jade_enterprises
ABOUT
Contact: jade@jade-enterprises.at
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NEWS /
ARCHIVE
Embassy of Foreign Artists.
april - june 2016: La Maison Baron, Genève (CH).
AIR.

ReFramed.
05-07 08 2016: Transart Triennial 2016, Berlin (GER).
Single-channel video installation / screening.

Breaking Ground: Concrete Forms.
31 08 2016: Cinematheque Tel Aviv (IL).
Screening.

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WORKS

REORIENT.MANIFEST

2016 / Multi-channel video installation / 16:9 / colour / sound / 4:00 min

A model for a film. The set design is an assemblage of several small scenes.
The scenery includes some rather iconic images which refer to a sophisticated Europe and
its highly developed state of civilisation with its democratic, political and critical consciousness.
Since it is to be feared that Europe is going to abandon its cultural standards, we as European
citizens have to question this so-called system of values and even a lot more of our ideas.
The film is arranged as musical with 2 choruses who ask some of these relevant questions.






FIGURES

2016 / Photographic series / Fine Art Prints / 80 cm x 120 cm, 40 cm x 60 cm

The cinematic (action) image as spatial object, providing a new perception
and interpretation.
Cinematic images of iconic films about conscious, independence-seeking women
are transferred into sculptures created of working and household utensils.
These sculptures are named after the main female characters of the particular films.
They examine aspects of work and conditions of artistic working processes.
CAMILLE refers to Le mépris, MYRTLE to Opening Night (John Cassavetes, 1977),
MARTHA to Martha (Rainer Werner Fassbinder, 1974) and CATHERINE to
Jules et Jim (François Truffaut, 1962).

  CAMILLE   MYRTLE



SPEED OF LIFE

2016 / Single channel video / 16:9 / colour / sound / 4 min

Contribution to the competition and survey DIZZINESS - A RESOURCE,
a cooperation of the Institute for Differential Psychology of
Karl-Franzens-University Graz, the artistic research project "Der Taumel -
a ressource, FWF PEEK, Academy of Fine Arts Vienna and Kunsthaus
Graz.

The work won the 3rd place of the competition








THE SHOOTING (in progress)

2015 / Installation

Two sprinklers are "shooting" each other with black-coloured liquid.
The installation refers to a film dialogue.





martha, helmut. a full rotation. (in progress)

2015 / Performance + multichannel video installation / colour

Reenactment of the 360º scene from Martha by Rainer Werner Fassbinder.





Electric Indigo video portrait.

2015 / Single channel video / 16:9 / colour / sound / 21 min

Video portrait of electronic music dj and composer Electric Indigo.
Main camera: Andreas Gockel, additional camera: Michaela Schwentner
Commissioned by IMA - institute of media archeology.





Camille 1-3.

2015 / Multi-channel video installation / 16:9 / colour / sound / 4:00 min

An iconic affect picture is transformed into a performative reenactment which is filmed and edited again.
The result is a fragmented, synthetic image of 3 female performers who share the role of the protagonist.
The image is taken from Le mépris (J.-L. Godard, 1963), the protagonist is Camille.





DESCENDING A STAIRCASE / IN SHIFTS.

2015 / Performance + video installation / 16:9 / colour / sound / 33:36 minutes

A woman in a yellow bathrobe is descending a staircase - over and over again.
This image of action refers to the film scene from Le mépris (Jean-Luc Godard, 1963).
The main "character" is in fact the significant prop of the scene, the yellow bathrobe.
The scene is performed by 3 different performers over the course of a day.
The piece is at the same time the reenactment of a film shooting, and hence the
reenactment of Camille's role, a reenactment of an actress' work, a reenactment of
Brigitte Bardot's performance and furthermore a demonstration of variations of acting.
It consists of several elements at the same time: it is the reenactment of the work
of an actress, a spatial intervention, a performance, the actual work of the performers
and the video installation in public space.

DESCENDING A STAIRCASE / IN SHIFTS was commissioned for Festival der
Regionen
2015, Ebensee (A).

Installation: Festival der Regionen 2015





THE CONTENT (in progress)

2015 / Single channel sound installation / 10 min.

In this work the technical content of a film is described
by voiceover. There are no images, only black frames.





THE CONTEST

2015 / Single or multi-channel video installation / 16:9 / colour / sound / 4:45 min

An essayistic short film about rivalry, competition, passionateness and capitalism.
A work-out, an exercise: preparations for a competition. Are there two competing figures or is it just a single one, soliloquising? This essayist film wants to discuss not only motifs of rivalry but also economic conflicts on a poetic level.

Screening: Crossing Europe Film Festival Linz 2015





A STONE,
A WORD
ACTIVATED
BY


ABDUL SHARIF BARUWA // EVA BODNAR // HERBERT DE COLLE // PLAMEN DEJANOFF // HEINRICH DUNST // MARINA FAUST // VERONIKA HAUER // GERHARD HIMMER // SIGGI HOFER // NICOLAS JASMIN // DANIEL KNORR // ELKE SILVIA KRYSTUFEK // SONIA LEIMER // JOHANN LURF // CHRISTIAN MAYER // ALBERT MAYR //JOSH MÜLLER // MICHAEL PART // ELISABETH PENKER // ROMAN PFEFFER // JOSEF RAMASEDER // BERNHARD RAPPOLD // FRANZ SCHUBERT // CONSTANZE SCHWEIGER // MICHAELA SCHWENTNER // CHRISTIAN STOCK // AXEL STOCKBURGER

2014 / Frottage.

3x live frottage Blickle Raum Vienna 2014





LOST IN PARADISE
(BORGES' DISCOMFORT)

2014 / Photographic images, photographic photo copies
Fine Art Prints / Series 5 Images / different sizes.





TRANSISTOR analogous

2007-2013 / Linen, yarn / 50x40cm

TRANSISTOR analogous is a series of embroidered
stills from a video work from 2000.





PENELOPE /
IN THE SCENERY /
REFLECTING /
RELATIONS

2013-2015 / Single or multi-channel video installation / 16:9 / colour / sound / 18:45 min

This short film examines possible forms of storytelling in an essayistic context. To create her story this contemporary model of Penelope on one hand is knotting and interweaving text fragments (her thread consists of words instead of fabric), on the other hand she and the second protagonist communicate by reenacting several iconic film scenes.
The figure was inspired by Penelope, wife of Ulysses, who now, unlike the ancient figure, has become a voice and as well a story to tell. The modern Penelope has thrown out her husband, and that's why Ulysses is travelling and therefore absent.

The level of narrative is organised partly following the principle of the mise en abîme. The formal level also follows this principle and consists of fragmented images and reflexions.

Screenings: Diagonale Graz 2014, Crossing Europe Film Festival Linz 2014, Cairo Video Festival 2014;
part of vidéothèque of Les Rencontres Internationales Paris



The german version can be found here.
Access to the english version on request.






IN THE REMAKING [unfinished]

An experimental film project reflecting the process of film-making.
After Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles from 1975.
Reenacting the making of the film, this work demonstrates my ongoing examination of personal and historic (collective) memory and the transformation of the mechanics of film into a work with poetic potential.






UN DIVERTISSEMENT D'AMOUR

2012 / Multi-channel video installation / 16:9 / colour / sound / 11 min

This film is a kind of rearrangement of Plato's Symposion based on philosophic essays on love and it is also inspired by the Surrealists' Recherches sur la sexualité.
The film structure refers specifically to Sergej M. Eisenstein's definition of the mise en cadre and concentrates precisely on the possibilities of showing / hiding basic film-immanent information.

Screenings: Diagonale Graz 2013, Crossing Europe Film Festival Linz 2013, school, Vienna 2013, Cairo Video Festival 2014

Watch excerpt on vimeo.
Access to full version on request.






26 DAYS

2012 / Multi-channel video installation / 16:9 / colour / 1 min

This work was created during a stay at a remote space near Rome and emerged from the situation I was in at this place for almost 4 weeks.
26 DAYS is a general examination of time and transience.
The question expresses the surprise at the uncertain perception of a certain lapse of time. The individual sense of time 'out of civilisation' becomes
vague, inaccurate, it becomes unreliable.

Installation: imPORT, Studio PORT, Vienna 2012







ÜBERRASCHUNGS EI
(IN THEORY) AND PRACTISE

2012 / Tank tops, zips, fabrics, belts, cords
Installation + performance.

A bag which can also be used as a dress.
A dress which is at the same time a bag.
A bag which could be a raincoat ...
Content as surprise!
A product that can be consumed in the act of using it.
Wearing or carrying!
A brand carrier, a status symbol, an instrument of social positioning.
A multifunctional object, a transporter of social messages.
A kind of "Blödmaschine" (© Markus Metz and Georg Seeßlen)

Presentation performance at Reheat Festival, Nickelsdorf 2012






BILLBOARD / prospects modifiés

2012 / Multi-channel video installation / 16:9 / colour / sound / 8 min

Modified version of the experimental documentary PROSPECTS (2011).
The term prospects is used in a more condensed way, in the way of a promise,
in the way travel agencies use it for their holiday offers.
For this work the interviews from the documentary have been reduced
to simple but catchy slogans.

Installation: RHIZ SCREENS, rhiz, Vienna 2012







PROSPECTS

2011 / Multi-channel video installation / 16:9 / colour / sound / 32 min

An essayistic documentary featuring women in the Mediterranean
who talk about their ideas of paradise / utopia.
PROSPECTS is an essayistic documentary about women living in the Mediterranean and their ideas of paradise / utopia.
It consists of 17 interviews with women from this area and images of "paradisiac" places like public parks, private gardens, botanic gardens, etc.
The video is an assemblage of these images and the interviews and it is accompanied by field recordings and subtle sound pieces which have been composed particularly for this work.

Installation: GRENZWELTEN / LEERE LINIEN, Kulturbrücke Fratres 2013





Installation view Kulturbrücke Fratres [A/CZ]



LA ROUTE DU PARADIS

2011 / Fixing pins on cardboard, framed. 34 cm x 22 cm

Side project of PROSPECTS.
The map of fixing pins show the cities
in the Mediterranean area I visited for my research and interview work.

SAUNA, brut Konzerthaus, Vienna 2010






IT WILL ALL BE DIFFERENT

2011 / Text on memo-cube
Memo-cube 11 cm x 11 cm, shrinking in height

Error correction by repetition?
Or realisation by repetition?
Can a wish become true if you repeatedly
write it down some hundred times?

AFFENARBEIT, Area53, Vienna 2011






DES SOUVENIRS VAGUES

2009 / Multi-channel video installation / 16:9 / colour / sound / 8 min
Sound: Michaela Schwentner
3 C-Prints, 120 x 80cm

DES SOUVENIRS VAGUES is a short film about visual memories and their repetition, about shifts and refractions. The film's main elements are vaguely remembered, isolated scenes en miniature. They could be from a film, they could
also be personal moments of someone. The soundtrack comprises samples
of female characters from various film works.

Screenings (selection): BLUE HOUR, Triennale 1.0 Linz 2010, Diagonale Graz 2009,
Crossing Europe Film Festival Linz 2009




Watch excerpt on vimeo







ALPINE PASSAGE

2008 / Multi-channel video installation / 4:3 / colour / sound / 6 min
Sound: Michaela Schwentner

ALPINE PASSAGE is a film comprising individual images about
a journey across the Swiss and Austrian Alps.
The mountains, impressive as a painting, and in front of them a sort of architecture that enables either a panoramic or a close view.

Screenings [selection]: Diagonale Graz 2009,
Crossing Europe Film Festival Linz 2009


Watch excerpt on vimeo






GROSSGLOCKNER

2008 / C-print 40 x 50 cm





RIDIN'

2008 / video / 4:3 / colour / sound / 5 min
Sound: Irradiation

Tribute to female:pressure DVD.
Presentation at MAK Vienna 2008






BELLEVUE

2007 / Single channel video installation / 4:3 / colour / sound / 9 min
Sound: Michaela Schwentner

Snow, fog, clouds and in the midst of it all, a barely perceptible massif. Or, better yet, a white noise from which contours gradually emerge and just as steadily dissolve back into: As though ghost lights in the digital image-fog that dominates the expanse of this composition. A mountain peak, only vaguely discernible for the longest time, that halfway disappears again the moment it appears. The starting material for Michaela Schwentner's BELLEVUE
are webcam recordings from Grossglockner that she collected for months and condensed into a nine-minute time image. Schwentner's method benefits from the rigid takes, mainly because within them, the interplay of appearing and eluding, of revealing and concealing, can develop the greatest possible effect. Thus, the figure of the mountain uncovers and covers itself in a constant, modulating movement: ridges and slopes peel from the whiteness of the surroundings, to then immediately vanish again within it. Accompanied by a subtle ambient-like rustle, which Schwentner gathered from the direct transformation of the image into sound data, the vision continually clears up and becomes disarranged. As though the mountain, seen and photographed millions of times, does not want to disclose its identity so simply; yes, as though the apparently banal weather panorama recordings harbor a key of sorts to the disappearance of the supposedly most unchangeable natural things. The beautiful view is fundamentally blurred as a result of BELLEVUE. Not by things incidentally blocking it, such as snow, fog, or clouds, but by a basic instability in the process of (electronic) seeing itself. The more persistently it pursues the phenomena, the more they keep themselves covered from time to time. (Christian Höller)

ALPINE DESIRE, ACF New York 2011, LANDS END, Shedhalle Zurich 2010, LANDSCAPE 2.0, Edith-Russ-Haus für Medienkunst Oldenburg 2009, DEEP NORTH, Transmediale Berlin 2009



Watch excerpt on vimeo





ADAPTED RELATIONS

2013 / Installation / prepared table, projector, variable size / video 4:3 / loop

A projection equipment which has been turned into a space defining sculpture,
an adjustment with a new prefix. A miniature, adapted for the small size of the K48 space and to the site-specific conditions.
The projected film itself is a demonstration of adapted relations: Images which were produced by webcams and saved, collected, sorted, assembled and animated, are available in the internet via mouse-click. We can easily watch a mountain peak from any place, from our studio without any effort.
The poetic moment is generated from the apparatus, the installation, the illusionist machine, is detected. The apparatus is moved in its true light and therefore into the centre of perception.

Installation: K48, Vienna 2013

Installation view K48 2013






WORKS WITH SOUND / SOUND ARTISTS:


NOCTILUCA

Commissioned audiovisual work for RML
CineChamber [w/ Peter Rehberg].
10-channel video installation.

Live presentation premiered at musikprotokoll / steirischer herbst Graz 2011.
Adapted version at KLANGMANIFESTE 2014, k/haus passage Vienna.

Watch excerpt on vimeo








CHANTER TOUJOURS

2011 / Sound installation / Loop

The sound installation CHANTER TOUJOURS is an allegory:
a special sound is extracted from its original context and is transformed into an new one - the always singing cricket prolongs the summer and should be - as sound intervention - hopefully a nice surprise in the cold season. At the same time CHANTER TOUJOURS is an infinitive invitation to sing or make sound - more and almost any time!

Installation: KRPYTOPHON, Hörstadt Linz 2011.




COMPOSITION SET //
IMAGE TRANSFORMED //
MOZART MOVED

2006 / Single channel video / 4:3 / colour / sound / 1 min
Sound: Michaela Schwentner

Commissioned work for Mozartjahr 2006.
The idea was to transform a picture of Mozart on the basis of a new composition arranged with the so-called musical dice game, sound-controlled manipulation and also a dismantling of the common clean and kitschy Mozart image. A postcard with a bright frontal view of Mozart turns into a rough, decadent picture. This turnaround within an extremely short period of time also represents life's progress and decay. The alteration is equivalent to a life cycle: The lush color at the beginning fades, the leaves shrivel, the tree disappears, the postcard with Mozart`s picture yellows and becomes a Mozart of stone.
A figure for the ages. The manipulation on the musical level was inspired by the musical dice game as played during Mozart`s day. The composer himself wrote short pieces and re-arranged the individual measures according to a roll of the dice. The sound level of the film comprises short samples of the violin concerto #3 and symphony #38.

Screenings [selection]: Diagonale Graz 2007,
Crossing Europe Film Festival Linz 2007











SWINGING

2006 / 2-channel video installation / 4:3 / colour / sound / 9 min
Sound: Michaela Schwentner

A bridge with an arched metal structure stretching over it is visible on a white field. The colours are subdued - grey and black, various shades of brown, blue and green - though they seem quite intense on the light background. The places connected by the bridge aren't visible; portrayed as an isolated structure, it becomes the focus of an analysis in the medium of film. In contrast to some of the other videos made by Michaela Schwentner, the subject is easily recognisable in this case. At the same time the artist discovers an individual life in the architecture, which lets the concrete form slip into abstract patterns. The perspective shifts repeatedly, and different views of the structure appear. One shot fades into the next, and the movement of the pixels can literally be observed. This creates graphic and painterly moments, the play of light and shadow, lines and planes turns into a hypnotic game of deception. The camera's gaze is directed at the structure's details and unusual views so that individual portions of the bridge no longer seem to be bound to a certain function, and other fields of association open up in its formal structures. The geometric shapes resemble sketches, the cables between the bridge and its superstructure are like drawn lines, which lends the originally monumental structure of concrete and steel something fragile, translucent and with that a buoyant lightness. In contrast to a sketch, however, swinging also makes the three-dimensional character of its subject tangible, not least through the use of the soundtrack which was also created by Michaela Schwentner. The shimmering of the dimensions and the materiality of the representation are underlined by the audio level. Each kind of material seems to have its own characteristic sound, and after electronic alteration it creates an acoustic landscape surrounding the bridge, which seems to «swing» from time to time. (Andrea Pollach)

Screenings [selection]: Diagonale Graz 2007, Crossing Europe Film Festival Linz 2007






LA PETITE ILLUSION

2006 / Single channel video / 4:3 / colour / sound / 4 min
Sound: Michaela Schwentner

A little story of passions is told in LA PETITE ILLUSION: heavy breathing garnished by a jazzy bass line, a kiss, a woman falls into water at night.
While the work's title is an ironic reference to Jean Renoir's 1937 «La grande illusion», the association is a dead end: Neither the images nor the soundtrack contains a direct quotation of Renoir's pacifist fable, nor is a similar motif touched upon. The patina of early sound film which is celebrated in la petite illusion stands as the sole vague connection to the «grande illusion» - the sound and the look, the aesthetic stereotypes of Francophone cinema made between the wars. Michaela Schwentner`s chromatically ascetic electronic manipulation of found sounds and images is a study of emotional images from the history of cinema which is carefully kept in the air. The story told in LA PETITE ILLUSION is itself a kind of little illusion: It has the mere suggestion of a plot, a kind of mini-melodrama with built-in interference. While the narrative lines remain unresolved, irrationally linked as if in a dream, the film's images themselves become unstable: They seem to melt, run into one another; just after coming together they fall apart, speed up, slow down, hammered with the artist's omnipresent influence. «Animated Cubism» is the term she gave to her work method: The flat film images are committed to a virtual digital space, a different kind of illusion, and the material is released into a state of partial abstraction. In the referential space, filled with romantic ruins of images, fragments of emotional declamation and salon conversation in French, with canned music and the bright singing of anonymous film divas, emotions are transformed into signals, and the individual parts of trivial film tragedies are translated back into neutral cinematic symbols. (Stefan Grissemann)

Screenings [selection]: VIENNALE 2006, Diagonale Graz 2006,
Crossing Europe Film Festival Linz
2006









DER KOPF DES VITUS BERING

2004 / Single channel video / 4:3 / b/w / sound / 5 min
Sound: Wallner.Stotz.Remsing

When Vitus Bering completed his circumnavigation of northeast Asia on 13 August 1728 to prove that Asia and America are two separate continents, the coast of America was covered in fog and remained largely invisible to the discoverer. On the tracks of discovery. and at the same time groping through the dark; a confusing state, the various levels of which are made evident in Michaela Schwentner's video the head of Vitus Bering. The picture shows the black silhouette of a landscape emerging from a brilliant white. The landscape is grouped on a horizontal and in some places also on a vertical axis. It changes, seems to oscillate between various aggregate states. Forms become visible or invisible; colors fluctuate between white-gray-black. A type of fata morgana in a desert of ice. Also the sound and the text make reference to a state of madness - or at least heightened sensibility; the violin bows are tense, the voices entangle and distort. Konrad Bayer's text «Der Kopf des Vitus Bering» [1958 ff], which provides all of the quotations, is Schwentner's immediate reference point. Bayer is interested in the figure of Bering as a location from which relations can be created and quotes André Breton, according to whom reality is not the sum of the facts, but rather, the sum of possibilities. Bayer`s text is a mosaic of facts, thus on the one hand history - and on the other, thoughts and speculations, mounted according to strict rules. He creates a dense atmosphere whose quality lies in the gaps that hold the knowledge of wealth, of reality. Also Schwentner's video breathes this intensity; text, sound, and image combine to something greater than the sum of what happens and what is heard. It presents the abundance in its emptiness. (Sylvia Szely)





GIULIANA 64:03

2003 / Single channel video / 4:3 / b/w / sound / 3 min
Sound: Michaela Schwentner

On a white background, black rectangles fall from the left upper edge of the picture. They amass to form larger surfaces, to then immediately thereafter shrink or shift on top of one another, and from time to time be lifted off each other by thin white lines. Similar to the cinema screen, the rectangular surfaces carry the schematic, digitally processed image of a woman, which is difficult to recognize as such. Instead, its large-pixel outline merges with the abstract forms, which constantly form anew. Like in a puzzle, individual facial details show up in different places; the various parts are continually put together, yet without ever revealing a completed picture. The stark, reduced soundtrack, which stems from Antonioni's Il deserto rosso, as does the initial visual material, emphasises the clarity of the images and opens the gaze to the constantly changing forms. The face - reduced to flickering black and white areas - takes its place in this strict composition. At one point, the picture becomes almost completely black from the steady overlapping of different layers. Shortly thereafter, the schematic contours of the face push into the field of vision. In the end it seems to have almost won out over the abstract forms. This impression is supported by the replacement of the noise on the soundtrack with human voices. However, before the music (which begins suddenly), can spread out, and the black and white contours become completely recognizable as the reproduction of a human form, they turn quickly to the side and the picture disappears into the blackness. (Corinna Reicher)

Screenings [selection]: Avanto Festival Helsinki 2003, Diagonale Graz 2004,
Crossing Europe Film Festival Linz 2004


GIULIANA 64:03 on vimeo.











VISUALISATIONS OF SOUND COMPOSITIONS


w/ Paul Clouvel (Elektra Music):

ELEMENTS II
2013 / Single channel video / 4:3 / b+w / sound / 8 min

MOUVEMENTS/CADUQUES III
2010 / Single channel video / 4:3 / colour / sound / 10 min

CANRANC
2010 / Single channel video / 4:3 / colour / sound / 12 min

SPEECH
2009 / Single channel video / 4:3 / colour / sound / 8 min







w/ Radian:

TESTER
2004 / Single channel video / 4:3 / colour / sound / 6 min

JET
2003 / Single channel video / 4:3 / colour / sound / 6 min

R4
2000 / Single channel video / 4:3 / b/w / sound / 5 min

TRANSISTOR
2000 / Single channel video / 4:3 / b/w / sound / 5 min


TRANSISTOR (excerpt) on vimeo.





w/ various:


THE FUTURE OF
HUMAN CONTAINMENT

2001 / Single channel video / 4:3 + 35mm / b/w / sound / 4 min
Sound: Pure
Screening at Sundance Independent Film Festival 2003 /
Section New Frontiers

TUCKER
2004 / Single channel video / 4:3 / colour / sound / 6 min
Sound: Charmant Rouge

HOW DO YOU WANT M.?
Part 3 of MAZY
2003 / Single channel video / 4:3 / colour / sound / 4 min
Sound: Heinz Dietsch

TAKE THE BUS
2002 / Single channel video / 4:3 / b/w / sound / 4 min
Sound: General Magic

#Z
2001 / Single channel video / 4:3 / colour / sound / 6 min
Sound: Fennesz



HOW DO YOU WANT M.? on vimeo.
TAKE THE BUS on vimeo.







© michaela schwentner 2014