Media In Space

Exhibition tour after the opening of the 26th Stuttgarter Filmwinter
> Wilhelmspalais, 1. Stock
× Thursday, 10.01.2013
20.00 h

Opening hours
> Wilhelmspalais, 1. Stock
× Thursday, 10.01.2013
20.00 – 21.00 h
× Friday, 11.01.2013
12.00 – 14.00 h
× Saturday, 12.01.2013
11.00 – 16.00 h
× Sunday, 13.01.2013
11.00 – 14.00 and 16.00 – 17.00 h

Guided tours
> Wilhelmspalais, meeting point: Infotheke
× Thursday, 10.01.2013
20.00 h (Filmwinter opening)
× Saturday, 12.01.2013
15.00 h
× Sunday, 13.01.2013
13.00 h

Guided tours for families with Sabina Husicic
> Wilhelmspalais, meeting point: Infotheke
× Saturday, 12.01.2013
14.00 h
× Sunday, 13.01.2013
16.00 h

The international competition MEDIA IN SPACE features positions reflecting society, sculptural elements, historic references, performative videos and a sound installation.

> As I Flow Gently Inside You, Ho-Choi Carla Chan, Hong Kong
> Atemlos / Breathless, Pim Zwier, Netherlands
> Halfway, Julia Charlotte Richter, Germany
> Linienkonstrukt / Line Construct, Joshua Paulussen, Germany
> Music for Unstable Instruments – Tribute to Joe Jones, Hubert Steins, Germany
> Native Tongues / Hard to Grasp, Florian Clewe, Germany
> Over The Rainbow, Carmen Donet García, Germany
> Street Scripts, Mirko Martin, Germany
> Tolpa, Francis Hunger, Germany
> Triangular Stories, Henrike Naumann, Germany

As I Flow Gently Inside You
Ho-Choi Carla Chan, Hong Kong 2012
Video installation
Sound Design: Ulf Langheinrich
Performers: LIU Ngan Ling, CHUNG Yik-Ki
As I Flow Gently Inside You is a video performance and installation that explores intimacy between bodies in situated environments. Two strangers are asked to stand naked facing each other in a small container. The two participants can act freely under the given situations setup by the artist but they are not allowed to touch each other directly. The subtle exchanges of glances, breathes, smells and sounds made during the performance become a kind of micro drama between the two participants, creating an unusual tension that is at once erotic, oppressive and disorienting. As I Flow Gently Inside You aims to evoke a feeling of sensual claustrophobia that lain underneath human intimacy.

Pim Zwier, Netherlands 2012
Video installation, 10 min (loop)
Camera: Alexander Decker, Camera Assistant: Hein-Godehart Petschulat, Second Assistant: Philipp Hoch, Sound: Christian Schunke, Editing: Pim Zwier, Production: Peter Zorn & Marcie K. Jost (Worklights Media)
Atemlos focuses on the transformation of insects and mammals into becoming representations of nature as specimens in the Zoological collection. The work of taxidermist and entomologist is reduced to a series of mechanical acts, guided by the rhythm of needles, amid stares of mounted animals.

Julia Charlotte Richter, Germany 2011
Video installation
Camera: Ben Brix, Light: Eva Duerholt, Cast: Adrienne Borck, Vivian Bretz, Johanna Janssen, Martha König, Lara Meertens, Nina Monjean, Talitha Stalp
In the video loop Halfway (2011) we enter a gym bathed in semi-darkness. Numerous proms featured in American teenage movies have established this place as an epitome of transformation from youths to young adults. We can see remains of balloons and halfway torn down festoons. So the party is over. Scattered across the room we can see small groups of girls – seemingly embraced in an endless daydream of youth. The apparent indifference is deceiving. The bodies are suddenly set in motion with somnambulistic certainty as if caused by an implied arrangement. They drag mats across the floor, pile up boxes and build a shed.
With this cocoon, Julia Charlotte Richter has found an image with great empathy to symbolise the difficulties of growing up between horror and setting out. A childlike body erodes inside this cocoon, where it is both safe from the outside world and at the mercy of the inner transformation processes. Even though we believe we know what youth is there is no way back inside. (Alex Gerbaulet)

Line Construct
Joshua Paulussen, Germany 2012
Mixed Media installation
For this installation, digitally generated lines are projected onto strings which are braced in a cube-shaped frame hanging in the room. This complex arrangement of strings is set in motion by a loudspeaker membrane that – according to the Hertz frequency of the sound output – vibrates with different intensities and in different places. Projection and vibration are influenced by actions of the viewer.

Music for Unstable Instruments – Tribute to Joe Jones
Hubert Steins, Germany 2012
Sound installation
Joe Jones (1934-1993) was an artist of the Fluxus movement. At the beginning of the 60s he began to rework old discarded instruments such as violins, guitars, dulcimers, mandolins and glockenspiels to self-playing sound objects by dangling small rotating electric motors above the instruments strings, striking them in a chaotic and random manner.
As Joe Jones spent the last years of his life in Wiesbaden, many of his sound objects are in the hands of Michael Berger, a collector and patron located in Wiesbaden. He gave me opportunity to record about twenty objects made by Jones Jones. Music for Unstable Instruments uses the sounds of Joe Jones sound sculptures but each sound was transformed electronically by transposing the original recordings one up to three octaves downward and slowing them this way. In addition the length of the recordings was configured to fit a calculated time grid which allows to play the materials as four autonomous, random-controlled sound layers combined in unlimited permutation.

Native Tongues / Hard to Grasp
Florian Clewe, Germany 2012
Blackbox installation
The two-part blackbox installation Native Tongues / Hard to Grasp is seen as a materialised question about aesthetic connections of media-based image technology and the physicalness transformed through the act of perception.
With the black ducitile mass, the plain surface of a digital video projection is juxtaposed with a medium in which the conversion of visual images into haptic inscription is carried out. The photographs and renderings of monochrome products found on the Internet are streaming hastily across the screen – presented standardised before a white background can be understood as models and drafts: in the process they are converted – fed by memory and imagination and the physical act of making something similar carried out with the hands – into matter and become traces that are transitory just like the images themselves.

Over The Rainbow
Carmen Donet García, Germany 2011
Room installation
The installation Over The Rainbow shows a sequence from 1939 movie The Wizard of Oz: Judy Garland performing Over The Rainbow. The video is concentrated trough a PVC-tube and projected onto a slit. This ray of light is broken up by a prism into its spectral components (Violet, Blue, Green, Yellow, Orange, Red). This rainbow can be seen as a small slit on the white wall.

Street Scripts
Mirko Martin, Germany 2011/12
10-channel-video installation, ca. 100 min
For this video I have asked people living in Skid Row, a big poor neighbourhood of Los Angeles which films they would make if they had any financial option and artistic freedom they wished for. The interviews were carried out on site at the Midnight Mission library, one of the numerous accommodations for homeless people and with the help of a social worker from the mission. The streets of Downtown Los Angeles are used as movie locations by the film industry on a daily basis. Through these interviews I would like to add some side stories to Hollywood fiction – by homeless authors who can claim street credibility for their true or imaginary tales. I have chosen 10 out of 30 interviews to be presented in an exhibition context – each is presented on its own monitor. (Mirko Martin)

Francis Hunger, Germany 2012
Video installation
In his installation Tolpa, Francis Hunger comments on different scenes from films by Dziga Vertov, a historical Soviet film director and contemporary of Sergei Eisenstein. Man with a Movie Camera (1929) belongs to his most famous works. For his installation, Hunger also uses original material from two other, less known films entitled Enthusiasm (1930) and Three Songs About Lenin (1934). From these three films Hunger only edits scenes that depict masses of people, re-organized through categories: city, everyday life, workers, demonstration, army, grief. The commentary is only present, like in silent films, as inserted text. The texts describe a dialogue of two fictitious characters about different conceptual approaches to write a stage play about Vertov. In light of these discourses, Hunger addresses the question why and how the avant-garde, which once enthusiastically advocated the Russian revolution, was side-lined by Stalin. (Fabian Saavedra-Lara)

Triangular Stories
Henrike Naumann, Germany 2012
Camera: Daniel Carsenty, Script: Bastian Köpf, Sound: Valentin Finke, Editing Philipp Wenning, Music: Bastian Hagedorn, Production: Zsofi Lili Kovacs, Veronika Janatkova, Cast: Janina Stopper, Eva Vuillemin, Maximilian Klas, Florian Lenz, Michel Diercks, Jan Dose, produced by the “Hochschule für Film und Fernsehen “Konrad Wolf” Potsdam-Babelsberg”
1992. Both home videos have the same date. Both videos show intimate moments from the lives of three teenagers. Some can‘t wait to take ecstasy for the very first time at the Amnesia, while the other‘s world ends behind Jena‘s blocks.
Director Henrike Naumann (born 1984) is from Zwickau, Germany, where Beate Zschäpe, Uwe Böhnhardt and Uwe Mundlos lived undiscovered in the civil underground planning their right-wing murders. The National Socialist Underground (NSU), in the media also known as Zwickau Terror Cell, is an extreme right-wing terrorist union. The group emerged from Jena’s neo-Nazi scene of the 90s. So far there is evidence the group has been responsible for 10 murders. Last year, Böhnhardt and Mundlos committed suicide after a failed attempt at robbing a bank; Zschäpe turned herself in. The video is a very personal discourse of Henrike Naumann with both fascist tendencies in her old home and the hedonistic drive of her generation to gain an optimal lifestyle. The medium of VHS in its transitoriness becomes a mirror of this generation.