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poster

60

10

6.2

/102/

55

/4/

61

/8/

3.5

/615/

With sometimes painful directness, Valie Export conducts a psychological investigation of the body in this film performance, externalizes an internal state. In front of a police photo showing two children who were sexually abused by their parents, she tortuously cuts into her cuticles until blood drips into a bowl of milk on her lap. On top of the symbolic plane of blood and milk, the physical effect on the viewer of her destructive act of self-mutilation is extreme.

?

10

/1/

Katja Raganelli’s sole excursion into the realm of avant-garde cinema was this focus on Austrian experimental film axiom Valie Export. This portrayal of the filmmaker is quite special as it presents Export at a very particular moment in her career, during the shooting of a fiction feature, Menschenfrauen (1980), with which she was able to break into the avant-garde mainstream, shedding the skin of her path-breaking, often performance-based early works.

poster

?

10

/1/

Home movies shot on Super 8mm by W+B Hein over 10 years.

poster

?

35

/2/

The film is ‘shown’ in the dark. But the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. Tap and Touch Cinema is an example of how re-interpretation can activate the public. Extract fom the documentary "Wiener Underground"

poster

?

7.0

/8/

50

/4/

She is the godmother of performance art. With her shocking public actions she created in the late 60s images that have burned into the general visual memory until today. The life and work of the Austrian artist Valie Export exemplify a development in art history in which women sought and found new ways and means of expression. Her work provides a feminist counterpart to the Viennese actionism of her time, which has influenced numerous artists of subsequent generations. The innovative diversity of her artistic approaches makes Valie Export an icon of 20th century art history.

poster

?

5.9

/8/

25

/2/

The subtitle of this merry performance is "An Action Text", indicating that the artist's introduction for the vaudeville number was an inflammatory impetus. Export provides precise instructions for the use of a wrapped box of chocolate-covered candy produced by the renowned Viennese company Hofbauer. However, she has not made an advertisement for them and their presentation, but instead, she extols the packqge and confection as a work of art. Severe degradation of the surviving tape further blurs our perceptions.

poster

?

5.9

/77/

33

/3/

60

/4/

Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... (Joana Kiernan)

poster

61

?

7.2

/111/

60

/2/

63

/3/

3.6

/394/

38

/4/

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

poster

?

6.1

/9/

10

/1/

Documentary and pseudo-documentary procedures were filmed simultaneously by two cameras from different viewpoints. The material was then divided into phases of movement. In the montage each phase was doubled. The techniques used in this process vary. Also the sound was doubled, again using different techniques. Two realities, differently perceived according to the conditions of this film, were edited into one synthetic reality, where everything is repeated. This doubling up destroys the postulate: identity of copy and image.

?

10

/1/

Space Seeing - Space Hearing uses sound and image editing, as well as split-screen effects, to create a performance from a motionless body. The work comprises six distinct sections that create a rhapsody of sound and image. The original full-length/linear film cut of the performance. Later edited into a different six minute work of the same name (released in 1980).

poster

?

6.3

/29/

This film is a kind of anthology about Vienna, from the invention of film to the present day. The aim is to break down the usual clichéd "image of Vienna" such as that found in the traditional "Vienna Film" by juxtaposing documentary footage, newly shot material and subjective sequences created by various artists. Individual, self-contained sections of the film gain new meaning within the context of historical material. Familiar sites appear estranged when edited together with historical scenes. Other scenes appear like a persiflage or satirical. The film does not incorporate any commentary whatsoever. It is a collage of diverse materials aimed at conveying a distanced image of Vienna to the viewer

poster

?

10

/1/

Baron Childerich III of Bartenbruch considers himself to be a descendant of the Merovingian dynasty and he has drawn up a chart of marriages and adoptions which show that he is his own father, grandfather, father-in-law, and son-in-law. He aims at achieving the "total family" based on one man. He persuades his french relative, Pippin, to help him. But the latter lets him down and breaks up the family... Among those who belong to the (surrounding) world of the Baron are Dr. Döblinger, a writer, who has formed a band of muggers and Professor Horn, a psychiatrist, who quiets his patients by leading them on nose rings and beating them up... Family satire with numerous personal and literary allusions based on the novel of the Austrian writer, Heimito von Doderer.

?

Performance by Valie Export.

?

A comprehensive documentation of new art movements from 1945 to the present day. Beginning with the "Internationale Situationniste," "Cobra," "Spur," and "Wiener Gruppe" groups in Europe, and moving on to the international Happening and Fluxus movements, including the Viennese Actionists, and from 1970 onward to international Body and Performance Art, which also encompassed media art—film and video—the documentary presents film and photographic material from these art movements.

poster

?

From the starting point of her admiration for the pioneering Ukrainian filmmaker Kira Muratova (1934-2018), the director poses a question: is cinema made by women really tougher, more violent? Seeking answers, she talks to great contemporary filmmakers like Catherine Breillat, Virginie Despentes, Alice Diop, Céline Sciamma, Ana Lily Amirpour, and Monika Treut, among others. It becomes obvious that the cinema screen is a space for the projection of real social problems and power relations.

poster

?

A work on the perception of space, where a video of a motionless figure in a room correlates four different camera positions with four different synthesized tones. We see the inert artist and how she calmly faces the cameras head-on. Six minute version.

poster

?

The starting point for this film is an eighteenth-century musical dice game attributed to Wolfgang Amadeus Mozart. A sequence of short, precomposed musical options are randomly selected through rolling dice and following a table of rules; these sequences are then patched together to create a new composition. Here we see one possible result of this chance procedure.

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