Suchy Pion © Wojiech Bakowski Stellenbosched © Aryan Kaganof Burning Palace © Mara Mattuschka Aplankant Soliari © Deimantas Narkevicius
Apart from the major subject-related THEME, the Festival has presented through the years also PROFILES of important filmmakers and institutions, some of whom have dealt with the short form for decades.
One of the most outstanding artists of the younger generation in Poland, Wojciech Bakowski is a filmmaker, visual artist, a poet, and, last but not least, a musician. His unspectacular, honest and cold works explore the perception and understanding of the human environment and relations. Among his best-known works is the cycle Filmy mówione, in which blurred images painted directly on the film strip are accompanied by fragments of thoughts, colloquialisms, forming a flow of thoughts and visions. Oberhausen presented his film Suchy pion (2012) in its 2013 International Competition.
The Profile will give a survey of the artist's oeuvre so far and feature some of Bakowski's latest works.
"Aryan Kaganof is a project of the African Noise Foundation" it says in Kaganof's official biography. The South African filmmaker, author, poet and artist has over 200 films to his credit and has also published a number of novels and volumes of poetry. He is regarded as a critical provocateur and agitator, as is evident from his themes: drugs, apartheid, fetishism, art. What resonates in all of his works is an exploration of the act of perception.
Oberhausen has featured Kaganof's films in its programmes on multiple occasions (most recently Stellenbosched in the 2013 International Competition) and is now presenting the first extensive retrospective of his work in Germany.
Mara Mattuschka is a member of the Austrian avant-garde who is unrivalled in the relish and wit she brings to undermining each and every genre category.
Mattuschka's films – such as Kugelkopf (1985) or Unternehmen Arschmaschine (1997, with Gabriele Szekatsch) – are beguiling concoctions rooted deeply in Surrealism that mangle metaphors and images from (popular) culture and read them counter to their intended meaning. In her series of dance films, beginning with Legal Errorist (2005, with Chris Haring), she often collaborates with the Canadian dancer Stephanie Cumming.
Oberhausen is presenting a comprehensive retrospective of her unique body of work.
Deimantas Narkevicius rose to international fame when he represented Lithuania at the 49th Venice Biennale. His works have been shown at museums ranging from the MoMA in New York to Centre Pompidou in Paris, and Oberhausen began screening his films early on.
Narkevicius' consuming interest is the subjective perception of history. He often works with historic archival footage, which he combines with contemporary material: whether reflecting on the failure of Socialist utopias against the backdrop of the electrification of Lithuania (Energy Lithuania, 2000) or resurrecting a torn-down statue of Lenin by running the film backwards (Once in the XX Century, 2004).