Aufstieg ist ein Versuch, der massiven Ästhetik eines brutalistischen Wohnblocks eine poetische Geste entgegenzusetzen. Die Koexistenz von Natur und Ruine wird hier durch die Aktion eines Protagonisten gebrochen.
for "Ghostly Signs: Existential Bodies" curated by Gul Cagin
Zerre Projects / in conjunction with the 14th Istanbul Biennial
Die ArbeiterInnen verlassen die Fabrik / workers leaving the factory (again)
Experimentalfilm, AT 2012, 35mm / HD, 11 min
1895 waren es in der deutschen Übersetzung des Filmtitels der Lumières noch Arbeiter, die die Fabrik verließen, obgleich deutlich mehr Frauen zu erkennen waren. Katharina Gruzei verunmöglicht in ihrer Neu-Interpretation die Geschlechterzuschreibungen in Titel und Bild. Im Flackern ihrer Lichtinstallation filmt die Kamera Silhouetten und schwimmt mit der Masse hinaus aus den Tabak Werken. Erst am Ende wird die Originaleinstellung nachempfunden, diesmal mit geschärfter Wahrnehmung. (Diagonale 2012)
In 1895, in the German title of the film by the Lumières Brothers, it was simply “male workers” that were leaving the factory, even though there were clearly more women than men to be seen. Gruzei, in her reinterpretation, renders moot the assignment of gender in title and picture. In the flickering light of the film, the camera shows silhouettes and swims with the mass of people exiting the tobacco factory. Only at the end is the original scene recreated, but this time with extended perception. (Diagonale 2012)
Flashing neon transforms a factory corridor into a stunning light and sound sculpture. The workers move silently towards the exit. A multitude of silent factory workers walk down a seemingly endless corridor towards the exit. The flashing neon transforms the space into a surreal light and sound show. At the end, they pose one last time for the camera before leaving the building. The automatic gates close slowly behind them. La sortie de l’usine Lumière à Lyon by the Lumière brothers dates back to 1895; now we face the end of the industrial age. (IFFR, International Filmfestival Rotterdam)
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Katharina Gruzei combines a sociopolitical issue and a precise formal concept, which is rare in experimental film. Inspired by the Lumière brothers’ first film, La sortie de l’usine Lumière à Lyon, which shows a large number of workers leaving their factory’s gate, Gruzei begins in the interior, in a passageway (made to seem incredibly long by the editing) that emerges from the darkness. Solely portions of the corridor — a production line at the closed Austria Tabak factory — flash into view in the buzzing neon light. The impressive sound and choreography of light were taken from an installation by the artist in the empty spaces. The backs of the first workers, with their coats and bags, gradually enter the picture, and the camera accompanies these individuals as they leave their place of work. More and more of them walk down the dark, flickering hallway. By these scenes the weirdness of the space and the menacing quality of a mass of people who could form a resistance movement becomes increasingly evident. All relevant questions concerning the on-the-job reality experienced by these workers, most of whom are women, can be formulated by means of association: Is it nighttime when they leave the factory? What kind of work do they have to do? What do female laborers earn these days? How long does it take them to get home from this monstrous factory, and when will it be moved to a low-wage country?
When all the protagonists briefly gather as if for a photograph and look straight into the camera, it makes you wonder what a fight for humane labor would have to be like at present to be successful. The automatic gate opens and closes silently to release the anonymous crowd.
(Brigitta Burger-Utzer / Sixpackfilm)
Communication on the opposite shore #1
May 19 2017
EXPERIMENTAL PICNIC - the platform for releasing artists from art
Our experimental project will create a relaxed meeting place for art practice and recreation while having a picnic. It aims to provide artists with an opportunity to participate in expressive activities, where they can create improvised and experimental site-specific art.
We want to encourage artists to come up with new ideas without thinking of the final outcome so that they can work in a more spontaneous and free way. Breaking down artist’s preconceived notion of their own artistic practice gives them the freedom to create new work in an entirely different way without the pressure of creating something that will be considered a success or failure.
Doctoring is one long take of the act of going through a series of photographs from Turkey. The photographs capture areas where one’s body touches the world, the point of friction. The camera zooms in every image in a way that plays with cognition of space. The background sound is detached from the images, it was recorded in Austria.
In Camera Lucida, Barthes mentions time as a punctum. Looking at his mother’s picture he is reminded of the fact that she is going to die. A catastrophe that has already occurred bothers him. The use of still images is a futile effort to lessen or stop what has happened and the anxiety around it while posing questions about the idea of linear time and sequence versus stillness.
This is a work I began in Turkey and finished during my artist residency in Austria. Combining imagery from home with street sound from Austria enables me to talk about my home from a distance, still images functioning the way memory works, like pictures in the mind. I take care of each image that passes. "Care giving" is an archetypal role of the "Turkish female" identity. Branching out from Turkey’s identity crisis as a country, choosing a life outside of the classic pattern comes with complicated feelings including joy, guilt, longing and anger associated with leaving the traditional role of the "caregiver". In Doctoring, care is sometimes provided, sometimes taken back, sometimes some harm is done as an expression of anger.
Performance in public space, Tokyo 2017, Margit Greinöcker
Margit Greinöcker devotes herself to the regularities of the city, the norms and rules, the dos and don'ts in public space. Rules and laws contribute to tolerable coexistence. At the same time this implies deformations of public life. With Ruling Deformances she is questioning the validity and meaningfulness of regularities. She seeks for her own way to regulate the city's everyday life.