RECALL [REWIND] beschäftigt sich mit den temporären Abwesenheiten von Gewesenem und mit Praktiken des Unsichtbarmachens angesichts dominanter Bildpolitiken. Ein Aufzeigen Blinder Flecken und Geschichte/n in ihrer aktuellen Relevanz im derzeitigen Erfahrungsraum veranlasst eine Neubewertung der Gegenwart und bringt Strategien des Talking Backs zur Sprache.

W O W (Kodak)
Viktoria Schmid, 2018, 2 min

A countdown, onlookers, then the view of thick dust clouds. An apocalyptic scene of destruction that reverses: the dust flows back into the center of the image, bits of debris put themselves together, a building erects itself. Five YouTube clips played backwards, five different perspectives – Viktoria Schmid’s commentary on film culture: analogue film is dead—long live analogue film! (Diagonale)

Nou voix
Maxime Jean-Baptiste, 2018, 14:26 min

Nou Voix is an autobiographical video departing from the participation of the director’s father, as a Guyanese figurant in the movie Jean Galmot aventurier (1990), which deals with the history of French Guiana. By re-enacting a part of the film, Maxime and his father try to amplify other kinds of voices that have been unheard in the original French film.

This makes me want to predict the past
Cana Bilir-Meier, 2020, 16:05 min

This makes me want to predict the past accompanies two young women on their way through urban spaces of transit. In direct interaction with the camera, they reveal desires and fears, while the voice-over rattles handed-down structures. Munich 1982, 2016, and 2019: connecting the generations is one constant factor, the experience of racism. (Diagonale)

Chahine Fellahi, 2019, 4:59 min

Chergui, meaning »the eastern wind« in Arabic, is a piece created using material from the Cinematheque of Tangiers’ archives. Through oneiric scenes of Berber women walking in the countryside, Chergui reflects on the fleeting, ungraspable nature of memory as the images form and unform, following the oscillating rhythm between remembering and forgetting. As the eastern wind carries these memories away, the figures’ contours dissolve into the pixelated landscape. The moving bodies are recast within an incommensurable space-time dimension; they are there and not there, suspended between presence and absence.

Film im Zerfall
Anonym, ca. 1965, 4 min (Exzerpt)

Emulsion decomposed by mold. From the collection of Österreichisches Filmmuseum.

What Time is Made of
Diana Vidrascu, 2019, 10 min

What if you found a message in a bottle in the form of a sealed film can, which your younger self had sent 30 years ago? After processing this16mm film reel, I discovered that the sea had left its mark on the images and the film bears the memory of all the things it witnessed in its journey to land. However, these proved to be my own childhood memories. (Diana Vidrascu)

A Month of Single Frames
Lynne Sachs (Made with and for Barbara Hammer), 2019, 14:08 min

In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. While there, she shot film, recorded sounds and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her images, sounds and writing from the residency to filmmaker Lynne Sachs and invited her to make a film with the material. Through her own filmmaking, Lynne explores Barbara’s experience of solitude. She places text on the screen as a confrontation with a somatic cinema that brings us all together in multiple spaces and times.