Caspar Stracke is an artist, filmmaker, and curator living and working in New York City and Helsinki. His interdisciplinary work focuses on socio-political and aesthetic potentialities in architecture, urbanism, media archaeology, and – most self-referentially – cinema itself, its poetics, ephemeralities, and time-based mechanisms. His films, videos, and installation works have been shown at exhibitions and festivals throughout the Americas, Europe, and Asia. In 1999 he completed his first feature-length film CIRCLE’S SHORT CIRCUIT, which toured throughout the US and Europe and was selected for the exhibition “American Century Part II” at the Whitney Museum of American Art. He taught as professor for Contemporary Art and Moving Image at the Academy of Fine Arts in Helsinki from 2012 to 2017.
After thirty years teaching at the University of California Laurence A. Rickels was professor in art and theory at the Academy of Fine Arts Karlsruhe as successor to Klaus Theweleit. In spring semester 2018 he holds the Eberhard Berent Goethe Chair at New York University. He is also the Sigmund Freud Professor of Media and Philosophy at European Graduate School in Saas Fee, Switzerland. Rickels is the author of Aberrations of Mourning (1988), The Case of California (1991, reprint 2001), Nazi Psychoanalysis (2002), The Vampire Lectures (1999), The Devil Notebooks (2008), Ulrike Ottinger: The Autobiography of Art Cinema (2008), I Think I Am: Philip K. Dick (2010), SPECTRE (2013), Germany: A Science Fiction (2015), and The Psycho Records (2016).redux/time/ OUT OF JOINT, screening, ICI Berlin, 13 November 2017 <https://doi.org/10.25620/e171113>
These two short films are accompanied by a transcribed roundtable discussion, which includes a number of voices: Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Daniella Shreir, Anja Sunhyun Michaelsen, and M. Ty.
Hands Tied is programmed as part of Sam Dolbear’s ICI project ‘Cosmic Reductions: Palms, Fate, Body, Character’, which has a newsletter available for subscription here.Hands Tied, screening, ICI Berlin, 2–18 April 2021 <https://doi.org/10.25620/e210402>
Followed by a discussion with the artist Omer Fast moderated by Cristina Baldacci and Claudia Peppel
KARLA is based on a conversation with a content moderator for the world’s largest online video sharing platform. The content moderator wished to remain anonymous and so his/her words were memorized by an actress, whose performance was then recorded using facial-capture technology. As the actress speaks, both her face and voice gradually shift into different characters, refusing to coalesce into a single identity, while delving deeper and deeper into one person’s nightmare of working with images in the gig economy. There are two parts to this work: A holographic projection and a small flatscreen monitor. In this preview file, the two parts of the work have been edited onto the same screen.
KARLA was commissioned by the Staatliche Graphische Sammlung / Freunde der Pinakothek der Moderne for an exhibition in 2020.
Based on an interview with a person who wishes to remain anonymous
Idea and edit: Omer Fast
Performer: Genia Maria Karasek
HD Camera and sound: Frieder Schlaich Sound
Post-Production: Jochen Jezussek
Production/Translation: Anna Bitter
Full 3D Production: Mimic Productions, Berlin
Hermione Mitford, David Bennett
Production Coordinator: Alexandria Frances Petrus
Motion Capture Director: Alexandre Donciu-Julin
Render Artist and Technician: Johannes Mittig
Animator: Yeji Min Animator: Matilde Hansen-Walmsness
Animator: Angus McDonald
Holographic Technician: Robert Gabriel
AV Technician: Radek Pater
Serbia / France / Germany,
How can a landscape speak?
It’s like wondering whether the grass, the crickets,
or the pond are only a backdrop to the events,
or whether they actually participate in them,
with their shadows, depths, sounds,
waiting to become narrators?
Landscapes of Resistance, a film by Marta Popivoda, traces a journey through the memories of antifascist fighter Sonja (97), one of the first Partisan women in Yugoslavia, who was also among the leaders of the Resistance movement at Auschwitz. As Sonja speaks, we travel through the landscapes of her revolutionary youth as they exist in the present time – the Serbian forests and mountains where the partisans gathered and the muddy grounds and countless chimneys of Auschwitz – towards her tiny Belgrade flat where she lives with her husband and cat. Since Sonja is a great storyteller, capable of telling about past events without hindsight, she takes us directly into that peculiar atmosphere and mindset, which gave birth to antifascist resistance. We make her story travel through time towards the bodies of the new generation of antifascists, bespeaking that it is always possible to think and practice resistance.
Landscapes of Resistance Teaser‘Marta Popivoda: Landscapes of Resistance’, screening presented at the symposium Counter-Archive, ICI Berlin, 29 April 2021 <https://doi.org/10.25620/e210429-1>