Stuck in a Groove is the first film made with the phonovideo technique. The technique is also supposed to create live visuals.

‘What do Madonna, Massive Attack and Angela Merkel have in common? "Friedrich Nietzsche" might be Clemens Kogler's answer to this question. With the aid of a tool called Phonovideo, which consists of a turntable, video mixers and pressed vinyl, he animates images of the individuals named above in realtime, while at the same time a male narrator's voice goes through the effects of the Nietzschean idea of eternal return on the soundtrack…’ (Claudia Slanar)

Gibt es "richtige" Sichtweisen, oder gibt es nur "Projektionen" die wir im Kopf entstehen lassen? Sind wir einsame schutzbedürftige Individuen oder egoismus-getriebene multiple Kreaturen? Rorschach lässt grüßen, und Madame Humtata (Christine Hinterkörner, Linz, AT) liefert den Soundtrack.

Are there "real" answers or do we only project them into our head? Are we lonesome individuals in need of protection, or multiple creatures driven by egoism? Rorschach sends his regards, and Madame Humtata (Linz, AT) provides the Soundtrack.

A layered sequence of mirrored shots depicting a dance performance, pushing the human eye to its limit. The dancer begins to fade into the whirl of her tentacle-like skirt, becoming increasingly hidden behind mutating Rorschach creatures. With the steadily surging density of sound, we too begin to lose ourselves in the dream-like frenzy of images, in the procession of subliminal spirits invoked by Reinhold Bidner. (Diagonale)

Der Epita-dodekaeder visualisiert die verschiedenen Symmetrien im unenedlichen 5-dimensionalen Raum mit dodekaeder-förmiger Begrenzung nach der Beschreibung der Homologiesphäre von Henri Poincaré, als Form des Universums.

This is the newly discovered epitahedron E+ forming a 4-dimensional dodecahedron.
By applying the described counter-movements of the pentagons of H. Poincaré‘s dodecahedral space on the opposite polyhedra E+ different evolving symmetries are crystallizing in steps of 36 degrees.

Die starke Reduktion der Kommunikation von Krimi-Ermittler/innen äußert sich in einer surrealen Abfolge von Phrasen und Floskeln.

Tintenkiller abstrahiert die Collage aus den Ritualen und den Banalitäten, die jeden Fernsehkrimi als solchen determinieren und erstellt im direkten Sinn des Wortes einen Blueprint des Genres: statt Blut fließt Tinte durch die Bilder. In langwieriger Detailarbeit hat Schubert 3000 Einzelbilder mit Tinte und Löschstift bearbeitet. Diese Technik beruht auf der Abfolge von Sättigung und Leere, von sichtbarer und unsichtbar gemachter blauer Farbe, die dann als Weiß erscheint. Spannung und Intensität werden so unmittelbar sichtbar in dunkelblauen Kältebildern, die irgendwann einmal das Blut ihrer Zuseher zu Eis erstarren ließen. (Sylvia Szely)

The German television show “Tatort” has greatly influenced the crime genre and has been the epitome of popular German culture for over four decades. Veronika Schubert's rotoscoped found footage animation INK ERASER draws from this rich reservoir.

Ink Eraser abstracts a collage from rituals and banalities that define every television crime show, as such, and compiles, quasi literally, a type of blueprint of the genre: ink rather than blood flows through the images. In tedious, finely detailed work, Schubert processed 3,000 individual images with ink and eraser pen. This technique rests on the progression of saturation and emptiness, of blue color that is made visible and invisible, which then appears as white. Tension and intensity thus become immediately visible in icy dark blue images that at some point freeze the blood of their viewers to ice. Sylvia Szely)

AT / 2015
7 min.

Virgil Widrich compiles film excerpts from the 1950s and 1960s and translates the resulting remix of images through multiple projections on mirror and canvas constructions into a handbuilt three-dimensionality. The visual levels collide (physically), and dream and reality superimpose and dissolve: an audiovisual hall of mirrors in ragingly beautiful black-and-white. (Sebastian Höglinger, Diagonale, Katalog des österreichischen Film)

Back Track is a showpiece of technical brilliance involving a highly complex story woven out of images and sounds from over 25 feature films. We peer into a space of floating, three-dimensional screens that merge, layered atop and made to glide over one another. Various found footage scenes are projected onto as many as seven movable, semi-transparent panes of glass at once, while a computer-guided camera photographs them frame by frame and translates the imagery into a three dimensional spectacle. At the same time, a host of lovingly constructed props introduce analog components that flit through this digitally Burroughsian cut-up cosmos of Widrich’s conjuring. The plot is seamlessly interwoven, narrated by an off-screen voice entirely in keeping with the film noir tradition to which Back Track is evidently deeply committed: a woman; several men (a writer, a womanizer, a criminal?), each hopelessly under the spell of the siren-like lady... (Peter Tscherkassky)

AT, DE, TW / 2014
7 min.

Direction, Animation, Sound: Nikki Schuster
Soundmix: Sebastian Müller

Projektleiter/Kuratoren/curated by: Franziska Bruckner, Holger Lang, Stefan Stratil