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21. Christoph Keller, Encyclopaedia Cinematographica, 2001
Christoph Keller's work presents a history of the scientific image. To do this he goes back to material from a fifties film project created by the Institut für wissenschaftlichen Film (Scientific Film Institute; IWF) in Göttingen. The initiators' idea was to use their films, usually two minutes long (there are still 4000 of them in the archives today), to capture the whole moving world. Christoph Keller selected 40 movement cycles and isolated the smallest possible unit of movement, which was then incorporated into a loop. This selection of extremely short sequences leads to a heightening of movement. [Carmen K. Beckenbach]
   
  22. A.P. Komen / Karen Murphy A SOFT WHISPER, 1999
Komen and Murphy combine a video projection with 15 individual images to form the basis of the installation called A SOFT WHISPER. We seem to follow the vagaries of a loving couple, accompanied by music from the Buena Vista Social Club. Images, captions, off-camera comments and video images record their misfortunes in love on various planes. It becomes clear at the end that the two leading characters neither know each other nor have ever been a couple - the carpet is pulled from under this apparent narrative. [Carmen K. Beckenbach]
   
  23. Holger Lippmann, POPULAR ANIMATIONS 4 ELECTRONIC MUSIC, 2001/02
Clubs have been developing their own pictorial culture since the late nineties. Music, whether it is Drum ’n Bass, Dancefloor or House, gets an extra kick from a wild mix of images. Video-jockeys are needed to get the masses in clubs and discotheques really dancing. This blanketing kind of video brings together selected visual impressions, electronic art and pop music culture to create a prestigious piece of contemporary media art. There is no narrative: manipulated sequences of images are combined in a particular way with a rhythmically abstract sound accompaniment. Holger Lippmann's internet project POPULAR offers the possibility of downloading 36 animated club videos and projecting them into the clubs. Images can be mixed live on the spot. Here the minimalist clips extend from geometrical compositions and symbols to animated graphics corresponding with the particular music. [Carmen K. Beckenbach]

   
  24. Liisa Lounila, POPCORN, 2001
Lounila successfully uses a home-made pinhole camera that exposes 528 individual images simultaneously to make images lose their innocence in a disturbing way. Placed one after the other, the individual images operate like a film sequence in which the leading figures show a kind of stiff movement. The time axis of the photographs (simultaneous) becomes the spatial axis of the film (successive), and conversely the pinhole camera's spatial axis becomes the time axis in the film. [Barbara Könches]
   
  25. maschek (Ulrich Salamun / Robert Stachel / Peter Hörmanseder), der graue star II – die wehrmacht, 2001
maschek want to give a voice to "mere opinion". This humorous investigation is based on found footage from the fifties and sixties. These little films of reminiscences and nostalgic amateur shots are commented on as if they date from the days of the "Wehrmacht". And lo and behold, maschek says, the statements fit together as though nothing had changed. [Barbara Könches]

 
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