The film consists of two identical prints shown simultaneously, one projected inside the image of the other. The inner image is out of sync one second in advance of the larger image creating a dynamic inter-play between the overlapping frames.
A short film recounting the travels of a lonely astronaut confronted by the unknown. Unfolding as a mystery, it becomes a carefully subtle, autobiographical examination of the feeling of loneliness and the existential issue of not understanding life on earth and ones place among it.
Wanderings of the young Ami in the streets of Kabukicho, Tokyo.
On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.
'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'
Philipp Fleischmann develops special cameras designed to formulate specific relations between the material of the footage (16 or 35 mm film) and the object of the recording. For instance, in his 2013 project “Main Hall,” he deconstructs the main exhibition hall of the Viennese Secession, filming the exhibition architecture with 19 individual cameras and thus creating images that show the view of the exhibition space onto itself. Fleischmann’s recent work, “Untitled (Generali Foundation Vienna)" identifies the film camera as a spacial object-form by itself. Correlating with the history of artistic interventions on site, the object is placed in the former exhibition space of the Generali Foundation at Wiedner Hauptstrasse 15, Vienna, and provided with a cinematographic view.
This film is a succession of visual and aural "notes" generated by the patterns in animals' hides, which are arranged and re-edited into a complex musical architecture, developing intricate rhythms not unlike the complex syncopations found in traditional African music. Elements of sand, dirt, light and shadow cross-reference the film's emulsion with evolutionary history and provide a second level of musical structuring through which the first layer is filtered. The animals' fur patterns, which evolved naturally as camouflage to hide them from predators, ironically now make the animals more visible to human predators who are attracted by their exotic uniqueness. This cinematic analogy underscores modern humanity's relationship to the natural world.
A graphic disintegration of paranoia, perversion and violence in Chicago. (worldcat.org)
Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.
Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly political work, for many viewers it raises sensitive issues about race, homoeroticism and violence. It depicts two naked men – one of whom is the artist – tussling and teasing one another in an encounter which shifts between tenderness and aggression. The film is silent but a series of stares, glances and winks between the protagonists creates an optical language of flirtation and threat.
