Dietmar Brehm belongs to the 'third generation' of the
Austrian avantgarde film, alongside with Mara Mattuscka, Lisl
Ponger, Martin Arnold and others. Starting in 1974 his works
are consequent reflections about visual realities. They
thoroughly broaden the common understanding and definition of
what film is to be, by breaking up usual time patterns and
bringing it's material characteristics to the surface. Brehm
regards the image of the media as simulacrum.
Brehm started with the studies of art at the artschool in Linz. Coming from the singular painting he developed an interested in it's serial production towards the media of film. He has finished more than 75 films, that play with Found Footage as well as conceptional and structural patterns They alsways prove a strong connection to his minimal, grafity-like paintings and his foto-extracts without illustrating the one or the other on a mere surface of animated pictures. They ae no art films, no animation films nor abstract films, but - if anything - experimental films. His play with the concentration and expansion of time, his allusions on the state of Mass Media on the one side, and the break up of private spheres on the other side resemble the often underestimated film works of Andy Warhol.
The works presented are a concentrated collection of his Super 8-films. they reflect Brehm's strong conception of the marginal, the casual and the extreme. Dietmar Brehm will be present at the festival.
Perfekt-3 (Dallas, Texas, 22.11.1973) 1984, 18:00 min., s/w
Blickstück Serie 4, 28-45 1988, 20:00 min., Farbe
Stuttgart Mail Movie-2 1983, 5:00 min., Farbe
Kopfstück 1.3.1 1985/86, 3:00 min., Farbe
Bathroom 1977/88, 6:00 min., Farbe
Service 1988, 7:00 min., s/w
Pool 1989, 3:00 min., Farbe
Spuistraat, Regenbogen, Gebüsch, RRRR, UFO? 1989, 4:00 min., Farbe
Perfekt 2 (Tacoma, Washington 1940) 1983, 15:00 min., s/w