LIVE LAB : Anne-Sophie Emard Brendan Colvert Christoher Gee Gabriel Soucheyre Janne Talstad Jonathan Zorn Ragnhild Ljosland Stuart McLean Tom Muir SCREEN LAB: Cedric Dupire Genetic Moo Hernana Medina Cecena Lasse Marhaug Makino Takashi Michaela Grill Niclas Hallberg RIikke Benborg Ryo Ikeshiro + 700IS CHAPLIN'S HOTEL FixC MADATAC NOVA3.0 SKOGUL GONDUL VIDEOTAGE VIDEOFORMES ZENTRUM FUR POLITISCHE SCHONHEIT BOOK LAB: Andrew Appleby

Michaela Grill carte noire AT / CA / 2014 2 min. White flashes in the dark of the night. As though etched out, dabbed in. Flickering specters, ghostly visions. A veritable phantom ride, a film of tension. In carte noire, Michaela Grill’s sinister road movie miniature, she continues her cinematic movement from an object’s abstraction to its alienation. She now arrives at a classical, and highly charged motif from popular culture and cinema: the lonely car ride on an empty road through the countryside, which more or less automatically sets off trans-genre associations. Not only at the surprising end, one can assume that hinted at here, among other things, is a “lost highway,” based loosely on David Lynch. The film is based on a subjective, straight ahead shot, with a view of the asphalt strip of road including the middle stripe. First it disappears behind a knoll, then surfaces again and leads to the next hill. One seems to make out a sparse steppe landscape on the sides, a gently rising mountain on the horizon. The digital processing has turned it into a negative image in flickering black-and-white, like oil pastels on dark board. It is a scarce two-and-a-half minute fragment of a nocturnal drive on precarious terrain, endowed with a quivering, uncanny sound by Andreas Berger. The asphalt vibrates and the horizon lightens. The motor rattles and view blurs. An imaginary trip. Film noir. carte noire. Based loosely on David Byrne, we’re on the road to nowhere. The little owl is waiting. (Isabella Reicher)   FORÊT D’EXPÉRIMENTATION AT / CA / 2012 22 min. FORÊT D’EXPÉRIMENTATION – the experimental forest, the name of a place, a title, and a statement of intent. The first step into this forest is represented as a black-and-white silhouette, branches against a background of clouds moving rapidly across the sky, with a modulating soundtrack that records and further develops nature’s sounds. A picture, whose aesthetic excess takes up well-known references to landscape paintings and photography, as well as genre cinema. But as soon as one penetrates deeper into the forest, the visual and tonal register changes, the view moves ever closer to the landscape’s pre-civilizational elements; vegetation, water, and wildlife. Attention turns to details, rhythm; to subtle and also surprising changes and movements. Nature’s enigmatic aspect moves to the forefront and the viewer is captivated by formal beauty, by pictures, which must first be decoded in their visual alienation and play of various size relations. The borders between nature and landscape, handed down forms of representation and playful experiment, the abstract and figurative are dealt with in the mode of a fascinating and simultaneously exploratory awareness. The processing of well-known visual and tonal alphabets produces an entirely unique, idiosyncratic cinematic experience. The view remains in motion, there is constantly something new to see, hear, and discover. In the end, the circle closes with a sight that could again be taken from a classical painting or a feature film. Different levels of awareness overlap, penetrate, and influence one another. The experiment is in the search for a form of depiction, and also the view—from the landscape to nature and back again. (Barbara Pichler)     Michaela Grill Born:1971 in Austria has studied in Vienna, Glasgow and London. Since 1999 various film/video works, installations and live visuals; various performances in Austria and abroad. Lives and works in Vienna.

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