Distribution

The Ruhr area as a fictive landscape. This landscape, as is usual in landscape painting, is an ideal one – here, an anarchic space in which people live spontaneously and cooperatively, free of hierarchies.

One of Singapore’s oldest public housing estates runs alongside a former-railway track, property of the Malaysian state until 2011. For 50 years this 10-m-wide zone of indeterminate governance ran through the heart of the city-state, hosting a fecundity of more-than-human activities. One hundred five bird species exist in this patch. Now the land is being repurposed, iconic housing blocks demolished and residents relocated.

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.

On the first day of the coronavirus lockdown, the director’s father is hospitalized and passes away. Mother and daughter mourn in the parental apartment, connected to the outside world only by telephone. With painful intimacy, these phone calls exemplify the loneliness in pandemic times. How does isolation affect us when we are dependent on solace and help?

It’s a one-shot film about violence and blood in a turbulent world, named after the film’s duration. But 8'28'' is should hardly be interpreted as a mirror of the pandemic era, since the film’s sound creation and final edit all took place before the catastrophe arrived. As usual, I have done all the work on the film myself.

A dominating woman directs several men who are renovating a villa in a small Hungarian town. It is by means of the precisely sequential movements enacted by this leading actress in the film's local unit that unfolds a possible narrative rooted in its formal nature.

A camera pans across surfaces of a UN military compound in Srebrenica 25 years after a genocide took place there. Dasović juxtaposes contemporary footage with archival images of the military’s preparatory exercises before troop deployment in the mid-1990s. What do the words and images left by Dutch soldiers tell the viewer about the military doctrine these men were guided by?

Dadinho, an old samba player, is taken by his granddaughter to the burial of his brother, a samba player from a rival school of samba. In this journey, a story about rivalry, samba and betrayal emerges from the past.

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

Cutting Edges delves into the architecture of co-working spaces and the discourses of start-up founders. Visions, processes, pieces of furniture and belief systems are shuffled together and spun around. The start-up dream is shaking. The unicorn waves and waves and waves.

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.

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.

A music video – inspired by the YouTube phenomenon Lyric Video and made with GPT-2 – a pre-trained computer model that can predict natural language – for the mysterious Fanuks, a robot band invented by the acclaimed German music performance group Der Plan for their concept album Save Your Software, recorded in 1989 and released in 2021 by Bureau B.

A cyber entity connects to an international feminist network and questions the future of the Internet. Yeva is a fictional cyber entity and is bored in the vastness of their webspace. Raised on the 1990s internet as a descendant of the media pioneer network FACES, founded in 1996, Yeva decides to meet their ‘mothers’ in the physical world.

Betty is hungry and lonely and fishing in the river gives only scrap. In a moment of illumination Betty finds a creative solution. But the road to success is lined with traps.

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

A hillside, an orchard, a house. Idyllic scenes in southern Serbia. Three generations under the roof of a house that is being prepared to be passed on. Each person has their own legacy, which must, however, be borne by everyone together. A cinematic look at what remains.

Hans Unstern plays (To Spin) Hair Into Gold on a self-made harp. Around Hans hovers a swarm of friends, accomplices and ghost-writers who produced the images for this film with their telephones.

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

How would it be to be the richest person in the world someday? You only need enough high-resolution photos of Elon Musk and a few good moves. The rest is done by the deepfake algorithm.

Junu, a 5 year old girl who has trouble learning left from right, is constantly asked by elders around her to wear her shoes correctly. Yet she cannot solve the problem. After being tricked to wear shoes the wrong way, she invents a new way of learning.

This is an ethnographic film exploring the legend of the Mahadeo Koli goddess Kalsu, whose story and identity remain impregnated in the consciousness of the women of the tribe even today. The film tells the story of the goddess while drawing visual contrasts between primordial and contemporary images.

Kiki the canary only knows his cage and the old lady who feeds him. He dreams of flying with the free birds from outside. When at last the door of the cage stays open, he escapes and discovers the big outside world where it’s necessary to know how to fly. Finally, being a free bird, it’s scary.

This is the story of when my dog and I were here. I was just daydreaming.

In 2002, Lana Kaiser became well known in the first season of the German version of the Idol television franchise. She polarised the audience with her androgynous appearance. On 9 September  2018, Lana disappeared from a cruise ship on her way to North America. Philipp Gufler’s short film is a personal portrait of the singer and entertainer.

Then he wakes up thinking he’s woken up from a dream and thinks he’s fallen asleep ... He wakes up late and realises that it's already dark and feels very sleepy.

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

Anne Haugsgjerd (77), a renowned Norwegian director, reflects in a poetic, provocative and emotional way about entering the last chapter of her life. A naked story about aging, gravity and smoking weed.

Around the world in 80 postcards. Flea market finds tell of distant travel destinations and locations of longing from yesteryear. Kati and Timo send warm holiday greetings.

A young Nepali man, preparing to launch a film-making career in Europe, is suddenly summoned home to the Everest region. His father, a livestock farmer like most Sherpas before they became known for mountaineering, is ailing. In this intimate portrait, the film-maker explores his relationship to home and his parents, and the world of tradition and ritual he thought he had left behind.

NOAH explores the lives of three real people in three different cities: Montreal, London and Berlin. Utilizing the city’s aging phone booths as a focal point, the video explores how the tools we use to communicate shape the ways in which we connect to each other. When old tools disappear, those forms of connection die with them.

A video collaboration between the artist Stacie Ant and DJ Hell. During the height of quarantine, Hell and Stacie tried to come up with a surreal version of the future that awaits post-pandemic. Inspired by DJ Hell’s strong presence in the electro-music scene for several decades, the video and sound pay homage to the history of electronic music and the lifestyle that came with it.

Planes of time and action, order and chaos are superimposed on one another in a small space. The question of the meaning remains open, but all know what they are doing.

This critical video essay deals with the actual development of the North Bohemian landscape and its current state. Foreign video contributions largely reflect the efforts to find solutions and fulfil specific utopian ideas. These ideas are very often based on criticizing the current political and economic system.

Cornelia, Juri and Murat belong to the ‘working poor’. But at first glance, they seem connected by nothing more than their low wages. Everyone fights for themselves. Whether as clickworker, delivery driver or in the bankrupt cardboard factory, they all drift together through a jumbled stairway on their way out. But where to?

The video takes up the melancholy mood of the empty stage. The artist’s existence in lockdown becomes a boxing match. An empty income tax binder gets converted into a stage. The musicians rear up. The film could be likened to a person’s skin: What can be repelled? What will be taken in? A joyful tour de force, always embracing contradictions.

Two people try to climb a fallen house façade in a Spanish marble quarry. Are there no more Four Seasons, and did Vivaldi become real estate music?

Choreography of a post-industrial region that is its own museum and future landscape, Occident and Orient, all in one. Last sentence: “And so the Earth turns,” spoken in a recreation area on a former mining dump.

Seated in a bus after a long day, a mother drifts away in her existential thoughts. Blurring time, space and form, Sensory Overload is an audio-visual piece that explores how imagination can be an escape from the realities around us.

‘We said that the two of us wanted to take a trip to Kyrgyzstan. That was not the whole truth ...’ Three film trailers as a genre of their own.

Quartet Diminished aims to create musical moments based on its members’ individual and collective contemporary outlook on music as a general entity. This music video belongs to their third album Station Three and shows how a hegemony of systems functions. A mixture of stop-motion techniques on coloured pencils and 3D zoetrope creates a haunting atmosphere to depict the contrast between impeccability and power.

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 video is inspired by Alíz Mosonyi’s short story-poem, Princess Beauty. It deals with the conflict between one’s own movement and the constraints forced on them. It combines animation with physical simulations, thus creating unwanted events and glitchy effects.

The music video is based on found footage, showing actors living out their emotions in and in front of cars. Arranged on a split screen, we see male and female performers at the same time.

The source of absolute knowledge meets the power of photoshop.

A personal essay about connection and disconnection, in and through different realities.

Top Down Memory deals with the manipulations of history in the context of the reconstruction of the Berlin Palace. Starting from the confusions surrounding an alleged proclamation of a socialist republic from one of its balconies in 1918, it examines events that occurred on balconies to raise questions about authenticity and manipulation.

In the year 2020, when the world was forced to ‘change’, I wanted to confirm what changed and what did not change in me. The white mask I wore became the screen projecting my past. My family is sometimes hurt, but support me as I suffer from schizophrenia. We live today while looking for the answer to ‘Who are we?’

For Traitors, I wanted to capture the feeling of intense isolation many of us in the UK are feeling from our government and of having a voice but that voice being ignored. The industrial ruins of my neglected hometown provide the backdrop to what is essentially a performance piece of me screaming into the void.

‘Fire insubstantial, sacred and enclosed, earthly fragment to the light exposed.’ (Paul Valéry, The Graveyard by the Sea)

The film takes its name from the place where it was filmed, the triforium of London’s Westminster Abbey, a gallery hidden from view for 700 years, that runs sixteen metres high above the floor of the nave. Accompanied by Laurence’s Crane’s music, the film holds the stillness and quietude of the triforium, the accumulation of centuries of ascending prayer.

This film is a meditation on the respective temporalities of different image technologies. An investigation of the explicit and unspoken ideologies encapsulated in technology, the film unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.

X is a cinematic ritual aimed at appeasing the ancestral spirits of the industrial workforce. The film is a re-imagination of the crossroads myth and is inspired by the lives of the film-maker’s father and grandfather, who also play the lead roles.

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.

“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.

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.

The first cracks in the otherwise sedate everyday routine of the Chico Crew.

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.

‘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.

Cutting Edges delves into the architecture of co-working spaces and the discourses of start-up founders. Visions, processes, pieces of furniture and belief systems are shuffled together and spun around. The start-up dream is shaking. The unicorn waves and waves and waves.

"Tall trees and an impressive woman are among the best subjects for vertical cinematic art” (Friedrich Liechtenstein). The state of being in love for the first time in the game of life is celebrated. 

Everything will be fine, no matter what happens from now on... 

The wheel of fortune has no choice.

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.

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.

Elzo uses his imagination to enjoy a day in the backyard.

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.

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.’

What would happen if one were to dissolve the ironclad construct of levelled-out and monotonous personality, i.e. the “I” that prevails in society? The  various views seen here are experiments about the absurd: introspection through the intuitive reworking of one's own photo, re-individualisation of the conformist personality.

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.

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.

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.

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.

„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.

A train ride reveals strange incidences.

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 Ruhr area as a fictive landscape. This landscape, as is usual in landscape painting, is an ideal one – here, an anarchic space in which people live spontaneously and cooperatively, free of hierarchies.

One of Singapore’s oldest public housing estates runs alongside a former-railway track, property of the Malaysian state until 2011. For 50 years this 10-m-wide zone of indeterminate governance ran through the heart of the city-state, hosting a fecundity of more-than-human activities. One hundred five bird species exist in this patch. Now the land is being repurposed, iconic housing blocks demolished and residents relocated.

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.

On the first day of the coronavirus lockdown, the director’s father is hospitalized and passes away. Mother and daughter mourn in the parental apartment, connected to the outside world only by telephone. With painful intimacy, these phone calls exemplify the loneliness in pandemic times. How does isolation affect us when we are dependent on solace and help?

It’s a one-shot film about violence and blood in a turbulent world, named after the film’s duration. But 8'28'' is should hardly be interpreted as a mirror of the pandemic era, since the film’s sound creation and final edit all took place before the catastrophe arrived. As usual, I have done all the work on the film myself.

A dominating woman directs several men who are renovating a villa in a small Hungarian town. It is by means of the precisely sequential movements enacted by this leading actress in the film's local unit that unfolds a possible narrative rooted in its formal nature.

Dadinho, an old samba player, is taken by his granddaughter to the burial of his brother, a samba player from a rival school of samba. In this journey, a story about rivalry, samba and betrayal emerges from the past.

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

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.

A music video – inspired by the YouTube phenomenon Lyric Video and made with GPT-2 – a pre-trained computer model that can predict natural language – for the mysterious Fanuks, a robot band invented by the acclaimed German music performance group Der Plan for their concept album Save Your Software, recorded in 1989 and released in 2021 by Bureau B.

A cyber entity connects to an international feminist network and questions the future of the Internet. Yeva is a fictional cyber entity and is bored in the vastness of their webspace. Raised on the 1990s internet as a descendant of the media pioneer network FACES, founded in 1996, Yeva decides to meet their ‘mothers’ in the physical world.

Betty is hungry and lonely and fishing in the river gives only scrap. In a moment of illumination Betty finds a creative solution. But the road to success is lined with traps.

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

Hans Unstern plays (To Spin) Hair Into Gold on a self-made harp. Around Hans hovers a swarm of friends, accomplices and ghost-writers who produced the images for this film with their telephones.

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

How would it be to be the richest person in the world someday? You only need enough high-resolution photos of Elon Musk and a few good moves. The rest is done by the deepfake algorithm.

Junu, a 5 year old girl who has trouble learning left from right, is constantly asked by elders around her to wear her shoes correctly. Yet she cannot solve the problem. After being tricked to wear shoes the wrong way, she invents a new way of learning.

Kiki the canary only knows his cage and the old lady who feeds him. He dreams of flying with the free birds from outside. When at last the door of the cage stays open, he escapes and discovers the big outside world where it’s necessary to know how to fly. Finally, being a free bird, it’s scary.

This is the story of when my dog and I were here. I was just daydreaming.

Then he wakes up thinking he’s woken up from a dream and thinks he’s fallen asleep ... He wakes up late and realises that it's already dark and feels very sleepy.

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

Anne Haugsgjerd (77), a renowned Norwegian director, reflects in a poetic, provocative and emotional way about entering the last chapter of her life. A naked story about aging, gravity and smoking weed.

Around the world in 80 postcards. Flea market finds tell of distant travel destinations and locations of longing from yesteryear. Kati and Timo send warm holiday greetings.

NOAH explores the lives of three real people in three different cities: Montreal, London and Berlin. Utilizing the city’s aging phone booths as a focal point, the video explores how the tools we use to communicate shape the ways in which we connect to each other. When old tools disappear, those forms of connection die with them.

A video collaboration between the artist Stacie Ant and DJ Hell. During the height of quarantine, Hell and Stacie tried to come up with a surreal version of the future that awaits post-pandemic. Inspired by DJ Hell’s strong presence in the electro-music scene for several decades, the video and sound pay homage to the history of electronic music and the lifestyle that came with it.

Planes of time and action, order and chaos are superimposed on one another in a small space. The question of the meaning remains open, but all know what they are doing.

This critical video essay deals with the actual development of the North Bohemian landscape and its current state. Foreign video contributions largely reflect the efforts to find solutions and fulfil specific utopian ideas. These ideas are very often based on criticizing the current political and economic system.

The video takes up the melancholy mood of the empty stage. The artist’s existence in lockdown becomes a boxing match. An empty income tax binder gets converted into a stage. The musicians rear up. The film could be likened to a person’s skin: What can be repelled? What will be taken in? A joyful tour de force, always embracing contradictions.

Two people try to climb a fallen house façade in a Spanish marble quarry. Are there no more Four Seasons, and did Vivaldi become real estate music?

Seated in a bus after a long day, a mother drifts away in her existential thoughts. Blurring time, space and form, Sensory Overload is an audio-visual piece that explores how imagination can be an escape from the realities around us.

‘We said that the two of us wanted to take a trip to Kyrgyzstan. That was not the whole truth ...’ Three film trailers as a genre of their own.

Quartet Diminished aims to create musical moments based on its members’ individual and collective contemporary outlook on music as a general entity. This music video belongs to their third album Station Three and shows how a hegemony of systems functions. A mixture of stop-motion techniques on coloured pencils and 3D zoetrope creates a haunting atmosphere to depict the contrast between impeccability and power.

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 video is inspired by Alíz Mosonyi’s short story-poem, Princess Beauty. It deals with the conflict between one’s own movement and the constraints forced on them. It combines animation with physical simulations, thus creating unwanted events and glitchy effects.

The music video is based on found footage, showing actors living out their emotions in and in front of cars. Arranged on a split screen, we see male and female performers at the same time.

The source of absolute knowledge meets the power of photoshop.

A personal essay about connection and disconnection, in and through different realities.

Top Down Memory deals with the manipulations of history in the context of the reconstruction of the Berlin Palace. Starting from the confusions surrounding an alleged proclamation of a socialist republic from one of its balconies in 1918, it examines events that occurred on balconies to raise questions about authenticity and manipulation.

For Traitors, I wanted to capture the feeling of intense isolation many of us in the UK are feeling from our government and of having a voice but that voice being ignored. The industrial ruins of my neglected hometown provide the backdrop to what is essentially a performance piece of me screaming into the void.

‘Fire insubstantial, sacred and enclosed, earthly fragment to the light exposed.’ (Paul Valéry, The Graveyard by the Sea)

The film takes its name from the place where it was filmed, the triforium of London’s Westminster Abbey, a gallery hidden from view for 700 years, that runs sixteen metres high above the floor of the nave. Accompanied by Laurence’s Crane’s music, the film holds the stillness and quietude of the triforium, the accumulation of centuries of ascending prayer.

This film is a meditation on the respective temporalities of different image technologies. An investigation of the explicit and unspoken ideologies encapsulated in technology, the film unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.

X is a cinematic ritual aimed at appeasing the ancestral spirits of the industrial workforce. The film is a re-imagination of the crossroads myth and is inspired by the lives of the film-maker’s father and grandfather, who also play the lead roles.

In the year 2020, when the world was forced to ‘change’, I wanted to confirm what changed and what did not change in me. The white mask I wore became the screen projecting my past. My family is sometimes hurt, but support me as I suffer from schizophrenia. We live today while looking for the answer to ‘Who are we?’

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).

A young Nepali man, preparing to launch a film-making career in Europe, is suddenly summoned home to the Everest region. His father, a livestock farmer like most Sherpas before they became known for mountaineering, is ailing. In this intimate portrait, the film-maker explores his relationship to home and his parents, and the world of tradition and ritual he thought he had left behind.

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

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.

A dominating woman directs several men who are renovating a villa in a small Hungarian town. It is by means of the precisely sequential movements enacted by this leading actress in the film's local unit that unfolds a possible narrative rooted in its formal nature.

Seated in a bus after a long day, a mother drifts away in her existential thoughts. Blurring time, space and form, Sensory Overload is an audio-visual piece that explores how imagination can be an escape from the realities around us.

Anne Haugsgjerd (77), a renowned Norwegian director, reflects in a poetic, provocative and emotional way about entering the last chapter of her life. A naked story about aging, gravity and smoking weed.

The film takes its name from the place where it was filmed, the triforium of London’s Westminster Abbey, a gallery hidden from view for 700 years, that runs sixteen metres high above the floor of the nave. Accompanied by Laurence’s Crane’s music, the film holds the stillness and quietude of the triforium, the accumulation of centuries of ascending prayer.

Top Down Memory deals with the manipulations of history in the context of the reconstruction of the Berlin Palace. Starting from the confusions surrounding an alleged proclamation of a socialist republic from one of its balconies in 1918, it examines events that occurred on balconies to raise questions about authenticity and manipulation.

Then he wakes up thinking he’s woken up from a dream and thinks he’s fallen asleep ... He wakes up late and realises that it's already dark and feels very sleepy.

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

A cyber entity connects to an international feminist network and questions the future of the Internet. Yeva is a fictional cyber entity and is bored in the vastness of their webspace. Raised on the 1990s internet as a descendant of the media pioneer network FACES, founded in 1996, Yeva decides to meet their ‘mothers’ in the physical world.

The Ruhr area as a fictive landscape. This landscape, as is usual in landscape painting, is an ideal one – here, an anarchic space in which people live spontaneously and cooperatively, free of hierarchies.

X is a cinematic ritual aimed at appeasing the ancestral spirits of the industrial workforce. The film is a re-imagination of the crossroads myth and is inspired by the lives of the film-maker’s father and grandfather, who also play the lead roles.

A music video – inspired by the YouTube phenomenon Lyric Video and made with GPT-2 – a pre-trained computer model that can predict natural language – for the mysterious Fanuks, a robot band invented by the acclaimed German music performance group Der Plan for their concept album Save Your Software, recorded in 1989 and released in 2021 by Bureau B.

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

Hans Unstern plays (To Spin) Hair Into Gold on a self-made harp. Around Hans hovers a swarm of friends, accomplices and ghost-writers who produced the images for this film with their telephones.

How would it be to be the richest person in the world someday? You only need enough high-resolution photos of Elon Musk and a few good moves. The rest is done by the deepfake algorithm.

Around the world in 80 postcards. Flea market finds tell of distant travel destinations and locations of longing from yesteryear. Kati and Timo send warm holiday greetings.

NOAH explores the lives of three real people in three different cities: Montreal, London and Berlin. Utilizing the city’s aging phone booths as a focal point, the video explores how the tools we use to communicate shape the ways in which we connect to each other. When old tools disappear, those forms of connection die with them.

A video collaboration between the artist Stacie Ant and DJ Hell. During the height of quarantine, Hell and Stacie tried to come up with a surreal version of the future that awaits post-pandemic. Inspired by DJ Hell’s strong presence in the electro-music scene for several decades, the video and sound pay homage to the history of electronic music and the lifestyle that came with it.

Planes of time and action, order and chaos are superimposed on one another in a small space. The question of the meaning remains open, but all know what they are doing.

The video takes up the melancholy mood of the empty stage. The artist’s existence in lockdown becomes a boxing match. An empty income tax binder gets converted into a stage. The musicians rear up. The film could be likened to a person’s skin: What can be repelled? What will be taken in? A joyful tour de force, always embracing contradictions.

Two people try to climb a fallen house façade in a Spanish marble quarry. Are there no more Four Seasons, and did Vivaldi become real estate music?

The music video is based on found footage, showing actors living out their emotions in and in front of cars. Arranged on a split screen, we see male and female performers at the same time.

The source of absolute knowledge meets the power of photoshop.

Quartet Diminished aims to create musical moments based on its members’ individual and collective contemporary outlook on music as a general entity. This music video belongs to their third album Station Three and shows how a hegemony of systems functions. A mixture of stop-motion techniques on coloured pencils and 3D zoetrope creates a haunting atmosphere to depict the contrast between impeccability and power.

For Traitors, I wanted to capture the feeling of intense isolation many of us in the UK are feeling from our government and of having a voice but that voice being ignored. The industrial ruins of my neglected hometown provide the backdrop to what is essentially a performance piece of me screaming into the void.

This critical video essay deals with the actual development of the North Bohemian landscape and its current state. Foreign video contributions largely reflect the efforts to find solutions and fulfil specific utopian ideas. These ideas are very often based on criticizing the current political and economic system.

One of Singapore’s oldest public housing estates runs alongside a former-railway track, property of the Malaysian state until 2011. For 50 years this 10-m-wide zone of indeterminate governance ran through the heart of the city-state, hosting a fecundity of more-than-human activities. One hundred five bird species exist in this patch. Now the land is being repurposed, iconic housing blocks demolished and residents relocated.

The video is inspired by Alíz Mosonyi’s short story-poem, Princess Beauty. It deals with the conflict between one’s own movement and the constraints forced on them. It combines animation with physical simulations, thus creating unwanted events and glitchy effects.

This film is a meditation on the respective temporalities of different image technologies. An investigation of the explicit and unspoken ideologies encapsulated in technology, the film unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.

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.

A camera pans across surfaces of a UN military compound in Srebrenica 25 years after a genocide took place there. Dasović juxtaposes contemporary footage with archival images of the military’s preparatory exercises before troop deployment in the mid-1990s. What do the words and images left by Dutch soldiers tell the viewer about the military doctrine these men were guided by?

In the year 2020, when the world was forced to ‘change’, I wanted to confirm what changed and what did not change in me. The white mask I wore became the screen projecting my past. My family is sometimes hurt, but support me as I suffer from schizophrenia. We live today while looking for the answer to ‘Who are we?’

‘Fire insubstantial, sacred and enclosed, earthly fragment to the light exposed.’ (Paul Valéry, The Graveyard by the Sea)

This is an ethnographic film exploring the legend of the Mahadeo Koli goddess Kalsu, whose story and identity remain impregnated in the consciousness of the women of the tribe even today. The film tells the story of the goddess while drawing visual contrasts between primordial and contemporary images.

Cornelia, Juri and Murat belong to the ‘working poor’. But at first glance, they seem connected by nothing more than their low wages. Everyone fights for themselves. Whether as clickworker, delivery driver or in the bankrupt cardboard factory, they all drift together through a jumbled stairway on their way out. But where to?

It’s a one-shot film about violence and blood in a turbulent world, named after the film’s duration. But 8'28'' is should hardly be interpreted as a mirror of the pandemic era, since the film’s sound creation and final edit all took place before the catastrophe arrived. As usual, I have done all the work on the film myself.

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.