Six Thirty-Two | 06:32min | 2020
excerpt from original | 00:49min
The video work six thirty-two is an interdisciplinary interpretation of the historic location in Biesenthal called “the Wehrmühle”.
The project attempts to create a dialogue between unspoiled nature, the decayed fragments of an old mill from the Middle Ages and its iconic transformed house which is nog considered a cultural place of art, movement and conviviality.
Dancer Katharina Scheidtmann explores movement based on physicaliti’s of nature, architecture and the role this has in the habitual flow of human interaction. Accompanying the image is a soundscape based on field recordings which were recorded in and around the premises of the Wehrmühle in order to audibly reflect the location.
sound: Cosmas Diener
dance: Katharina Scheidtmann
drone: Ferdinand Kühne
Is Movement A Desire In Itself? | 2019
Is movement a desire in itself? is a collaborative video installation which combines different media reflecting the experience and perception of time.
There is an endless movement from the past to the present to the future. We cannot stop the world around us from moving. So is the present moment the place where movement itself takes place?
There is an endless movement from the past to the present to the future. We cannot stop the world around us from moving. So is the present moment the place where movement itself takes place?
part one | 05:16min
part two | 2:49min
part three | 2:49min
Exhibition view at AKI Finals 2019 exhibition,
AKI ArtEZ Enschede, The Netherlands
Stills from the main three screen video projection
Excerpt from Four Quartets by T.S. Eliot (1941)
At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Credits
part one
sound: Leonhard van Voorst
choir: Juriaan Poesse, Iris Dijkstra, Emma Bouman, Alex Wentzel
part two
dance: Lotte Hamelink
live performance on 18th of June 2019 with Lotte Hamelink at AKI ArtEZ in Enschede, The Netherlands
part three
animation: Philipp Emrich
audio text: Time And Time Again by Theresa Maria Forthaus + Excerpt of Four Quartets by T.S. Eliot
part one
sound: Leonhard van Voorst
choir: Juriaan Poesse, Iris Dijkstra, Emma Bouman, Alex Wentzel
part two
dance: Lotte Hamelink
live performance on 18th of June 2019 with Lotte Hamelink at AKI ArtEZ in Enschede, The Netherlands
part three
animation: Philipp Emrich
audio text: Time And Time Again by Theresa Maria Forthaus + Excerpt of Four Quartets by T.S. Eliot
Cinematic Corpse | 05:50min | 2018
Excerpt from original | 00:58min
Cinematic Corpse is a twelve screen video installation which explores the constructions of cinema by referring to the Dogme 95 manifesto and its founder Lars von Trier with his documentary film “The Five Obstructions”. Between deception and clarification, this piece reflects a long process of questioning to what extent moving image can show the difference between truth and lie by capturing people telling intimate stories.
The danish filmmakers Thomas Vinterberg and Lars von Trier published the Dogme 95 manifesto in March 1995 including ten rules called “The Vow of Chastity” which strive for a pure cinema based on traditional filmmaking. Dogme 95 criticises the excessive use of modern technology by creating technical illusions in cinema which consciously intend to deceive the audience. Moreover, it criticises the role of the film director as individual artist who influences the film with his personal taste, and his “free choice of trickery”.
My piece of work neglects the rules of dogma filming by making use of technical manipulations such as the edit of colour, composition and voice. However, this work thereby induces the viewer to scrutinise the truth of the image by posing philosophical questions. Based on the strategy of Lars von Trier and his discussion with Jørgen Leth in “The Five Obstructions“, I am seeking to reinterpret Leth‘s “The Perfect Human“ by playing with the power of me as a narrator and filmmaker to purposefully influence the audience’s point of view.
Beyond Reach | 7:20min | 2018
Selfism | 0:48min | 2018
sound: Jonathan Howe
Bouncing In The Corner, No. 3 | 0:33min | 2018
inspired by Bruce Nauman's ”Bouncing in the corner, No.1+2" (1968)