MS Valentina (2019)
Documentary, 80 Minutes
The cargo ship MS Valentina covers 1640 Danube kilometers on its route from Linz, Austria to Russe, Bulgaria. It crosses through seven countries while doing so. The river Danube as an „European Road“ is full of opposites and differences.
A film about the day to day life on board the cargo ship MS Valentina. A Romanian family living in their home made of steel including a living room, a kitchen, bedrooms and a bathroom. The seaman is housed in a three by three metres coach. The cargo compartment is filled with 890 tons of fertiliser. The life of the family is firmly connected with the river. The water rules all of their life and work. „Time on the water, is something beautiful“, so says Captain Ticu Bejan. When the Captain enters the operator‘s cab in the early morning, his wife is busy baking bread, and canning vegetables. The seaman keeps renewing the ships coat of paint because water and wind leave behind rust and other marks. But collisions and dangerous waters are part of the daily routine as well.
The whims of the captain determine the life aboard the ship, which travels down the river Danube to the repetitive stroke of the engine at always the same speed.
„My goal was lost. Russe no longer came to mind. No thought about the coming days. Just the next hour was of interest. And even the events of said hour somehow only touched me peripherally. Through the captain and his river“.
A film about a natural area which always has been overmolded and destructed by humans in a brute way. Huge dams generate electricity, nuclear plants cool their fuel rods, to heavy industries it is but a means of transport, and fisher get their sturgeon. Everybody helps himself to what they need from the river Danube yet this does not take away from it‘s beauty. The river does not know standstill, it takes everything with it and keeps regenerating.
A film that shows Europe’s economic and political diremption: From the prosperous industrial locations of the countries in the West to the abandoned industrial areas of the Balkan, the ruins of progress.
„A tumble, or maybe more like a steady fall towards the east? Everything undergoes permanent change, yet it rarely or actually never becomes better; because "progress" is but a profane shape of falling“.
Destroyed bridges, bullet holes in apartment buildings, or the perforated water tower in Vukowar. Mute witnesses representing the gap between nations. The destruction and injuries of the Yugoslavian wars are present still. The river Danube also is a border, a wall made of water within a allegedly unified Europe.
Documentary, 74 Minutes
In 1939 Adolf Hitler and Benito Mussolini agree on the so-called "return migration" of the German- and Ladin-speaking population of South Tyrol. These ethnic groups have the possibility between emigration to National Socialist Germany or oppression by fascist Italy. More than 75,000 people emigrate to the German Reich. From 1940, 22 South Tyrolean settlements are built in today's Tyrol. About 60 percent of the apartments in the South Tyrolean settlements are given to South Tyrolean resettlers.
RISSE shows the stories of the different groups, the ones who left, the ones who remained and also the ones who returned. In addition to the different fates of the optants, the focus is on the sometimes fiercely discussed developments of the South Tyrolean settlements, which have been demolished, renovated or preserved.
The cracks run across families, couples and villages. The violations of this time are still present.
Documentary, 40 Minutes
Still during the First World War, workers began to cultivate the land around the cities and industrial sites, cultivate vegetables and breed small animals. In remote areas, on the outskirts of Vienna, on shut down railways and other wasteland, land is illegally taken possession of.
In addition to dealing with the historical development of the settlements from the turn of the century to the present day, the focus is on the "wild", "informal" VERBAUT.
BOCKSIEDLUNG - A part of Innsbruck (2017)
Edited by Melanie Hollaus and Heidi Schleich, StudienVerlag, Publications of the Innsbruck Stadtarchiv, Neue Folge 58, 2017
The "Bocksiedlung" in Innsbruck's district Reichenau was founded in the mid-1930s, at the time of the economic crisis. Many workers became unemployed and could no longer afford the apartments, and so a small group of people settled on the eastern outskirts of Innsbruck, which was at that time largely undeveloped. Although the "Bocksiedlung" was not the only Innsbruck settlement of its kind, it was the most legendary in this country.
Images of metamorphosis (2017)
Doku-Fiction, 70 minutes
A house for the homeless was built in Vienna by the “Neunerhaus Association”. The construction and the theme of homelessness gave cause to think about change and metamorphosis. A film about struggle and love, about work, art, and death came into being.
When the crane operator unwraps his sandwich ‘up in the skies’ early in the morning the homeless who spent the night at the construction site disappear. Two of them are Szusza and Philemon who fall in love and spend a summer daydreaming.
They dream of cruises on luxurious cruise liners and about becoming famous actors while life in the streets of Vienna forces them to make hard choices. Between passion and fight,the myth of Philemon and Baucis becomes their ideal of love.
A director and his team of actors and actresses appear on the construction site as well where they work on Ovid’s tale of Philemon and Baucis. Paintings of Rubens are used to reenact scenes ‘Tableaux vivants like’. Due to the consideration of the myth and the interaction with the future residents of “Neunerhaus – Hagenmuellergasse” the group gets more and more confronted by the social and political situation of the homeless.
The former homeless who are moving into the new house tell about their lives on the street and it’s difficulties. Cold and rain are not the worst part. And still there is hope when they talk about the good fortune of having an apartment and the new beginning this means.
By the end of the film everything has transformed. The construction site has become an apartment building. The paintings by Rubens have come to life. Art has been declared a privilege. And most importantly – the homeless have become residents with new perspectives.
Regarding the lovers Szusza and Philemon – “Poverty, loss, pain, passion, time or money may have marked their eyes, their hands, their mouths and the way they hold her arms and set their feet. But in their inner core they will be unchanged to play their role in this world.They probably will believe they are the price society has to pay. And they are probably right.”
Stalingrad - Stories of an Innsbruck settlement (2015)
Documentary, 60 Minutes
From the late 1920's on, a settlement was built south of the Innsbruck Conrad barracks in several construction stages, that has been unofficialy called "Stalingrad" since World War II . When the National Socialists came to power, the last barracks in this territory were demolished and the remaining apartments in the settlement were completed. The area was an experimental field for social housing in which new house typologies and new materials were tried out.
In contrast to the more "sophisticated" social housing, the apartment blocks were primarily intended for poorer sections of the population, barrack dwellers and war returnees.
The reputation of the notorious settlement was never particularly good on the outside, but internally there was talk of neighbourly help and close cohesion among each other. Most of the "StalingradlerInnen" felt very comfortable in their apartments and are still proud of the settlement today.
„hernalser, der stein denkt mordet liebt“ (2014)
Doku-Fiction, 70 Minutes
(English version under construction)
Wenn am Ende das fertige Hochhaus in seiner goldenen Fassade glänzt, weist nichts mehr hin auf all den Dreck, Staub, Beton, Schweiß und die Mühen der Menschen, die es gebraucht hat, um das Haus zu errichten. Der Film macht die Arbeiten der vergangen zwei Jahre vom Ausheben der Baugrube bis zur Fertigstellung des Hauses sichtbar. Er begleitet die Arbeiter bei 40 Grad im Hochsommer und bei minus 20 Grad im Winter, schaufelnd in 20 m Tiefe und an der Fassade hängend in schwindelnden Höhen. Aufnahmen von Kränen, Baggerarmen und sonstigen Baustellengeräten ofenbaren eine diesen Maschinen eigene, faszinierende Choreographie. Doch trotz des Staunens über die Technik bleiben die Dokumentaraufnahmen vor allem eine stille Hymne für die Bauarbeiter und ihre harte, selten anerkannte Tätigkeit.
Zwischen den Dokumentaraufnahmen der Arbeiter tauchen immer wieder Spielflmszenen auf, die durch einen losen Handlungsstrang miteinander verbunden sind. Die Baustelle dient als Kulisse für die vier Hauptprotagonisten, die alle irgendwie „nach oben“ wollen. Doch sehr frei nach Adorno gibt es für keinen der vier ein richtiges Leben im falschen System. Da ist der Schöngeist Ferdinand, der als Dichter und Denker an der ihn umgebenden Leistungsgesellschaft und deren Oberfächlichkeit verzweifelt. Am Ende bleibt ihm nur der Schritt in den Wahnsinn. Seine Freundin Marianne weiß mit Ferdinands abstrakten Denkfiguren nichts anzufangen und hält es mit Foucault: “Wir leben, lieben und sterben nicht auf einem rechteckigen Blatt Papier“. Trotz oder wegen der Absage an die Theorie – die Langeweile bleibt ihr treuer Begleiter.
Das Paar Roland und Corinne betrügt sich gegenseitig und beide haben nur zwei Dinge im Sinn: den jeweils anderen umzubringen und um jeden Preis „nach oben“ zu kommen. Roland wird dabei Opfer seiner eigenen Niedertracht, als er von einem Schauspieler erkannt wird, dem er einige Szenen zuvor ins Bein geschossen hat. Corinne dagegen scheint als einzige den Aufstieg zu schafen, allerdings um den Preis des Verlustes dessen, was man früher Menschlichkeit genannt hat. Sie geht nicht nur metaphorisch über Leichen.
Die Spielflmszenen sind eine Hommage an Jean-Luc Godard: Nie versucht der Film dem Zuschauer Realität vorzutäuschen. Leichen atmen, Schauspieler fallen aus ihren Rollen und hinterfragen sich selbst wie auch den Film. Dieser füstert einem stets zu: „Komm, lass Dich auf mich ein!“ - ein Zitat aus der Schlüsselszene.
Exhibition together with Günter R. Wett
Wörgl, with its convenient location, is one of the fastest growing communities in Tyrol and an important economic centre of the Tyrolean lowlands. In Wörgl, historic farms are surrounded by shopping centres and skyscrapers, which at times lead to a grotesque cityscape. In "WÖRGLparadox", the different architectures were juxtaposed and opposed using the media of photography and video to illuminate a part of the city's history.
Austrian Airlines Verwaltungsgebäude (2012)
The corporate headquarters of Austrian Airlines in Oberlaa (Vienna), a post-war Viennese building from the 1970's (architect Georg Lippert), was demolished in a "night and fog action". The monument office showed little interest in saving the "building of international importance" (quote: Jan Tabor).
Austrian Airlines Verwaltungsgebäude
crane OPERator (2012)
The excavation pit of the high-rise building "hernalser" became a stage and an opera house. Probably the highest stage area in the world did not only include the excavation pit but reached the limit of the crane boom: Magdalena Renwart - the singing Isolde - descended from the air and sang live the final theme from Richard Wagner's "Tristan und Isolde".
At the same time, film shooting took place at the foot of the excavation pit. A scene based on a film sequence from the movie "Weekend" by Jean-Luc Godard was transferred to the construction site situation. The workers did not interrupt their work and thus became part of the staging.
Wiener Werkbundsiedlung (2012)
Audio App for the Highlights Tour through the Werkbundsiedlung in Vienna, which was opened as an international building exhibition in the summer of 1932. Under the direction of the architect Josef Frank, 70 houses were planned which were intended as models for the construction of large housing estates. In the Werkbundsiedlung, models for the small settlement house with garden were presented on a larger scale for the first time. A maximum of living comfort should be developed on a minimal built-up area.
Hernalser Transfer (2012)
The transparent room "Kubus EXPORT" built by Valie EXPORT is 10 m away from the building site where the high-rise "hernalser" was built. Videos of the construction site of the "hernalser" were shown in the Kubus EXPORT in October/ November 2012. The glass cube became the symbolic soul of the opposite building through the recordings of the workers.
Bocksiedlung – Eine filmische Spurensuche (2012)
Documentary, 43 Minuten
Today the former "Bocksiedlung" of the Innsbruck district of Reichenau, eighty years after its foundation, is almost forgotten. The inhabitants had a bad reputation, they were considered as beggars, crooks and rogues, being wild and often in conflict with the law. They renounced comfort, social security and social prestige in favour of a largely self-determined life.
WOLOKOLAMSKER CHAUSEE X / XI, 2010 / 2011, KJDT
Performance, Landart, Exhibition
In the 20th century there were ideological and warlike conflicts between West and East Europe resulting in the death of millions of people.
KJDT forced the cooperation between Central and East European artists as an interdisciplinary and intercultural dialogue in a one and a half years process.
In 2008 the group worked on the subject in "The age of counter-revolution", starting with the "Wolokolamsker Chaussee I-V", which was written between 1984 and 1987 by Heiner Müller.
Wolokolamsk is situated about 120 kilometres in the North-West of Moscow. At this place the German Fascist army was stopped by the Soviet Army in 1941. After research in the Heiner Müller Archive / Transitroom Berlin theatrical interventions with artists from Eastern Europe followed in 2010 in Poland, Ukraine, Belarus, Russia and Austria. The group followed the traces of the Second World War. The final performance in Eastern Europe took place in project_fabrika in Moscow. In 2011 KJDT invited artists from Eastern Europe for several performances. One took place in the canon halls of the War History Museum in Vienna - HGM. Articles: molekultur 2011, Simon Welebil, der Standard 2011, Mascha Dabic JDT HM3, 2006 / 2007, KJDT The group KJDT worked at the empty "Stadt des Kindes" in Vienna with all antique related texts by Heiner Müller as partial realization of a project involving all texts by the author, which was originally planned for 1996 by Josef Szeiler and Heiner Müller but was not realized then following the death of the Author.
articles: molekultur 2011, Simon Welebil, der Standard 2011, Mascha Dabic
JDT HM3, 2006 / 2007, KJDT
The group KJDT worked at the empty „Stadt des Kindes“ in Vienna with all antique related texts by Heiner Müller as partial realization of a project involving all texts by the author, which was originally planned for 1996 by Josef Szeiler and Heiner Müller but was not realized then following the death of the Author.
Operation Jason 1 (2009)
Multi-Media Installation in the public space of Innsbruck. Since the beginning of the 90's, Europe has been increasingly restrictive against refugees and migrants.
Based on the tragedies of refugees in the Mediterranean, the project dealt with the demarcations within and at the borders of Europe.
In October 2009, the 23-metre long walkable boat construction "Jason 1" docked at Karl-Rahner-Platz Innsbruck. Every eight hours, a sound installation reproduced stories by refugees and various positions on the EU border policy via eight loudspeaker boxes. A camera recorded the place and thus the boat and transmitted the recordings and the sound installation live to the Internet.
New Kaisertal City (2008)
Docu-Fiction, 33 Minutes
Until spring 2008, the Kaisertal was the last inhabited valley in the Tyrolean Alps that had no road to the outside world. The 30 inhabitants had to walk over 300 wooden stairs to get into or out of the valley. In 2008, construction work was completed on a tunnel linking the valley to Tyrol in terms of infrastructure.
The history of NEW KAISERTAL CITY begins with the opening of the tunnel, thinks ahead and understands it as a social and cultural opening. The narrative is a political commentary on the situation of migrants in Tyrol.