger eyes, more wealth and more power... With the help and guidance of “the Mother”, “I” summon the fantasies towards the void of desire, becoming all of them themselves. It is a journey to confront the power and at last, to be born again.

An audio-visual affinity unfolds in an episodic narrative interspersed with various landscapes and literary references. Creation of languages and abilities to send out signals are conveyed as characteristics of sensitive and fragile constitutions as well as a form of empowering, such as those found in such diverse forms as mimosa or dyslexia.

Part-time Twitch streamer, part-time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over. Are these the final days of both – the illusion of overarching narrative and of Jerome the Saint?

In 2019, filmmakers Paul Shemisi and Nizar Saleh travelled from Kinshasa to Frankfurt for a screening of their new film. During a stopover in Angola, they were stopped at the airport because the airline didn’t trust their papers. In this short film, the testimony from the filmmakers provides an insight into the impossibility for Congolese artists to travel trouble-free and in safety.

Los Angeles, city of film sets: LA Screen Memories brings together 19 looped film scenes that were all shot in the 2nd and 3rd StreetTunnels. Their soundtracks were replaced by 19 field recordings made at the original location. The sound spectra of these recordings from the “real” world were manipulated. The result is an eerie acoustic  that reflects a blurred reality.

Various electronic eyes of mobile phones tell the journey of a group of young migrants. Left without job opportunities in Germany’s first lockdown, they leave Berlin to work and live in a remote flower factory. Like a kaleidoscope, the film brings together a multitude of intimate images destined to be forgotten.

John and Yoko deep in the world of lovers of all kinds.

The hit man in the world of Colombianization represents the lowest link on which an entire criminal structure is supported. He is the one who makes the decision to become a hitman for reasons linked to social advancement. 

This video is part of the video performance project @colombianizacion. More information at: www.colombianizacion.com. 

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

I attended this Caribbean cruise with my parents in 1995 when I was 9 years old. My main memory is endless buffets with ice sculptures and eating soft ice cream non-stop. Back then not many thought about the impact that cruise ships could make on the planet. They have tripled in size and capacity since. In one day, a single cruise ship can emit as much particulate matter as a million cars. Without strictly enforced international rules, the cruise ship industry will continue to disregard possible solutions.

In 1976, Josef Beuys demanded “Show Your Wound”, thus prompting the flaunting of suffering in art. For this video, friends and colleagues of the band re-enact body art performances, trying out how the human body becomes artistic material in the process. In a game of showing and concealing, the borders between costume and body become blurred, interrogating the boundaries between nature and artificiality, desire and suffering, lust for life and fear of loss.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

"Perforated Realities" started out as a diary, an attempt at dialogue, through a daily interaction between the organic surroundings and the fleshy vehicle typing these words. Urged on by new realities imposed by covid-19, as solid became fluid, structures imploded, re-evaluated and questioned in a new light refracted through a virus-prism. 

After reuniting with an old friend, an unseen narrator embarks on a quest to uncover the truth behind the mysterious disappearance of his beloved childhood video game, Punctured Sky. Along the way, he must contend with a series of strange encounters on and offline and confront the precariousness of memory, truth, and selfhood in the Internet epoch.

When I started living alone and decorating my room with flowers, I started to get excited. There are many beautiful flowers outside, but is this someone else’s property? Even if they look like weeds, they might be someone's pleasure to pass by here, so I end up buying flowers at the florist. I wonder if flowers are something you buy with money.

The transparent, holographic portions of Canadian dollar bills are contact-printed onto 16 mm film. A camera-less, dizzying closer look at the monarch, maple leaves and colonial structures that secure and validate our legal tender.

The water reached up to our necks and over our heads. The mountains became islands and the islands became hills. The palms became sea anemones and the sea anemones remained what they were. Wall Street was still full of sharks. Venice floated a while longer, and then…If a global catastrophe is a state of mind, then music is the raft.

When did you last look at flowers | When did you watch your cat in peace | As it disappears behind the red and green chequered ceiling | From Miami | When did you think of the parties in Beach Miami | Of the carcass of the baby shark | That you saw lying on the beach after the swim at dawn | When did you think of the cheating gallery owner | Who didn’t want to know about you |

A vacation house in a rural Swedish forest setting is observed by mysterious forces transforming into modern ghosts in city life. Shifting into forms of what we cannot yet deal with. Kaleidoscopic visuals following a constant shift between micro and macro perspective inform the form and narrative in this experimental hybrid art movie exploring film from a post-humanist perspective.

After finding the video material from her childhood, the director reprograms her mythology as an infant and reflects on her body traversed by affections, fictions and years.

Winkler collected image material from the archive of the Rhenish Missionary Society in Wuppertal, primarily private pictures taken by missionaries who were active in Namibia, Tanzania and many other countries, predating or accompanying colonization. These layers find additional expression in a literary form, where actual dialogues accompany her filmed and photographed tracings.

Dietrich Brüggemann, born in 1976, is a German film director, screenwriter and musician. Numerous music videos in Oberhausen, this year with "Kunst" in the MuVi Award.

Alex Gerbaulet, *1977, lives and works as an artist, filmmaker and curator in Berlin. Last work in Oberhausen: „Depth of Field“ (2017).

Kerstin Honeit studied fine arts and stage design at the Kunsthochschule Berlin-Weißensee. Since 2014 she has been teaching at the Kunsthochschule Kassel. Last work in Oberhausen: "PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS" (2018).

Judith Hopf (* 1969 in Karlsruhe) is a German artist. She teaches as a professor for free art at the Frankfurt Städelschule. Last film in Oberhausen: "Out" (2018).

Kristina Kilian is currently studying at the University of Television and Film Munich and won the 3sat sponsorship award in Oberhausen in 2019 for her short film "Which Way to The West".

Korpys/Löffler is the German artist duo Andree Korpys (* 1966 in Bremen) and Markus Löffler (* 1963 in Bremen). The filmmakers are lecturers at the University of the Arts Bremen. Last film in Oberhausen: "Gesang der Jünglinge" (2010).

Brenda Lien (* 1995) works as an independent filmmaker and composer. Her works have been shown at renowned film festivals worldwide. Last film in Oberhausen: "Call of Comfort" (2018).

Franz Müller (* 1965 in Mosbach) is a German director and scriptwriter, and also works as co-editor of the film magazine "Revolver". Most recently he showed his short film "Ordinary Seaman" (2010) in Oberhausen.

Jens Pecho (* 1978 in Frankfurt am Main) is a contemporary German artist. Last film in Oberhausen: "RGB" (2019).

Andreas Reihse is an artist and musician and one of the founding members of the Kreidler music group. He also appears as an author and in changing roles in film, performance and theatre projects.

Zaza Rusadze is a filmmaker living in Berlin. He also works as a video artist for theatre productions, most recently in Hamburg and Vienna, and is about to complete his first novel.

Jovana Reisinger (* 1989 in Munich) is a German author and filmmaker. Last film in Oberhausen: "sad boyz get high" (2018).

André wants to be brave and sleep in his own room, but every night he gets up and sets off for his grandmother’s room. In the dark of his own room, the house fills with noises, and he imagines the worst. He is only protected in his grandmother’s room, where the deep sound of her snoring tells him he has come to a safe haven.

Part-time Twitch streamer, part-time drug courier; both low level. Slithering between life and death, online and offline. The carefree summer of global progress seems to be over. Are these the final days of both – the illusion of overarching narrative and of Jerome the Saint?

After reuniting with an old friend, an unseen narrator embarks on a quest to uncover the truth behind the mysterious disappearance of his beloved childhood video game, Punctured Sky. Along the way, he must contend with a series of strange encounters on and offline and confront the precariousness of memory, truth, and selfhood in the Internet epoch.

In 2019, filmmakers Paul Shemisi and Nizar Saleh travelled from Kinshasa to Frankfurt for a screening of their new film. During a stopover in Angola, they were stopped at the airport because the airline didn’t trust their papers. In this short film, the testimony from the filmmakers provides an insight into the impossibility for Congolese artists to travel trouble-free and in safety.

Despite its fierce winds and dangerous waters, the Strait of Gibraltar has increasingly become the route of choice for migrants using Morocco as a gateway to Europe, making the mouth of the Mediterranean Basin into a tragic site of hope and death.

The water reached up to our necks and over our heads. The mountains became islands and the islands became hills. The palms became sea anemones and the sea anemones remained what they were. Wall Street was still full of sharks. Venice floated a while longer, and then…If a global catastrophe is a state of mind, then music is the raft.

Four friends sit in the Platz der Kulturen square in Cologne’s Finkenberg district, looking for the right words and punctuation for a text message that is never to be sent.

The possibility of (re)constructing human history now no longer takes place in archives alone; it has instead moved into the realm of rubbish. But what if, under modern concepts of an efficient recycling system, there is no more waste? Then the past of our present will no longer be detectable in the future. In order to survive, rubbish must therefore seek alternative places of refuge...

Various electronic eyes of mobile phones tell the journey of a group of young migrants. Left without job opportunities in Germany’s first lockdown, they leave Berlin to work and live in a remote flower factory. Like a kaleidoscope, the film brings together a multitude of intimate images destined to be forgotten.

We witness a cell phone conversation between a post-studio artist and a job centre employee in which the artist struggles to explain and justify the expenses of her practice. The same script is performed in various contexts: in a hotel room, a fast fashion store, a rental car. The director’s voice occasionally intervenes, blurring the boundary between the cinematic scene and the real conditions of its production.

The magical, the dreamlike and the performative coexist in the particular world of "Las Traviesas" – a group of trans women from the Embera community, living and working in the Colombian coffee region. An aesthetic and conceptual universe with a particular stamp, in which documentary and fiction are indistinct palettes to draw the struggle to maintain indigenous identity.

The agit-pop songDistribution “1000 Thomas” by Rolf Blumig came out just in time for the comeback of Thomas Gottschalk's show “Wetten Dass..?” A song that could suggest a certain annoyance or perhaps disgust at this talk show host supreme. The incomprehensible video accompanying the single takes us into Mare Hakamushi's digital world of glitches and montage. He turns Gottschalk, currently known best as a pushy know-it-all on Bild.TV, into a blonde, super-German monster mutant that is always breeding, the invincible and eternal final boss of old West Germany.

In 2021, my life was chaotic, absurd and flustered. I was forced to spend more time facing the screen. I shoot in games and on the internet, and reconstruct these unfamiliar but increasingly real images.

As if hypnotised, Chris Imler dances against the awakening from ambivalence. Increasingly excessive movements turn the dance into an incantation against the pressure to decide and for the plurality of options. The melody “…for emergencies I got this melody from a hypnotist…” serves as a protective spell.

The first single from the collaboration project between artist Jonathan Meese and DJ Hell, entitled ‘Dr No’, set to a collage-style video consisting of behind-the-scenes material from the studio and a variety of other elements.

A stuffy family breaks free from its clutches through rituals and dances and finds itself together anew.

The video is an exploration into the human emotion of disgust. It dives into images we often avoid and recontextualizes those that usually bring us pleasure, juxtaposing delicious moving images with repulsive ones in order to bring new life to these free stock clips gathered from around the internet.

Los Angeles, city of film sets: LA Screen Memories brings together 19 looped film scenes that were all shot in the 2nd and 3rd StreetTunnels. Their soundtracks were replaced by 19 field recordings made at the original location. The sound spectra of these recordings from the “real” world were manipulated. The result is an eerie acoustic  that reflects a blurred reality.

John and Yoko deep in the world of lovers of all kinds.

I attended this Caribbean cruise with my parents in 1995 when I was 9 years old. My main memory is endless buffets with ice sculptures and eating soft ice cream non-stop. Back then not many thought about the impact that cruise ships could make on the planet. They have tripled in size and capacity since. In one day, a single cruise ship can emit as much particulate matter as a million cars. Without strictly enforced international rules, the cruise ship industry will continue to disregard possible solutions.

In 1976, Josef Beuys demanded “Show Your Wound”, thus prompting the flaunting of suffering in art. For this video, friends and colleagues of the band re-enact body art performances, trying out how the human body becomes artistic material in the process. In a game of showing and concealing, the borders between costume and body become blurred, interrogating the boundaries between nature and artificiality, desire and suffering, lust for life and fear of loss.

When did you last look at flowers | When did you watch your cat in peace | As it disappears behind the red and green chequered ceiling | From Miami | When did you think of the parties in Beach Miami | Of the carcass of the baby shark | That you saw lying on the beach after the swim at dawn | When did you think of the cheating gallery owner | Who didn’t want to know about you |

"Perforated Realities" started out as a diary, an attempt at dialogue, through a daily interaction between the organic surroundings and the fleshy vehicle typing these words. Urged on by new realities imposed by covid-19, as solid became fluid, structures imploded, re-evaluated and questioned in a new light refracted through a virus-prism. 

Winkler collected image material from the archive of the Rhenish Missionary Society in Wuppertal, primarily private pictures taken by missionaries who were active in Namibia, Tanzania and many other countries, predating or accompanying colonization. These layers find additional expression in a literary form, where actual dialogues accompany her filmed and photographed tracings.

An audio-visual affinity unfolds in an episodic narrative interspersed with various landscapes and literary references. Creation of languages and abilities to send out signals are conveyed as characteristics of sensitive and fragile constitutions as well as a form of empowering, such as those found in such diverse forms as mimosa or dyslexia.

Is it a reconstruction of memory in the silence, or rather notes before the memory disappears? The voice cannot be heard again, but one can still feel it through the eyes. The camera turns tactile into textile. The filmmaker connects with her grandma from her own craft to hers.

What do we say when we don’t talk? Dancen looks at the fleeting impulses that live in between moments of the day. Their precise quality is situated between quiet habits: that is, the space inhabited by yearning, daydreams, surrealism. How would a day look made of just the meaning in between the lines, the momentary glimpses of truth?

The filmmaker uses watercolours to reconstruct memories of her father: together they go back to the year in which the Yom Kippur War began. The attempt to deal with his memories reveals a gap between the invincible father and one who hides within himself an unforgotten war and a fear of death.

After finding the video material from her childhood, the director reprograms her mythology as an infant and reflects on her body traversed by affections, fictions and years.

A vacation house in a rural Swedish forest setting is observed by mysterious forces transforming into modern ghosts in city life. Shifting into forms of what we cannot yet deal with. Kaleidoscopic visuals following a constant shift between micro and macro perspective inform the form and narrative in this experimental hybrid art movie exploring film from a post-humanist perspective.

The electromagnetic landscapes of Sao Paulo and Rio de Janeiro go on an irregular basis and it is possible to see what’s outside the frame. This image hacking is connected to the poem “E se Jesus fosse preto” (And If Jesus Were Black) by the Brazilian poet Bruno Negrão, who proposes a new way to imagine some of our ingrained beliefs.

The author’s grandparents were Aromanians, a Balkan minority of nomadic shepherds, without territory or written language, wandering between mountains and seas. Their story is told from the subjective point of view of the artist, who passionately reproduces in staged scenes this perpetual, tragic wandering, also full of hope and courage to live.

In August 1984 a house inhabited by migrant workers was burnt down in Duisburg, killing seven members of a family. While the police immediately ruled out racism as a reason, the survivors continue to doubt that it was a coincidence that their house was set on fire.

When the mayor of a little village decides to take in forty refugees, a wave of dislike and hatred befalls him and his family. The short animation tells of a fight against fear and the courage to stand up for your convictions despite the threat of one’s life.

When Abou from Mali finally made it to Europe, it felt like a new life had started for him. A life with a future. But while his film about his voyage to Europe is shown all over the world, he lives isolated in a German refugee home. An essayistic reflection about Europe’s invisible borders and filmmaking as an act of self-empowerment.

Twenty pictures have remained as the only evidence of my early childhood's home - evidence of an almost forgotten home. When I look at these images I have the feeling that they are not part of my life, as if they belonged to someone else...

Introvert Hakan and merry Murat are inseparable. The meet each day, hanging around at their corner in Berlin's Kreuzberg neigbourhood, smoking grass, philosophizing and quarreling. Their days are repetitive, time passes by. All of a sudden hope for change is growing.

‘Tiefenschärfe’ interrogates places in Nuremberg where the so-called National Socialist Underground (NSU) committed three murders between 2000 and 2005. It is a circular observation that contextualises the crime scenes by means of their surroundings, that reads in their markings and shows the way they are used or have been adapted today.

In 2021, hundreds of thousands of people took over the streets in Brazil, in the midst of a pandemic, to protest against the Bolsonaro government. Inspired by Joyce Wieland’s 1973 film of the same name, Solidarity portrays these protests by focusing on the expressiveness of human hands rather than Wieland’s feet. Gestures of affection, resistance, protection, joy or repression are revealed in these images made in Super 8 mm Ektachrome.

Heleny Guariba, philosopher, professor and theatre director, disappeared in 1971 under the Brazilian dictatorship. Inspired by the arpilleras, a unique form of political resistance that emerged from the horrors of Pinochet regime in Chile, the stitched and animated memories of her loved ones reveal to us what could not be told in words.

The hit man in the world of Colombianization represents the lowest link on which an entire criminal structure is supported. He is the one who makes the decision to become a hitman for reasons linked to social advancement. 

This video is part of the video performance project @colombianizacion. More information at: www.colombianizacion.com. 

In 1982, the eruption of a volcano called Chichonal forced the Zoque community to relocate. Filmed over the course of six years, (((((/*\))))) captures the unique atmosphere of the Indigenous group’s Chiapas village. Gradually, political themes come to the surface. 

On a summer day the animals in the forest are invited to a party. They eat lots of cake and dance all night. When the party is over and they head back to their homes, they encounter a desolate landscape: there are no more trees to find food and refuge. Strange Creatures have stolen their homes.