IN TOUCH [PLAY] beschäftigt sich mit sensorischen Komponenten des Mediums Film, das über die reine Sehrezeption hinausgehen. IN TOUCH macht Sinnlichkeit, Körperlichkeit, Berührungspunkte und Teilhabe in einem kollektiven Zusammenkommen greifbar und konfrontiert mit den Auswirkungen von körperlichen Distanzierungsmechanismen.

-5°C 40% rF
Simona Obholzer, 2017, 7:22 min

Snow flurries that swallow all of the sounds, and also the colors. Rather than a romantic, idyllic scene of winter, a silent, powerful drift of pixels, disorientation, white noise – uncanny, apocalyptic, ecstatic, until the view clears, the image opens to a long shot; disenchanting – the natural phenomenon in the age of its mechanical (re-)production. (Diagonale)

Renate Schweiger, 1977, 7 min (Exzerpt)

From the collection of Österreichisches Filmmuseum.

Only Two Words
Masha Godovannaya, 2018, 9:49 min

The film is based on two poems – Holes and Bone ­– by American poet Eileen Myles, the iconic lesbian voice and permanent figure of the poetic New York scene. In the May of 2017, she came to St. Petersburg, Russia, to present a book – the first published Russian translations of her selected poems. The film is a dialog between Eileen and me, post-soviet queer visual artist. It’s an attempt to put different worlds and queer experiences in a cinematic form, borrowing and sharing with each other images, words, voices, affects, memories, encounters, losses, and intensity of lesbian/queer existence. (Masha Godovannaya)

Pêdra Costa, 2017, 6:06 min

In an experimental hybrid of music clip, documentary film, and art performance, Pêdra Costa reflects on the collective living conditions and free spaces of bodies that question hegemonic concepts of sexuality, gender, and identity. A queer, dazzling trip through places in the nocturnal Viennese world where companionship and pleasure can be experienced without violence. (Diagonale)

The Soft Space
Sofia Bohdanowicz & Melanie Scheiner, 2018, 4:04 min

The corridors, stairways and platforms of a subway station are juxtaposed with the human body, each broken into parts and positioned in an existential consideration of the transient spaces we unconsciously traverse everyday.

Solitary Acts #5
Nazlı Dinçel, 2015, 5:25 min

The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations that are both sexual (kissing) and bodily (eating). She ends up eating the carrot she is masturbating with, and she feels a sense of cannibalism. The components of the background of the scene are broken down and filmed in extreme closeups. These wave and play with one another: when text is overconsumed it becomes the image by wiping it out, then the image becomes the fabric where the filmmaker physically attaches the film together with fishing line.