OVERLOAD [EJECT] setzt sich zum Ziel, Chaos und an die Oberfläche dringende Krisen, in ihrer Nachhaltigkeit zu untersuchen und unternimmt den Versuch, krisenhafte planetarische Zustände in unterschiedlichen Räumen in ihrer Vielschichtigkeit kollektiv zu begreifen. Überlappungen, die Gleichzeitigkeit und Überfülle von Inhalten und Realitäten kommen zum Ausdruck, die mit Gefühlen der Überforderung, einem Standhalten von Druck, Zukunftsängsten und kollektiven Traumata einhergehen.

Mara Mattuschka, 1993, 10 min

An alien giantess in the streets of a city, crazy, destructive, copulating with the Eiffel Tower. The orchestration of intense feelings, the melodrama, descends into infantile noises and absurd costumes (…). And the cinema of war and disaster looks on with open mouth, until the end when a toy city, which would love to be real, is swiftly destroyed. (Stefan Grissemann)

Blue Ladies
Franz Mulec, 1972, 1 min (Exzerpt)

Neon signs at night. From the collection of Österreichisches Filmmuseum.

Daniel McIntyre, 2015, 7:18 min

Bikini is an atomic beach party film – a reaction to dating apps, body issues, and a fear of the sun. It’s a world where even the dreamer can’t catch a break, let alone a wave. Men keep rolling in like they’re on a conveyor belt, bombs keep dropping, and all we can do is keep on surfing. Bikini is about letting the waves wash over you. It’s about wanting it easy and wanting it free. It’s about making your life count for something besides the next big wave. (Daniel McIntyre)

All Inclusive
Corina Schwingruber Ilić, 2018, 10:02 min

A workout on the sun deck, a conga line in the dining hall, a photo shoot with the captain, or a beauty contest for all ages: fun around-the-clock is guaranteed on a cruise, while you float along with your hotel room. The sea-faring holiday fortresses have come into vogue and business is booming. In the towering ship’s wake, we are left behind with a hoard of digital memories and a cloud of exhaust fumes on the horizon.

Friedrich Kuplent, 1929, 13 min

Avantgarde overload from 1929. From the collection of Österreichisches Filmmuseum.

Türkis – Blau (Straßensicht)
Stefanie Weberhofer, 2017-2019, 4:36 min

Turquoise-Blue is the warmest color? Well, if you’re demonstrating against Austria’s recent coalition government comprising parties associated with those hues, it’s positively incendiary. Captured on 8-mm film with a bygone look which recalls Vienna’s demos of previous decades, this compact time-capsule of Ibiza-gate era political protest concludes, aptly and rousingly, with the Vengaboys! (Neil Young)