Deconstructed Icons

The raw material for their works is mostly found footage. Particularly mythically charged scenes from home movies, westerns or commercials awaken Hiebler/Ertl's desire for artistic attack. Frame by frame, the two film their source material and uncover hidden codes and symbolism. They often work with solarization, which makes the outlines glow and places a veil over the images. When analyzing the source material, they proceed less in an ordering manner and more in a compressing and condensing manner. The repetition and the footage sampled in a loop determine the dramaturgy of the visual and tonal level.

An exception and enrichment for the experimental work of Hiebler/Ertl - they have also been writing screenplays for feature films and directing since 1999 - are three films from 1990/91 in which they focus the camera on themselves and their surroundings. Crossover plays with the silhouettes of the female and male body, blurring them in abstraction and thus releasing them from unambiguous gender classification. (Brigitta Burger-Utzer)

Program 
Schönberg (1990, 3 min.)
Crossover (1990, 2 min.)
Crossover 2 (1990, 5 min.)
Livingroom (1991, 5 min.)
Definitely Sanctus (1992, 4 min.)
General Motors (1993, 15 min.)
Spot-Check (1994, 4 min.)
Cheers (1995, 5 min.)
komakino (1996, 6 min.)
Transcoder (Understanding Lydia) (1998, 3 min.)