Film und #7 SKULPTUR

Program

Björn Kämmerer: Gyre, 2009, 9:30 min
PRINZGAU/podgorschek: Inoten, 1991, 14 min
Mark Leckey: Made in ‘eaven, 2004, 2 min, 16mm
Sasha Pirker: There are Pictures, because there are Walls – A Prologue, 2013, 10 min
Peter Weibel: Imaginäre Wasserplastik, 1972, 1 min
Richard Raynor: Metal Alive: A Sculpture by Gego, 1959, 4 min
Maya Deren: A Study in Choreography for Camera, 1945, 2 min
Kurt Kren: 50/96 Snapspots (for Bruce), 1996, 4 min
Michael Heindl: Hard-Headed Harmony, 2019, 1:30 min
Bruce Nauman: Walking in an Exaggerated Manner, 1969, 10 min
Mario_n Porten: A walker of one’s own, 2025, 19 min - Uraufführung
Richard Serra: Hand Catching Lead, 1968, 3 min

all day in the foyer:
Gloria Camiguaras: Popsicles, 1984, 5 min loop, Video, Ton

curated by Anna Dyrko, Stefanie Reisinger and Gerald Weber

The idea of sculpture as a three-dimensional work of art that protrudes into space and does not impose a fixed viewing angle, i.e., a stable body in a homogeneous space, becomes a moving one in the context of the moving image itself. This opens up a wide field of playful forms of mutual exchange between object and film, which this program explores:
Kinetic bodies as starting points determine the works of Björn Kämmerer and Richard Raynor. Kurt Kren—using his famous single-frame technique—and Michael Heindl—as a literal “inspection”—take a critical look at monuments and, with a wink, at the bronze monuments of famous personalities in public spaces, transforming them into an original cinematic form. 
For Sasha Pirker, the process of creating an art object is in the foreground, as it is for PRINZGAU/podgorschek in an ironic refraction of its suitability for the art market. Peter Weibel poses a similar question, namely that of the fleeting nature of moving images, in his media-critical miniature, in which he conceives of the still image as a sculptural moment. In Mark Leckey's work, a sculpture (Jeff Koons' Rabbit) reflects the space (Leckey's studio) back into the lens, thus opening up a wide range of interpretations. Maya Deren creates a connection between space, performance, and statue/sculpture as a study in choreography for the camera. And with regard to the integration of the (human) body in space as an understanding of a moving sculpture and its materiality, the works of Bruce Nauman and Richard Serra take the temporal moment of film and the continuous change of the supposedly formed material back to a spatial level through the element of repetition. Finally, Mario_n Porten constructs a personal sculpture from objects that define everyday life with ME/CFS. 

In the foyer, Gloria Camiguara's video installation Popsicles, in which girls suck on popsicles in the shape of miniature soldiers to the Ave Maria, serves as a commentary on dictatorship and male violence.