ANTONIA MANG with FUEGO@TRINIMAR

A fire has started in the hotel bar. The Hotel Trinimar is located in Benicassim. A place that resembles any other on Spain’s Mediterranean coast – houses and hotel palaces as far as the eye can see. Benicassim is a normal vacation spot. A place where many Germans usually tan their plautze year after year. What was special about this place was perhaps the fire with its thick black clouds against a bright blue sky, the tourists, armed with camera and smartphone, in swimming trunks and bikini, the sound of the sea in the background. Just the danger in paradise.

JOHANNA RITA LEDERMANN mit V.WORD

while the world is quiet,
a person reflects on veins, body,
control, love and acceptance

NAWAR ALHUSARI with INDEPENDENT PRESENT_01

The film is the first of several short films entitled /Independent Present/, which aims to show the stories of Syrian refugees in Lebanon and the various challenges of their daily lives. The film questions the concepts (past, present, future …) and their impact on individual and collective memory in a very complex daily life determined by political, economic and social conditions.

RIKA TARIGAN with OBSESSED

The film navigates the inner landscape of uncontrollable compulsions in three acts.

VITOR MATTOS with WHEN EVERYTHING THAT NEEDS TO BE HUNTERED IS US

The video performance takes place in a snowy forest landscape – along the “blood road” that connects the city of Weimar with the former concentration camp Buchenwald. The performer is involved in a dance with red fabric: a struggle with himself. The radiant color breaks the purity of the snow, so that the dancer cannot escape strange glances.

ANNA CHOI with GREEN SLIME

The green slime approaches its ears to the window and opens its eyes a crack wide to take a closer look. He hears the voice of life and seeks eye contact with you. He will devour you.

LAURA ERIKA URBANSKI with A MOMENT’S PERMANENCE

The video shows two people waiting, exposed to the passing of time. Enclosed in the same airless space, they are nevertheless alone with time and increasingly doubt its reality. Sacral-like, overlapping and intertwining vocals reinforce the decoupling from the basic parameters of being, time and space, the indeterminacy and indeterminability of the moment.

LEA HOFFARTH with KONKAV

Konkav is the interpretation of the song of the same name by the artists Hanno Nusche and Friedrich Körner. From my first hearing sensation, already painted me images for cinematic implementation, but it forced itself on me the question, what the song from the “inner view”, intention/intention of the artists, in itself holds. Based on the question: “Which two attributes would you give to your song?” I worked out photograms (see in these pictures). Which in their clustered appearance contain the received answer: “perfidious/concave/fusion/unpredictable”. This teeming of charged objects should enter unpredictably into perfidious fusion. It is thus a play between word, form and sound, which contains the big picture, the playfully childlike and yet brutally? Abstract. In many ways, the levels, those of sound and those of moving image, refer to each other and stimulate the questioning of traits of everyday objects. Wisdom teeth, flowers, chains, candles, dolls, screws, everything is animated even if in the end the electricity is missing.

LISA MARIE BAIER with TANNES

MONA SOPHIA FREUDENREICH with NIGHT SHADOWS I & II

While I sleep, I am awake. In the darkness of the shadows I see figures that are familiar to me, but I have forgotten their names. In my dreams they accompany me. I carry them into the day to know their secret. Always a little further, until they find their home in me.

VERONIKA PFAFFINGER with MINIMAL GARDENING

In regularly changing intervals the same spot of a beige-brown meadow is watered. After a few days the first changes can be noticed, the meadow turns green. From time to time the watering trace disappears, only to reappear again. It disappears when the weather changes. When it is less hot and rains more often, the whole area turns green. It can also disappear if I don’t find enough time to water and the green patch in the meadow turns brown again. It is not a matter of winning or losing, or of imposing one’s own will; the disappearance is an integral part and the work a dialogue between man and nature. It is based on a defensive attitude in the broadest sense, defensive and benevolent towards things, the (surrounding) world in general, nature, or more concretely: the cycle of nature.

VIKTORIA OVSEPIAN with JOSEPHINE

My short film Josephine shows the long and arduous way of integration of a person from another country. Integration into a new society and reaching new, almost impossible goals is a main motive of this film. The text of Alfred Bryan “Come Josephine In My Flying Machine” shows how one can “fly” to the top, even if it is unimaginable for others. For the work with this film I was inspired by my voluntary social work and the work for people with migration background.

Leaves can be glimpsed in a diffuse background. These leaves seemingly break through a boundary and then become visible to disappear again (as the wind wills). The film music picks up on this moment when a melody is heard through a noise atmosphere.

HANNAH FRANKE with CARSTEN, AN APPEARANCE

Who was Carsten? How did he die and why is there so little of him left? The film touches on the desire to get closer to someone you could never get to know. A search for traces. The attempt of a rapprochement. And the illusion of this possibility. Carsten, my uncle, died when I was a small child and I have no memories of him, no idea who this person was and yet the desire to get to know him. I set out to find him: searching through old family albums and writing down memories my mother has of her brother. It is frighteningly little. And I wonder what actually remains of a person? I photograph what I associate with him. The film describes the attempt of an approach to him, to my family, as well as thoughts about memory and the body as an archive.through fragments, a loose image of an intangible person emerges.

HELENA KÜHNEMANN & KATHRIN UNGER with WHAT WOULD YOU RATHER  BE: A PRIVACY HAVE OR A PRIVACY HAVE-NOT? AUS TWENTYFORTY – UTOPIAS FOR A DIGITAL SOCIETY

The concept of privacy in an era of ubiquitous technology and social media increasingly divided people between those who value privacy and those who place more value on other commodities. The film is an episode from the work twentyforty, which is dedicated to the question of how digitization will affect our society within the next 20 years.

INKA HILSENBEK with SNAKE NEST IN THE HEART

Hissing voices flow between our bodies Whisper answers that come too late
Twirling deaf thoughts
Carry on conversations that never were.
You declare war on me
(I’m not listening to you)
Pondering broken memories.

JONAS ERLER & MARIAN RÖDER

with одиноко

JONAS ERLER & MARIAN RÖDER

 with Super(8)Skate

ARKADIJ BLINOW, PHILIPP RING with IMPRESSIONS FROM THE DARK CHAMBER

Within a study project titled “The Weather in the Dark Chamber”, the focus was on the conceptual combination of photography and painting. Through the situation of the first Covid-19 Lockdown, we got the opportunity to use an office space in the form of an industrial container with the dimensions of approx. 9,00×6,00×3,00m to a “Camera Obscura”. As a result large-format negatives were created over a period of several months. The largest of them, with the dimensions of 1,20×2,00m, was subsequently
Impressions of the past time in an impulsive design process painted.

MARGARETE KISS with THE DANCE OF THE LAST NAPKIN

Around 1800, a flourishing textile industry developed along the Flöha River, which almost completely collapsed in 1989-90, resulting in mass unemployment. Numerous inns closed around the same time. The film shows scenes in one of these inns in Augustusburg and connects them with the symbolic, Sisyphean task of keeping the last napkin in motion and alive.

KLARA KIRSCH with FIT BY STACY – HOMETOUR

Fit By Stacy is a long-term project that explores questions of identity/s and self-duplication in the digital world, as well as female bodies and role
in the digital world, as well as female bodies and role models in social media. In Hometour, the emptiness in Stacy’s virtual home becomes a metaphor. While youtube-typical phrases are strung together, one can sense slight breaks in their perfection can be glimpsed.

MARYNA MAKARENKO with IN CLOSURE

“In Closure” is a short documentary essay film about how isolation due to the Covid 19 pandemic has changed how we understand bodies, intimacy, and closeness. During isolation, I reflected on how the virus changed how I thought and felt about my body and other people’s bodies. I invited friends to reflect on these questions in the form of self-recorded interviews and short body portraits. My analog film-photo archives became another layer of work that took on new meaning in a contemporary context.

DEBORAH GROSS with DIS(CONNECTED)

In times of social distance, we all come together in front of our screens in the digital world. Connected to the whole world and yet isolated within our own four walls. For some time now, we have been moving, searching and losing ourselves as an “only person” in a non-real space. As if we were stuck in an endless loop. The loss of any freedom of movement and closeness has made us more sensitive to the little things. Because a glance out of the window can sometimes be the most eventful and intimate moment of a day.

STEN NIKLAS WASHAUSEN mit WIRRSZANIE

Students from Greifswald & Szczecin have discussed together the contemporary ways of dealing with a crisis. Here I have approached the emotional handling of confusion. Individual fates from private circles of Polish & German families complement the minimalist entropy, which intensifies to frequent moments of spontaneous omni confusion.