Catalogue > List by artist

Die Narbe / The Scar is a film project in two parts by Burkhard von Harder ? in both cases helicopter flights following the remnants of the former inner German divide and demarcation line 20 years after the reunification. Part I ? Westberlin follows the former death strip in 76 minutes, part II takes the viewer in 16 hours realtime from the Czech border to the Baltic Sea up North along 1378 km through four seasons in three years: a line becomes a circle that turns into a spiral. The pod version of Part II (Von Prex bis Priwall) is envisioned as 28 volumes representing 28 years of oppression, covering 50 km each. So far 4 double volumes condense the experience.

synopsis CYCLES Appropriation of Godfrey Reggio's QATSI Trilogy ‘That is really expanded cinema, explaining cinema as a direct theory for the eye.’ Pip Chodorov, Director of The Film Gallery, Paris after watching the project's silent version 24 Frames per Second - Deconstructing Movies was the title of my exhibition that opened on Christmas Eve 2015 in Beijing/China. The project’s aim was to make visible each and every single frame of a given movie, in this case Zhang Yimou’s ‘Raise the Red Lantern’. A digital file as scroll had been created and, printed in book form as well, but now for the first time on wallpaper that kept meandering 40 meters in length and 3 meter in height along the gallery walls. More Untitled Filmscrolls were to follow even if the results soon appeared too limited being too static. More digital experimentation, reintroducing movement, led to another climax that seemed to be peek with the digital translation of Godfrey Regio’s QATSI Trilogy. Renamed CYCLES (CYCLE OF DISRUPTION - CYCLE OF WAR - CYCLE OF CHANGE) an extraordinary visual DNA was revealed, the dance of hundreds of thousands of frames caused by the excessive use of stop motion technology of the original, including time lapse, jump cuts, use of color etc., most fascinating hidden meta-levels of the cinematic language with endless cascades of caleidoscopic image patterns no one seemed aware of they existed. As in real life viewers of a film are locked into the unfolding process of time. Looking at a filmscroll is like looking at time from the outside, with past, presence and future happening simultaneously, transcending the usual timeline. The drone-soundtrack by Thomas Fleischhauer (2024), created especially for the Moving Image Art Prize, offers a new experience alltogether. BURKHARD von HARDER, 2024

biographical note burkhard von harder, *1954, germany photographer, filmmaker, artist Film Studies Tisch School of the Arts, NYU, 1977/78 Guest Student of Willy Fleckhaus, University of Wuppertal, 1982/83

An illegal action of formatLabor.net (Till Nikolaus von Heiseler, Michaela Caspar, Andres Fuentes Cannobbio, Achim Kubinski, Petra Fromm, Christian Maria Goebel). A composed, partially spoken partly sung text is enacted ? unannounced - as a rehearsed and choreographed staging in a bank. The combat battalion of the police, arriving in best time and double quick step stand facing a single performer, appearing thin-skinned in her white dress...

The crisis of training isn't a new topic, but all the more important in the political debates and the economic issues of the 21st century. The journalist report the neoliberal comments of the Secretary of State of Education and Research; the actors recite, during the audition, different parts of an unusual education novel by Robert Walser ; the teenager shows patiently his cover letter to find a job as an apprentice. Does anyone carries out his role ? In three heterogeneous episodes, the film essay "Nullzustand" shows how to subtly reconsider the training not as a guaranteed position in the "knowledge society", but as the subversive potential of the youth in transforming and renewing the world.

Laura von Niederhäusern structures her research with the film medium ; she has notably directed the film essays "Hier und Jetzt" (2009) and "Nullzustand" (2011). In 2009, she earns a diploma from the High Art & Design School of Genève where she studied critical theory in the master program of the "Critical Curatorial Cybermedia" (CCC). She is currently working as an assistant for the CCC program and takes part in the research project "Politics, collective memory and arts". She is the co-founder of the Uqbar association.

Container ships, infrastructures of the digital economy, mines and cityscapes of contemporary California are brought into an associative montage that expands via the soundtrack of improvisational musician Zsolt Sorés. In a film without dialogue, landscape images and music produce a raw and psychedelic anti-effect in which musical delays reflect on the surfaces of the images and support the montage: Individuals are networked, but Silicon Valley's digital enterprises are inaccessible, public space closed off by smart fences.

The artist and filmmaker Clemens von Wedemeyer, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Mass (1999), Otjesd(2004), From the Opposite Side(2007), Muster / Rushes (2012), The Horses of a Cavalry Captain (2015), Esiod 2015 (2016), Transformation Scenario (2018)

Ausbeutung oder wie man die Oberfläche durchbricht (Exploitation or How to Break Through the Surface) tells the story of a restorer who studies the history of mining, guided by Hans Hesse's painting on the back of the mountain altar in St Anne's Church in Annaberg-Buchholz. The protagonist sinks deeper and deeper into her research, trying to get behind the surface of the painting and into the present of extraction of new resources.

PAULA ÁBALOS Born in 1989 in Santiago, Paula Ábalos lives and works in Leipzig (Germany). Her work has been presented at the 18th Videonale of the Kunstmuseum Bonn (2021), at the 37th Kasseler Dok Fest (Kassel, 2020), at the City Screen of the LOOP Barcelona festival (2017), at the Kunst-Film-Festival of the GEH8 (Dresden, 2020) and at the Galería Concreta Matucana 100 (Santiago, 2019). In 2020, she received the GOLDEN CUBE award from the 37th Kasseler Dok Fest, as well as the Rundgang 50Hertz award from the Hamburger Bahnhof Museum (Berlin, 2021). In 2021, one of her video works was acquired by the Kulturstiftung collection of Freistaats Sachsen. EMERSON CULURGIONI Born in 1986 in Munich (Germany), Emerson Culurgioni lives and works between Berlin and Leipzig (Germany). Director and visual artist, iI recently completed his second feature film. Trained in photography and classical documentary, he developed a research based mode of filmmaking that includes actors and non-actors. CHARLOTTE EIFLER Born in 1986 in Rostock (Germany), Charlotte Eifler lives and works between Leipzig (Germany), Berlin and Karlsruhe (Germany). Her work is located at the intersection of cinema, sound and technology. In her videos and multimedia installations, she questions the politics of representation, abstraction and computation. With a focus on feminist approaches and elements of science fiction, Charlotte Eifler explores the processes of image production and the imaginaries of alternative futures. She currently teaches image politics and editing practice at the Hochschule für Gestaltung in Karlsruhe. Her work was presented: at the Short Film Festival in Oberhausen (2021), at the International Art Festival in Sapporo (2020), at the Siggraph Congress (Los Angeles, 2020 and 2015), at the Ann Arbor Film Festival (2020), ISCP (New York, 2019), IMPAKT (Utrecht, 2019), Grassi Museum (Leipzig, 2016), Haus der Kulturen der Welt (Berlin, 2015; to come in 2022), at the Museum of Literature in Tblisi (2015), at the Folkwang Museum (Essen, 2014), among others. DEBORAH JEROMIN Born in 1987 in Flensburg (Germany), Deborah Jeromin lives and works between Leipzig (Germany) and Crete (Greece). She develops a research on mainly historical topics and makes them accessible through different media. She focuses on textile handcraft processes, feminist history and sites of National Socialism. MIKHAIL TOLMACHEV Born in 1983 in Moscow, Mikhail Tolmachev lives and works between Leipzig (Germany) and Moscow. After studying photojournalism in Moscow and media arts in Leipzig, he began to develop a research-based practice and became interested in the ever-changing status of a document and the politically mediated production of truth and reality. He collaborates with writers, historians and artists to explore the fractures of representation and to rethink the conventions of spectatorship. His practice encompasses sound installations, videos, photographs and spatial interventions. CLEMENS VON WEDEMEYER Born in 1974 in Göttingen (Germany), Clemens von Wedemeyer lives and works between Berlin and Leipzig (Germany). He has participated at the Chicago Architecture Biennial in 2020, the Cologne Film Festival in 2008, documenta 13 in Kassel (2012), the Berlin Biennale (2006) and the first Moscow Biennale (2005). Monographic exhibitions have also been devoted to him, notably at Haus der Kulturen der Welt, Berlin (2021), at the Auditorium du Louvres, Paris (2019), at MIEFF, Moscow (2019), at Tate Modern, London (2015), at MAXXI, Rome (2013-2014), at MoMA, New York (2007), and at ARGOS Centre for Art and Media, Brussels (2007).

A young director wants to direct a medieval film in the Paris suburbs. During the casting she concentrates on one single person. The parking lot in front of the theatre, on which the young actors are waiting their turn, quickly becomes the decor of the new scene. While inside the alienation between the director and her assistant reaches its climax, the dance of the "superfluous" begins outside.

Maya Schweizer was born January 10, 1976, in Maisons-Alfort. She currently lives and works in Berlin. Her education includes a degree in plastic arts from the University of Aix-en-Provence in 1998. She studied from 2000-2002 at the Hochschule for Graphics and Book Art (HGB) Leipzig, and then entered the Art University of Berlin (UdK) where she obtained her degree in January 2005. Clemens von Wedemeyer was born in 1974 in Göttingen, Germany. He now lives and works in Berlin and Leipzig. His education includes: a MFA in 2002 from the Academy of Visual Arts in Leipzig, Germany, and studies in Fine Arts at the Academy of Visual Arts, Leipzig from 1998-2002. Select filmsography: Occupation (2002), Silberhöhe (2003), Die Siedlung (2004), Otjesd (2005). Exhibitions include: 2006, Kölnischer Kunstverein (catalogue); CAC Brétigny sur Orge, France; 2007, Skulptur Projekte Münster, Germany; Umea University, Umea, Sweden; 2006, Just off focus, Andrew Kreps Gallery, New York; In Moment, Skelleftea Konsthall, Sweden; t.i.n.a b., Prague; 4th Biennial of Contemporary Art, Berlin; 2005-2006 Fama Fluxus Mythos Beuys... jetzt neu! NEW!, Kunst+Projekte Sindelfingen, Galerie der Stadt, Sindelfingen, Germany; 2005, Leipzig Lens, Podium Gallery, Glasgow School of Art, Glasgow, UK; The Pantagruel Syndrom, T- Triennale, Torino.

In the background of blockbuster films, algorithms have been employed to replace extras in post-production. Since years we are used to scenes in which masses of automated characters fill the screen, animated by algorithms that let them interact, similar to computer games and agents in computational sociology. Such artificial masses are stepping in the foreground. Simulating life began in the movies and computer games, but is influencing many fields today. In architecture, city planning and traffic navigation as well as in predictions of markets and trade, virtual scenarios influence society and change the way we live. Transformation Scenario (2018) by Clemens von Wedemeyer creates a speculative narration on the impact of emulated group behaviour in society. It follows an idea that could be inspired by Jean Luc Godards film Le Gai Savoir: “To find the solution to a problem, be it a chemical or political problem, one has to dissolve it: dissolve hydrogen, dissolve the parliament. Therefore we will now dissolve images and sounds.“ The film is part of a long term project by the artist making reference to the work Mass and Power (1960) by Elias Canetti, shifting the view on imageries of society, crowd control and potentials of masses today. This is especially relevant in times of populism, when numbers are used to construct power, and demonstrations and mass events form moments of resistance.

Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. The artist and filmmaker participated in group shows such as the 1st Moscow Biennale (2005), the 4th Berlin Biennale (2006), Skulptur Projekte Münster in 2007, the 16th Biennale of Sydney (2008), and dOCUMENTA (13) (2012). He had solo shows among others at MoMA PS1, New York, ARGOS Centre for Art and Media, Brussels, the Barbican Art Centre, London, Frankfurter Kunstverein, Museum of Contemporary Art, Chicago, Neuer Berliner Kunstverein and Hamburger Kunsthalle. His works can be found in major collections such as The Museum of Modern Art, New York; Museum Ludwig, Cologne; Tate Modern, London.

DIE PFERDE DES RITTMEISTERS Germany, 2015, 10′ THE HORSES OF THE CAVALRY CAPTAIN 16 mm material from the legacy of the amateur film-maker Harald von Vietinghoff-Riesch. The chronological montage, with commentary, compresses the horses of the Wehrmacht and the civilians fleeing from it into a picture of the war. The film is part of the project P.O.V. (Point of View) by Clemens von Wedemeyer. P.O.V exames the subjective view of the camera man behind the front line.

Born in 1974 in Göttingen, Germany. He lives and works in Berlin. Between 1996 and 1998 he studies photography and media at the Fachhochschule Bielefeld. In 1998 he transfers to the HGB Academy of Visual Arts Leipzig and graduates from Astrid Kleins’ class in 2002, followed by a master in 2005. In the same year he receives the Kunstpreis der Böttcherstrasse in Bremen. In 2006 he wins the German competition at Internationale Kurzfilmtage Oberhausen as well as the Karl-Schmidt-Rottluff-Stipendium. Wedemeyer exhibits at the Moscow Biennial in 2005 and at the Berlin Biennial in 2006. In 2008 he participates in Skulptur Projekte Münster. Solo exhibitions include Kölnischer Kunstverein and MoMA PS1, New York, in 2006, the Barbican Art Centre London in 2009 and the Frankfurter Kunstverein in 2011. He participates in documenta 13 in 2012.

A station in thick fog, tracks that disappear into the white mists and a figure, waiting. In between patches of mist a fox appears, looking for a scent in the wind. And then: bluster, shimmer, silence. And more fog. Views of nature merge with brief encounters. People living in their own worlds: an astronomer who, looking to the sky, would welcome the idea that we might not be alone in the universe. A musician hoping to meet the right woman one day. And a stableman for whom the world has always turned a little too fast. All are driven by their quiet longing to make contact, to not feel alone, to gaze into openness. Far from providing explanations, the film tries instead to help us perceive our inner hum, reaching out for an emptiness that cannot be grasped. In the end a clear view. The fox runs off, and we remain alone.

Born in 1983 in Gretzenbach (Switzerland). 2002 she got her first job at the Swiss Television. Over the last ten years she has been working as a journalist and reporter for several programs as «CASH-TV», «10vor10» and «Reporter». At the Swiss TV she started making documentaries. In 2010 Nicole Vögele enrolled at the Baden-Württemberg Film Academy, studying documentary filmmaking. Her first short documentary „Frau Loosli“ won the Postproduction Prize for the best swiss film at Visions du Réel 2013. Her latest film „nebel“ premiered at Berlinale 2014 and received an honorable mention by the dialogue en perspective jury. Nicole Vögele is currently working on her diploma project.

While making a portrait of a single gay man in Lisbon, a filmmaker offers his character a little gift from the bottom of his heart. Not only capturing beautiful interactions between two individuals through a first-person perspective camera, this is also a film on the act of filming.

Viet Vu (Quang Trung Pham) used to be a film critic before breaking into filmmaking with his debut short of “Ant-Man”, 2018. The film won him “Purin Award for The Most Promising Filmmaker from South East Asia”. He has since then completed a series of shorts on memory, time and internal decolonization. His works have been shown at Locarno, Rotterdam, Tampere, Singapore among other film festivals. At present, Viet is finishing DOC NOMADS, his master program of documentary film directing across three different cities of Europe – Lisbon (Portugal), Budapest (Hungary) and Brussels (Belgium).

The daily life of a homosexual man whose body is inhabited by ants.

Viet Vu (Ph?m Quang Trung) is a newcomer in moving image. He was introduced to images in a workshop at Hanoi Doclab by artist Jamie Maxtone-Graham in 2016. So far he has made one image collection of "Mom-me" (2017 - group exihibition at Hanoi Manzi Art Space) and a short film of "Ant-Man" (2018). Viet likes to approach the sublimity in vision of humanity through his camera.

In a small village on the Pacific coast of Colombia, there is a single mountain surrounded by the ocean. On this mountain, a very special bird species settled a long time ago named Soledad de Montaña, directly translated as ‘the solitary mountain’. These birds carry a magical story and it's said that it can be heard during the stormy winds once in a while..

Matthijs Vuijk (1995, NL) is a director, artist and cinematographer with a diverse background in photography, film, and virtual reality. After studying photography at the Royal Academy of the Arts in Ghent, Belgium, he pursued a Bachelor Honours in Film & Television at the University of the Witwatersrand (WITS) in Johannesburg, South Africa. Matthijs' collaborative graduation film, "Sikelela Tapes" (2020), was selected for the prestigious International Documentary Festival Amsterdam (IDFA). His work revolves around creating captivating worlds through a powerful audiovisual atmosphere, exploring fragmented memory, space, and the emotional impact of societal shifts. Matthijs' practice has been recognized with a 'Starting Artist' stipend from the Dutch Mondriaan Fonds and gained Netherlands Film Fund support for his recent virtual reality project, "With the Whole World Crumbling, We Pick this Time to Fall in Love". Currently, he is actively engaged in various cultural initiatives in Johannesburg and Amsterdam.

This immersive experience includes three-dimensional scans combined with voice-memos, images, videos and WhatsApp messages which together form an assemblage of distant yet intimate encounters with friends and subjects. The viewer is able to walk through a personal and emotional digital landscape, creating their own non-linear narrative between dream and reality, a liminal space of longing.

Matthijs Vuijk (1995, NL) is an independent new media artist and filmmaker who has been studying photography at the Royal Academy of the Arts in Ghent, Belgium, from which he graduated with distinction. After doing an internship with Dutch filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished a Bachelor Honours in Film & Television at the University of the Witwatersrand (WITS) with distinction and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs’ background in visual art, film and VR encompass his passion, which lies in the creation of captivating worlds through a strong visual atmosphere. He is formally and technically interested in different mediums while the important narrative factors within his work have a strong emphasis on emotions, intimacy and connection. His recent collaborative film What do I see when I see me with Sammie Straub has been selected at the Rencontres Internationales Paris/Berlin 2021, while Matthijs’ newest immersive experience With the Whole World Crumbling, We Pick this Time to Fall in Love participates in the 2021 edition of the Fak’ugesi Digital Innovation Festival in Johannesburg, South Africa. His collaborative graduation film Sikelela Tapes was selected for the ‘Frontlight’ competition of the renowned International Documentary Festival Amsterdam (IDFA) and had its world premier at the Zanzibar International Film Festival (ZIFF) in Tanzania. Matthijs is currently involved in different cultural initiatives in both Johannesburg and Amsterdam.

A young woman interacts with her own cyborg self. Freed from flesh and thoughts in cyberspace, the digital body extends the movements and expressions of her organic body. In this way, the young woman escapes earthly conventions around the female body.

Sammie Straub (1994, NL) is a multidisciplinary artist born and raised in Amsterdam. Sammie’s interests lie in visual culture, philosophy and music. In her visual works, performances and installations she looks for (fashion)aesthetics amidst societal political chaos and distractions. Her works contain elements of social criticism, styling, art-direction, music and graphic design. In her musical works Sammie has a preference for electronic music; breaks, wave, EBM and techno, transgressing boundaries of musical genres just like her origin transcends colonially defined borders and nations. Sammie is currently studying photography at the Willem de Kooning Academy in Rotterdam and philosophy at the University of Amsterdam. Matthijs Vuijk (1995, NL) has been studying photography at the Royal Academy of the Arts in Ghent, Belgium. After doing an internship with Dutch Filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished an Honours in Film&Television at the University of the Witwatersrand (WITS), and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs has edited on Lara's new film Coco (2020), received regional funding from the province of Zeeland for his new documentary and is currently involved in different cultural initiatives in Johannesburg and Amsterdam.

In a small village on the Pacific coast of Colombia, there is a single mountain surrounded by the ocean. On this mountain, a very special bird species settled a long time ago named Soledad de Montaña, directly translated as ‘the solitary mountain’. These birds carry a magical story and it's said that it can be heard during the stormy winds once in a while..

Matthijs Vuijk (1995, NL) is a director, artist and cinematographer with a diverse background in photography, film, and virtual reality. After studying photography at the Royal Academy of the Arts in Ghent, Belgium, he pursued a Bachelor Honours in Film & Television at the University of the Witwatersrand (WITS) in Johannesburg, South Africa. Matthijs' collaborative graduation film, "Sikelela Tapes" (2020), was selected for the prestigious International Documentary Festival Amsterdam (IDFA). His work revolves around creating captivating worlds through a powerful audiovisual atmosphere, exploring fragmented memory, space, and the emotional impact of societal shifts. Matthijs' practice has been recognized with a 'Starting Artist' stipend from the Dutch Mondriaan Fonds and gained Netherlands Film Fund support for his recent virtual reality project, "With the Whole World Crumbling, We Pick this Time to Fall in Love". Currently, he is actively engaged in various cultural initiatives in Johannesburg and Amsterdam.

This immersive experience includes three-dimensional scans combined with voice-memos, images, videos and WhatsApp messages which together form an assemblage of distant yet intimate encounters with friends and subjects. The viewer is able to walk through a personal and emotional digital landscape, creating their own non-linear narrative between dream and reality, a liminal space of longing.

Matthijs Vuijk (1995, NL) is an independent new media artist and filmmaker who has been studying photography at the Royal Academy of the Arts in Ghent, Belgium, from which he graduated with distinction. After doing an internship with Dutch filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished a Bachelor Honours in Film & Television at the University of the Witwatersrand (WITS) with distinction and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs’ background in visual art, film and VR encompass his passion, which lies in the creation of captivating worlds through a strong visual atmosphere. He is formally and technically interested in different mediums while the important narrative factors within his work have a strong emphasis on emotions, intimacy and connection. His recent collaborative film What do I see when I see me with Sammie Straub has been selected at the Rencontres Internationales Paris/Berlin 2021, while Matthijs’ newest immersive experience With the Whole World Crumbling, We Pick this Time to Fall in Love participates in the 2021 edition of the Fak’ugesi Digital Innovation Festival in Johannesburg, South Africa. His collaborative graduation film Sikelela Tapes was selected for the ‘Frontlight’ competition of the renowned International Documentary Festival Amsterdam (IDFA) and had its world premier at the Zanzibar International Film Festival (ZIFF) in Tanzania. Matthijs is currently involved in different cultural initiatives in both Johannesburg and Amsterdam.

A young woman interacts with her own cyborg self. Freed from flesh and thoughts in cyberspace, the digital body extends the movements and expressions of her organic body. In this way, the young woman escapes earthly conventions around the female body.

Sammie Straub (1994, NL) is a multidisciplinary artist born and raised in Amsterdam. Sammie’s interests lie in visual culture, philosophy and music. In her visual works, performances and installations she looks for (fashion)aesthetics amidst societal political chaos and distractions. Her works contain elements of social criticism, styling, art-direction, music and graphic design. In her musical works Sammie has a preference for electronic music; breaks, wave, EBM and techno, transgressing boundaries of musical genres just like her origin transcends colonially defined borders and nations. Sammie is currently studying photography at the Willem de Kooning Academy in Rotterdam and philosophy at the University of Amsterdam. Matthijs Vuijk (1995, NL) has been studying photography at the Royal Academy of the Arts in Ghent, Belgium. After doing an internship with Dutch Filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished an Honours in Film&Television at the University of the Witwatersrand (WITS), and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs has edited on Lara's new film Coco (2020), received regional funding from the province of Zeeland for his new documentary and is currently involved in different cultural initiatives in Johannesburg and Amsterdam.