Date 2009.11.01 - 2009.11.30
(Art Center Nabi: am 10:00-pm 6:00/ COMO: am 8:00-pm 9:00, Closed on weekends & holidays/ Open Theatre: am 10:00-pm 9:00)
Venue Art Center Nabi, COMO (SKT-tower, Seoul), Open Theater (Tomorrow City Echo Plaza, Songdo, Incheon)
Entrance Fee Free
Organized by art center nabi, SK Telecom
Program Partner Goethe-Institute Seoul, Robert Seidel
Part 1. Dreaming with Open Eyes
Being an artist myself I often get asked, if my films root in dreams. Sadly I mostly do not remember my dreams, so a lot of other sources like people, art, nature, science, food and ultimately films build the foundation for my work. Films can be understood as my “artificial dreams”, providing a constant source of inspiration. But nevertheless I ask myself constantly: Why are we so fascinated by dreams?
Dreams provide the most detailed and personal portrait of a human being. Its woven network of experiences consists of the unfiltered layers of our desires, our hopes as well as our fears, without conscious control. The medium “short film” comes very close to these unlimited possibilities, but holds the promise to be watched again, while a dream is lost in its pure linearity after we wake up. The programme “Dreaming with Open Eyes” shows 19 different positions of artists working in Germany. Their films are little poems with a dream-like quality that is freed from our everyday life.
The playfulness of a child is still closest to a dream. The works of filmmakers Christiane Wohler, Julia Oschatz and Astrid Rieger are beautifully capturing these moments. Here fiction and form blend together, so we concentrate on a detail while ignoring the bigger picture or we enjoy even the smallest facet life has to offer, apart from any knowledge or comparison. The sensibility of these films leaves a smile of nostalgia, but also recreates the uncertainty of our first, wobbly steps into a world full of uncertainties.
At first the films of Carsten Nicolai, Daniel Burkhardt and Niklas Goldbach are closer to reality by showing heterotopic architecture or urban hierarchies. But all of a sudden everything is stirred up and repetitive patterns get isolated, either praising the musical rhythm of a city or the cacophonic dystopia of the architectural ideas of the Bauhaus. This double-edged state of human development is visible in the constant growth of our cities into megalopolises without any natural trace or history. Julian Rosefeldt and Jan Verbeek are stepping closer to these hermetic concrete labyrinths managing to find new, ritualized choreographies of the working man, who is never fully awake.
Philipp Hirsch and Zeitguised are masters of perfectionistic dreamscape collages rooting in a romanticized nature, creating a captivating flow between seemingly incoherent details. They create new, but believable worlds with changing identities and their own natural laws. The laws of relationships are abstracted in the works of David OReilly, Barbara Hlali and Yves Netzhammer. Their works deal with life’s accelerated or decelerated moments, full of confusion, pain, but also love and hope. They manage to find truth at the most contradictory ends, revealing the ambivalent beauty of our existence.
Bjørn Melhus, Max Hattler, Thorsten Fleisch and my film “_grau” push us deeper into a nightmarish state, where sounds and little gestures symbolize the collapse of humanity and science. Their minimalistic appearance is more like a flashback of dancing lights we experience through our closed eyes. And then, we wake up… a bit dizzy… still having a blurred story in our hazy minds. And if this sparks our excitement, resulting in analysis, we are at one level with Volker Schreiner and Timo Katz. With surgical precision these two filmmakers unfold the hidden construction of our dreams, showing how different fragments blend into continuity, even when they have no relation in space and time.
- Robert Seidel, Curator and Filmmaker
1. future past perfect part 3, Carsten Nicolai
(Germany, 2008, 3:43 min , Experimental music video)
Conceived as the third part of the series under the name “future past perfect”, the short film introduces a narrative story that was inspired by the fascination for automation processes as well as his work on codes and grids that materialized in his record “alva noto . unitxt” in 2008. In “part 3” he creates a magical moment of synchronity between a vending machine and their sounds in a night in Tokyo. The series itself started in 2006 and is designed as a row of conceptually independent movies. The concept and content of each short film is derived from his respective interest at that particular moment.
Courtesy of Gallery EIGEN + ART, Leipzig/Berlin and Gallery PaceWildenstein, New York
Carsten Nicolai (1965) lives and works in Chemnitz and Berlin. In 1994 he launched the influential music label “noton.archiv für ton und nichtton” that merged with “raster music” to label “raster-noton” in 1999. His paintings, objects and installations are shown in major international museum spaces like Schirn Kunsthalle Frankfurt, Neue Nationalgalerie Berlin, Haus Konstruktiv Zurich, SMAK Ghent as well as major group exhibitions like documenta Kassel and Venice Bienniale. Nicolai published a number of highly regarded records under the pseudonyms “noto” and “alva noto” with Ryuichi Sakamoto, Ryoji Ikeda as well as Mika Vainio and gave numerous live-performances in international concert halls, museums and club spaces. Nicolai received many prizes and scholarships, like Villa Massimo Rome, Zurich Prize Basel, Villa Aurora Los Angeles, Golden Nica at Ars Electronica and the F6-Philip-Morris-Grafikpreis Dresden.
2. Wait a Moment, Christiane Wöhler
(Germany, 2002, 4:16 min, Experimental animation)
“Wait a moment” is a round dance. The film tells from the irresistible and absurd course of life. It shows the relation and interaction of a child and a “thing” in a fantastic and ambivalent world. Something happens, develops, fulfils an apparent meaning and disappears. Parallel to the experimental film itself a gigantic panorama picture (7x660 cm) of the whole movie’s surreal landscape came to live, which is working independently and shows Wöhler’s roots as a photographer.
Christiane Wöhler (1975) is a media artist who currently lives and works in Leipzig and Berlin. She studied Visual Communication at Bauhaus-University Weimar, were she explored a diverse range of expression in photography, video installation and short film, which have been shown at international festivals worldwide. In 2005 her first published photo series – a moving pictorial journey – won Gold in the category of Fashion Photography at the Lead Awards in Hamburg. This distinction provided her with the impetus to devote herself mainly to photography. Since that time, her cinematographic and painterly style has been shown in many leading European magazines.
3. Counter, Volker Schreiner
(Germany, 2004, 6:30 min, Found Footage Film)
From number 266 to 1 Schreiner dissects numerous films to create the ultimate countdown in and out of movie history. A subtle deconstruction of the medium film itself, entertaining and full of suspense, teaching us how our perception works without any trace of academic heaviness.
"A hilarious montage of movies, both classic and obscure, creates a rapid-fire countdown." (William Sloan, "Outstanding Short Films from International Festivals", Department of Film and Media, Museum of Modern Art New York)
Volker Schreiner (1957) studied at the Hochschule für Bildende Künste (HBK) Braunschweig receiving several art grants like Cité Internationale des Arts Paris and Deutsche Akademie Villa Massimo Rome. He has been teaching at HfG Karlsruhe, HBK Braunschweig and became an associate professor at HBK Braunschweig as well as the Johannes-Gutenberg-University Mainz. His films have been presented at Berlin, Oberhausen, Paris, Den Haag, Rotterdam, Madrid, Rome, Moscow, Montréal, New York, Tokyo and Sydney with participation in numerous tours. His works are owned by the Neuer Berliner Kunstverein, the Mediathek of the ZKM Karlsruhe, the Museum Ludwig Cologne, the Museum für Neue Kunst Karlsruhe and the Amsterdam Film Museum.
4. Asylum, Julian Rosefeldt
(Germany, 2003, 15:00 min , Short Film / Installation )
Asylum is a major film installation that continues the artist’s investigations into classification and typologies by examining and deconstructing the stereotypes associated with immigrant citizens. Reflecting on how we respond to the idea of “the other”, Asylum challenges our awareness of our own projections and desires. Rosefeldt presents nine different ethnic nationalities, including Chinese, Vietnamese, Turkish, Kosovan-Albanian and Afghan. 120 performers, many of whom are immigrants living in asylum seekers hostels, were chosen to act out their existence as foreigners by repeatedly executing typical, cliche-ridden jobs. The slow motion of the camera emphasises the ritualistic aspect and the senselessness of the tasks performed. Far from adopting a documentary approach, Rosefeldt has constructed subjective and tightly controlled compositions, at times reminiscent of traditional fine art, at others pure kitsch. Set in eccentric locations the scenes resemble tableaux vivants that become cinematic, immersive environments.
Courtesy of Gallery Arndt & Partner, Berlin
Julian Rosefeldt (1965) lives and works in Berlin. He has had numerous solo exhibitions in galleries and art institutions in Asia, Europe and the US, like Phillips de Pury New York (2007/08), Platform China Contemporary Art Institute Beijing (2007), Kunst-Werke Berlin (2004), Hamburger Bahnhof Berlin (2002) and the Herzliya Museum of Art Tel Aviv (2001). He has also participated in many group exhibitions, including “The Cinema Effect: Illusion, Reality and the Moving Image”, Smithsonian Hirshhorn Museum and Sculpture Garden, Washington DC (2008); “Made in Germany”, Kunstverein Hannover (2007); International Biennale of Contemporary Art, Prague (2005); the Sao Paolo Biennial (2004) and “Deep Storage ? Arsenale der Erinnerung” shown at Haus der Kunst, Munich and P.S.1 Contemporary Art Center, New York, among others, 1997?1999. His film “Lonely Planet” received the Filmstiftung NRW Award at international competition of the KunstFilmBiennale Cologne.
5. Energy!, Thorsten Fleisch
(Germany, 2007, 5:00, Experimental film)
From a mere technical point of view the TV screen comes alive by a controlled beam of electrons in the cathode ray tube. For “Energy!” an uncontrolled high voltage discharge of approximately 30.000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization. Even though the result is abstract it tells a universal story older than the world, guided by a soundtrack by Jens Thiele
Thorsten Fleisch (1972) started his first film experiments in 1991. In 1995 he studied art history, music & media theory in Marburg and later he went to Städelschule in Frankfurt, where he studied experimental film at the class of Professor Peter Kubelka and Guest Professor Robert Breer. He received several film grants and won awards at festivals like MicroCineFest, Bradford Animation Festival, Prix Ars Electronica and 25 FPS Zagreb.
6. Habitat C3B, Niklas Goldbach
(Germany, 2008, 7:37 min , Single channel Video (Loop))
HABITAT C3B was filmed in 2008 in the district of “Front de Seine” in the 15th arrondissement right at the South of the Eiffel Tower. The district, built in the 1970s, is a result of Georges Pompidou's attempt to modernize the city. Largely fallen into disrepair, the City of Paris has launched a major project to renovate the area. Within this ghostly area people behave like zoo animals, performing repetitive motion patterns within a closed system. By layering these human loops the architecture reveals the conflicting choreography between perfectionistic utopia of the Architect and the hermetic microcosm of the structured life of the inhabitants.
Courtesy of Anita Beckers Gallery, Frankfurt
Niklas Goldbach (1973) lives and works in Berlin. In his work he focuses on the elements of the postmodern urban experience. His work produces the ambiguity of reality Michel Foucault conjured in his text “Of Other Spaces” (“Des Espace Autres”, 1967) – spaces that are waiting to be re-defined. Goldbach studied photography at the University of Bielefeld and Experimental Media Arts at the University of the Arts Berlin where he graduated with honours in 2004. In 2005 he majored in the MFA program Integrated Media Arts at Hunter College, City University of New York and postgraduated as a Master Grade Student from the University of the Arts Berlin. His videos and installations have been shown in numerous exhibitions and festivals throughout Europe, the United States and Asia. He has received scholarships and participated in international artist in residency programs.
7. inside, Philipp Hirsch
(Germany, 2005, 6:42 min, Experimental film)
”inside” articulates itself through the ”seeing” of its protagonist Hanna – a person in an existential situation. This ”seeing” creates diverse images – observations, metaphors or hallucinations? All of these real-time images are shown from the protagonist’s perspective. Hanna uses her seeing: analysis first, production (decision) next. She suffers mentally until her mind and body fail. She hits rock-bottom, becomes unconscious. Nothing to hear, nothing to see. Only blackness. Only a tiny something is left, which within her dull consciousness begins an independent existence. Hannas “evolution” starts. Naive and light-hearted. Everything is different. Hanna “sees”. And she searches. For a solution. Or redemption. Or maybe even both.
“A remarkable film, an original and striking film: seeing your film, I recognized immediately that it was a rare accomplishment, a genuinely personal expression, and a reminder of why I am involved in making animated films.“ Peter Chung (Aeon Flux, Animatrix)
Philipp Hirsch (1973) studied design at the Bauhaus-University Weimar and created his first experimental 3D-animation “ca. blau” in 1997. After his degree he received a Bauhaus scholarship to work on the film “in” with his companion Heiko Tippelt. “in” and the short version “inside” turned out to become one of the most important German experimental films and were honoured for extraordinary camera work with the German Cinematographer Award in 2005. Since then he created several music videos, short films and currently works on his first feature film project.
8. _grau, Robert Seidel
(Germany, 2004, 10:01min, Experimental film)
_grau is a personal reflection on memories coming up during a car accident, where past events emerge, fuse, erode and finally vanish ethereally. The tableaux vivants of growing structures branch out over 10:01 minutes, a reference to the binary system by Gottfried Wilhelm Leibniz, where he ascribes 1 to god and 0 to evil. Every element originates from real experiences and is adapted from Seidel’s sketches, his own body fragments or scientific visualization methods. The musical framework connects the memories born out of the dramatic moment to clusters. These are unleashed from the image flux partially - to ease the desired, free associations of the beholder…
Robert Seidel (1977) first began studying biology and finished a media design diploma at the Bauhaus-University Weimar. His films have been shown in museums like the Royal Museum of Fine Arts Antwerp, ZKM Karlsruhe or Wilhelm-Hack-Museum Ludwigshafen, galleries, magazines, books and TV programmes as well as over 250 festivals like Prix Ars Electronica, onedotzero and DOTMOV. They have been honoured with several awards like the Honorary Award of KunstFilmBiennale and the Prize for Best Experimental Film at Ottawa International Animation Festival. In 2009 he had a Retrospective Screening at Nabi Art Center Seoul as well as the world-premiere of his gigantic virtual sculpture “vellum” (100x125x80 meters). In his films he is interested in pushing the boundaries of organic beauty and their emotional perception with visual and scientific technology. By layering different structural, spatial and temporal concepts organically he creates a slowly evolving complexity. This multifaceted perspective, a kind of narrative skeleton, is filled by the viewers own memory and creates a seamless blend with the artwork itself.
9. Peripetics, Zeitguised
(Germany, 2008, 3:20 min, Experimental film)
“Peripetics or The installation of an irreversible axis on a dynamic timeline” pushes the limits and understanding of what computer generated images are as an art form. It alters the perception of gallery installations by suspending the rules of digital tools and fine art at the same time. Each of the six acts entails an imagination of disoriented systems that take a catastrophic turn, including the evolution of educational plant-body-machine models and liquid building materials. Zeitguised most welcomes the challenge of deconstructing conventional narratives and then rebuilding them into unstable structures in order to establish new, artificial narratives where the surface is the content and the complex of colour/form/motion itself is the protagonists.
Courtesy of Zirkel Gallery
Founded in 2001 Stuttgart and now based in London, Zeitguised is the brainchild of American sculpture and fashion grad Jamie Raap and German architectural engineer Henrik Mauler. Zeitguised's high gloss art school 3D punk blends complex geometries, surreal objects, artificial behaviours and the recycling of digital readymades into their distinct hallucinatory narration style. Their work has been featured in galleries, like CCRoom Berlin, Fluctuating Images Stuttgart and Zirkel Gallery; exhibitions, publications and screenings around the world. In 2005 they received the award for Best Music Video at the International Film Festival Oberhausen and later the Best Design Award at Resfest.
10. To Repel the Motionless, Yves Netzhammer
(Germany, 2005, 5:53 min, Film / Wall drawing with 4 films)
Original conceived as an installation this work consists of four film loops which are embedded into a wall painting. In Korea the first movie “To Repel the Motionless “ is presented independently, deconstructing the original work of art very similar to Netzhammers way of analysis of human and urban constructions. The clean, seemingly polished surfaces of the protagonists developed from his illustrational work and wall drawings. By putting these tableaux into motion and shifting the spatial perspective our deepest dreams and fears get revealed, everything that is trapped in the tension between death and love, chaos and repetition, animal and human, philosophy and accident.
Courtesy of Anita Beckers Gallery, Frankfurt
Yves Netzhammer (1970) lives and works in Zurich. He studied architecture at Schaffhausen and completed his training in design and the visual arts in Zurich. After exhibiting his works in solo shows in important venues like Kunsthalle Bremen, San Francisco MoMA, Kunst-Werke Berlin and winning a number of awards, Netzhammer represented Switzerland at its National Pavilion in the Giardini di Castello at the Venice Biennale 2007 and created a big installation for the Karlskirche Kassel during the documenta Kassel in 2007. His work is part of different public collections like Kunstmuseum Bern, Museum of Old and New Art (Mona) Hobard, West Collection Pennsylvania and the CB Collection Tokyo.
11. Rauschen & Brausen I, Daniel Burkhardt
(Germany, 2007, 4:52 min, Videoart (Loop))
Skyscraper floors stacked up in the background, rising up into the void. In front of this, roaring traffic not touching the ground. The vehicles are speeding through the air, the skyscrapers rest on nothing. The whole image is hanging in abeyance. A continuous backwards zoom expands the view on this setting, crosses the space between closeness and distance, fades from concrete to abstract, from tangible to unseizable. The music by Gerriet K. Sharma meanders around the image, picks up movements of the visual, goes along with them for a while and finally digresses from them to follow its own cadence. Beginning with pushing basses, the tones continuously rise until they vanish in barely audible pitches.
Daniel Burkhardt (1977) studied Media Art at the Academy of Media Arts in Cologne, where he is still working and living. Since 1998 he develops and realizes experimental videos, visual performances and video installations. His works are presented in the context of cinema at international film festivals as well as in exhibitions where they are projected on elaborate installation architecture. In 2008 he received the 13th video art award of the Sculpture Museum in Marl, the digital sparks award and the GWK award for the arts. Currently he holds a studio scholarship at Kölnischer Kunstverein.
12. Collision, Max Hattler
(Germany, 2005, 2:30 min, Experimental animation)
Max Hattler is interested in the space between abstraction and figuration, where storytelling is freed from the constraints of traditional narrative. His work contemplates microcosms, moments, atmospheres: Close-ups as reflections on the big picture. Collision explores graphic art as metaphor, a marriage of image and sound to produce a kaleidoscopic take on our turbulent political situation. The aim of the film is to be subtle and bold at the same time, and to mesmerize the viewer with a forceful command of symbols, detaching these from their established context and applying their language in the service of an alternative reality. The basics of Collision are constituted by the colours and patterns that are central to the heritage and identity of these cultures.
Max Hattler (1976) is an animation filmmaker and media artist. He studied at Royal College of Art London and his films screened at hundreds of festivals including Rotterdam, Edinburgh, San Francisco, Annecy and Image Forum Festival. The works have been included in the touring programmes of L’Alternativa, AURORA, onedotzero, Resfest, The Animation Show and the European Media Art Festival. Max Hattler had solo shows at Media Art Friesland Festival in Holland, Someone’s Garden Gallery in Tokyo and a recent retrospective of his work at Branchage - Jersey International Film Festival (UK) in 2009. His ?lms won awards at the London International Animation Festival, Videofestival Bochum, Videologia, Darklight Festival, 700IS Festival, and others. He teaches at Goldsmiths College and at the University of East London and is doing a Professional Doctorate in Fine Art.
13. Mammal, Astrid Rieger
(Germany, 2007, 7:25 min, Short film)
Greed grabs hold of the young man who lives alone with his mother as he dives head first into the fresh dough laid out on the kitchen table. Away from this smothering symbiosis, his is a melancholy dream of being a giant, displaying his riches of the soul, permanently trying to escape, he dreams himself away.
“Compelling and impressive pictures describe the symbiotic relationship between a mother and her son. The perfectly composed movie creates an elaborate combination of naturalistic and surrealistic elements. Memories of Salvador Dalí's psychoanalytical film drafts for Alfred Hitchcock are flashing up.” (FBW - Short Film of the Month - April 2007)
Astrid Rieger (1979) was born in Romania and moved to Germany in 1990. From 1999 to 2006 she studied at the Academy of Art & Design Offenbach where she graduated in film and video. Currently she holds a scholarship and works on a new film production. Her music videos and short films won several awards at festivals like Interfilm Berlin, Vienna Independent Shorts, International Short Film Festival Oberhausen or Feminafilm Ústí.
14. Murphy, Bjørn Melhus
(Germany, 2008 , 03:45 min , Single channel Video (Loop))
Bjørn Melhus’ film is a pure synchronized sound and light projection in which the artist consciously redraw his own figure from. The videolight sequence is based on sound snippets from the movie Blue Thunder (USA, 1982), which was one of the early 80’s media rehabilitation of Vietnam war veterans in civilian society. Unlike more traditional Melhus’s pieces, in which the artist embodies different roles - including that of a woman sometimes -, “Murphy” operates a dramatic reduction to abstract fields of colour and concentrates exclusively on its sound footage, which results of a collage of some of the most significant moments from mainstream War movies. Murphy won the Prize of the Cinema Jury at 55th International Short Film Festival Oberhausen.
Courtesy of Anita Beckers Gallery, Frankfurt
Bjørn Melhus (1966) studied Film and Video at the HBK, Braunschweig. Since 2003 he is professor for Video at the Kunsthochschule, Kassel. He lives and works in Berlin. Recent shows have included a solo presentation at the Amerikan Hastanesi in Istanbul (2009) and at the Denver Art Museum (2008) among others. His works have been shown at recent group exhibition like “Rules of the Game”, Museo de Arte Contemporaneo de Barcelona (2009) and „DREI. Das Triptychon in der Moderne“ in the Kunstmuseum Stuttgart (2009). In 2009 he participated at the 2nd Bienal del Fin del Mundo, Argentina and in 2003 at the 8th Istanbul Biennial. Melhus work is represented in major private and public collections in Germany, USA, Italy and Spain.
15. Busayyah, Barbara Hlali
(Germany, 2007, 4:56min, hand-drawn animation)
Busayyah is based on media reports about the investigation of a common grave of murdered Kurds that was found near Busayyah, a village in the desert of Iraq. The artist approaches this topic in an abstract way. You can see hands crumpling and constricting paper. In connection with drawn skeletons on the TV-screen, this simple activity becomes a silent and touching visualisation of thoughts about cruelty and the caducity of human life.
Barbara Hlali (1979) lives and works as a media artist in Münster and Dortmund. She studied Fine Arts at the Art Academy of Münster. After her degree she gave courses of experimental animation at the University of Dortmund. First focussing in her works upon drawing, later she developed series of her drawings into experimental animations and installations with drawings on the wall. Her videos were shown at international festivals in Europe, Africa and Asia where she received several awards like the Best Experimental Film of EMAF Festival. In her works she deals with political themes like war or military conflicts. By combining digital pictures with haptic techniques like drawing and painting she finds very personals ways of dealing with these themes and their representation in the media.
16. Whirr, Timo Katz
(Germany, 2006, 2:55 min, Experimental Film)
The type of houses shown in the film were build in the German 1960ies and got transformed by their owners over the years. In reduction of these manifestly redundant building sights into a linear tracking shot, the film gets a view on how the transformations and structural irregularities oscillate around their initial architectural idea without ever getting an exact description. Things are described through the visible surface of their appearance. With mechanical precision this ‘landscape animation’ captures the tension between differences and repetitions sampled in a suburban housing estate.
Timo Katz (1977) studied Photography and Filmdesign at the University of Applied Sciences Bielefeld with graduation in 2006 and works in experimental film, video and installation since 2002. Together with Jan Fuchs he founded the visual research group Katz&Fuchs in 2004. Timo Katz’s diploma work “Whirr” has been presented at numerous international festivals, like the Melbourne International Filmfestival, IFF Rotterdam and Francisco Film Festival. His work was shown at several Goethe Institutes within the selection “Soirée Allemande” by the Institute in Lyon.
17. Osmotic, Jan Verbeek
(Germany, 2006, 3:00 min, Experimental film)
A young parking garage attendant with hat, trench coat and long arms conducts cars to the one or other exit. The precise operation appears like the choreography of a powerful dance. The character of images and the musical composition annihilate boundaries, outside world and inner world merge. Empathy arises with the human being who performs his task in a surrounding without humans. Shot in Seoul the video has been screened internationally at many exhibitions and festivals, like transmediale Berlin, Videonale Bonn, IndieLisboa Portugal, EMAF, International Short Film Festival Oberhausen and the Festival de Cine de Bogotá Colombia. At the Hamburg International Short Film Festival it received the Music in Shorts Award.
Jan Verbeek (1966) is a media artist, who lives and works in Cologne and Tokyo, Japan. He studied art history, literature and communication research in Bonn before entering the Academy of Fine Arts in Duesseldorf where he was student of Nan Hoover and Nam June Paik. He became Master Grade Student of Paik in 1993 and worked as his assistant. As a postgraduate he continued studying audio-visual art at the Academy of Media Arts, Cologne receiving a degree with distinction in 1999. Verbeek's video and installation work is based on a sensitive observation of reality. His audio-visual compositions are characterized by a delicate interaction of image and sound and the way how time and space work together. Verbeek received international art prizes and shows his works in numerous festivals and museums, among them the Kunstmuseum Bonn, Museum Fridericianum Kassel, ZKM Karlsruhe, Singapore Art Museum, Visual Museum Saitama Japan and the Museum of Modern Art New York, that hold work of Verbeek in their collection.
18. Fiction Follows Form, Julia Oschatz
(Germany, 2008, 3:02 min, Videoart and Animation (Loop))
In her work Julia Oschatz fathoms the possibilities of her artistic work to physically immerse the spectator into the artistic process. A creature with the head of an animal and the body of a human being appears in diverse natural scenarios, documented by Oschatz in paintings, drawings, video animations and films. The interplay of different media in her works demands a condensed perception by the spectator. She deals on different levels with the projection of human emotions in the realm of nature. With the help of her works she creates a condensed projection screen for all those cliché associations related to the „romantic“.
Courtesy of Anita Beckers Gallery, Frankfurt
Julia Oschatz (1970) studied at the Städelschule in Frankfurt. Currently living and working in Berlin, she has been awarded with the Lingen Kunst Prize in 2008. Recent shows have included a solo presentation at the CAB in Burgos (2009), at the Leslie Tonkonow Gallery in New York (2008) and the Kemper Art Museum of Contemporary Art in Kansas (2008). She has also been recently featured in the group exhibition “Vertrautes Terrain” in the ZKM in Karlsruhe (2008) and in the exhibition “Damaged Romanticism” at the Art Museum of the University of Houston (2008).
19. Please Say Something, David OReilly
(Germany, 2007, 10:00 min, Experimental animation)
The film is groundbreaking contemporary 3D-animation about a troubled relationship between a cat and a mouse set in the distant future. Even with its very strict visual vocabulary entirely influenced by Robert Bresson’s ideas on authenticity, whereby no images should have any power or value except through their position and relation, it creates a heart-breaking atmosphere within its 23 episodes of 25 seconds each. The likewise minimal sound design by David Kamp and Bram Meindersma makes it an animation classic, which recently won a Golden Bear for best short film at the Berlinale, the Cartoon d’Or in Norway, Best German film at Oberhausen and a Special Distinction Award at Annecy.
David OReilly (1985) works as a film director and artist in Berlin. He is known for creating independent experimental films with a very radical digital aesthetic and absurd humour. His films have been screened worldwide at festivals like Annecy, Rotterdam, Oberhausen, Pictoplasma, onedotzero and PIFAN Korea. With his animation sequences for the movies “Son of Rambow” and “Hitchhiker's Guide to the Galaxy” he stays true to his unique artistic vision and pushes the digital medium into new levels.
Part 2. Experimental German Music Videos
With collaboration of Goethe-Institute Seoul, 7 collections of German music videos from the International Short Film Festival Oberhausen produced between the years of 1998 and 2007 are presented through COMO.
Music clips set trends. Their own particular aesthetic and imagery have already shaped the viewing behavior of two TV generations. While they utilize the same rhythm and similar editing techniques world-wide, their visual and acoustic starting materials stem from the cultures of their respective origins.
The International Short Film Festival Oberhausen was the world’s first festival to accept the music video as a visual art form in its own right and to allocate it to a competition category of its own.
Since 1999, the Oberhausen International Short film Festival has been the reliant presentation platform for the best experimental music clips of the year. The clips were not judged for their musical quality but, rather, from a purely filmic and visually aesthetic aspect.
– Detlef Gericke, Head of Film Department Goethe Institute – Head Office.
1. STAR ESCLATOR
(Germany, 1998, 4:35, Experimental Music Video)
Director Michel Klöfkorn / Oliver Husain
Label Ladomat 2000
Production Michel Klöfkorn / Oliver Husain
2. PING PONG
(Germany, 1999, 4:59, Experimental Music Video)
Director Sebastian Kaltmeyer
Label Harvest/EMI Electrola
Production Martin Zeibell
3. VIVA LA REVOLUCION
(Germany, 1999, 3:24, Experimental Music Video)
LONG LIVE THE REVOLUTION
Music Mr. X and Mr. Y
Director Philipp Stölzl
Label BMC Berlin Musik
Production DoRO / Department M.
4. WHERE THE RABBIT SLEEPS
(Germany, 2001, 5:00, Experimental Music Video)
Director Anna Berger / Michel Klöfkorn
Label Ladomat 2000
Production Anna Berger
(Germany, 2004, 4:04, Experimental Music Video)
Music Bit Meddler
Director Till Heim
Label Planet Mu
Production Till Heim
6. TIME IS RUNNING OUT
(Germany, 2007, 3:39, Experimental Music Video)
Music Telefon Tel Aviv
Director Tim Bollinger
Label Hefty Records
Production Tim Bollinger
7. THE ZOO
(Germany, 2004, 1:00, Experimental Music Video)
Label K7 Records