sixpackfilm Austrian Shorts Programme

14:00 | Sunday 2nd October
LUX/Electra

sixpackfilm was founded in 1990 as a non-profit organization. The task undertaken by sixpackfilm is to secure an audience for Austrian film and video art, both inside Austria and abroad.

sixpackfilm.com

Chronomops, Tina Frank (Music: General Magic), 2005, 2 min

The doors of perception, electronic style. Chronomops opens doors to truly different di-mensions: different from digital art’s reductionist studies so common today. Chronomops, accompanied by music from General Magic, which is also composed as a slip stream, shows what the pop psyche-delics always knew to be true: the “other” side looms around the corner of the perfect groove, a labyrinth of colours and forms set in irregular motion.

Palmes d’Or, Siegfried A. Fruhauf (Music: Siegfried A. Fruhauf), 2009, 6 min

A pulsating concentrate from more than 800 photographs from the Cannes film festival. The pictures are layered, distorted and deformed until mere schemata remain, appearing at lightning speed only to just as abruptly withdraw. The soundtrack that clamors forth is the acoustic equivalent: as though too many sounds were available at once, which only a logical rhythm might tame.

Interferenzen~ v0.1, Manuel Knapp (Music: GManuel Knapp), 2005, 10 min

Manuel Knapp’s animations – or simulations – have only an apparent and initially “constructive” intent: the simplest geometric forms (straight line, rectangle, cube) are animated through friction and gravity. Knapp mainly invokes disturbances and program errors, aspects of the machine’s dysfunction, to design a three-dimensionality. Here, the animation of white lines on a white background is the starting point of the simulation. Contrary to all expectations, this nonetheless arrives at a legible aesthetic.

-2,20, Billy Roisz (Music: dieb 13), 2003, 4 min

The material’s esthetics collide with the soundtrack, which evokes the sluggish nature of the mechanical. One material screeches into another, this becomes a kind of tentative probing which is superimposed with layers of electronic noises. Billy Roisz has erected a visual monument to the disk on this acoustic foundation as spinning disks appear in quick succession. The times when a scratch was seen as a catastrophe reducing value are gone: Disturbances in this work attain visual distinction, abstract irritations such as lightning bolts flash over and through the rhythmically breathing grooves.

points of view, Nana Swiczinsky (Music Nana Swiczinsky), A 1999, 6 min

Nana Swiczinsky photocopied her original, geometric cell (a black ellipse) and during the process moved it around resulting in deformations. The animation results in vibrations and distortions of the graphic screen, warped with quixotic impressions of space and at times completely dissolved into flowing lines. The rhythmic pattern of images, laid down in loops, is reflected structurally in the sound track with “machine” music, which, in it raw smoothness would be too seductive were it not regularly interrupted.

my kingdom for a lullaby #2, Michaela Grill, Billy Roisz (Music: Christof Kurzmann, Toshimaru Nakamura, Martin Siewert), 2004, 10min

The term “white noise” refers to both visual and acoustic elements. On a white screen appear horizontal and vertical lines in delicate gray, whic alternate, overlap, fade, then become more intense. The soundtrack plays a primary role: a composition of crackling, noises, and whirring begins to emerge; music comprised of subtle electronic tones and high frequency distortion. The borders separating sound, tone, and rhythm are fluid.

a1b2c3, Norbert Pfaffenbichler, Lotte Schreiber (Music: Bernhard Lang), 2006, 5 min

The work is based on the idea of making a video with a minimum number of parameters, one, a uniform white grid on a blue background and two, the ratio of the screen’s dimensions in digital video, 720 x 576. The grid moves orthogonally to the left, right, upward and downward at four different speeds. Bernhard Lang’s soundtrack follows the same logic: The frequencies of a synthetically generated square sound were modulated on the basis of the given numerical values.

even odd even, Barbara Doser (Music Hofstetter Kurt), 2006, 7 min 30

The images Barbara Doser produces plunge into their own abyss. And into ours. We experience an uncompromising precision in both: the conditions of the materials recording/analysis and – not synchronous but very much simultaneous – lyric movement and something indescribable which manifests itself immaterially as an interlace in the space and time of perception between the monitor and the eye: visual maelstrom.