Two 16mm-filmloops are projected in a blackbox filled with fog generating moving light beams. Besides the sound of the projectors you can hear the original sound of the first encounter of Luke Skywalker and Darth Vader taken from the movie Star Wars Episode V. The cinematic space is transferred into the blackbox, in which the audience is allowed to have a new perception of the familiar movie scene. The lightbeams become the Jedi-lightsabers due to the combination of the light and sound in the mind of the audience.
Lost in a digital neon-cluster. While a series of incomplete video files of a 1990s coming-of-age TV show slowly disintegrates, Viktoria Schmid unveils the stereotypical portrayal of a youthful quest for identity. With loudly colored pixelated images, It’s a dance interconnects adolescent insecurity with an aesthetic of imperfection. It is strident, colorful, and thoroughly 90s.
Faszination, Unsicherheit, Angst: It’s a dance – eine Schultanzveranstaltung und somit hormoneller Ausnahme- und Unruhezustand. In Szenenfragmenten der 1990er-Coming-of-Age-Fern- sehserie „My So-Called Life“ legt Viktoria Schmid die stereotype Inszenierung jugendlicher Identitätssuche offen. Formal verschaltet sie die pubertäre Aufgeregtheit mit einer korrespondierenden Ästhetik des Fehlerhaften: Herrlich grellbunte, aus abgebrochenen Downloads resultierende Pixelstafetten zersetzen das Videobild – sowohl Ton als auch Narration befindet sich im Zustand fortschreitender (Selbst-)Auflösung. Während sich die adoleszente Tanzgesellschaft im digitalen Neon-Cluster verliert, stellt Haddaways pumpender Eurodance-Song die vielleicht alles entscheidende Frage: What is love?
Katharina Viktoria consists of 240 portraits (in the 16mm camera cut and looped) of two sisters. The inertia of the eye, and the fast rhythm of the single-cut portraits mix the two similar faces into one.
A contribution in vein of the long lasting tradition of picturing the horse as well as an portrait of a longtime companion of the filmmaker. In front of the camera the horse behaves differently than in other known images in art history. The audio is generated by contact printing the picture information.
This film contains of fotograms of the ingredients of four dishes, which form following menu: alphabet soup, goulash, Kaiserschmarren (typical austrian dish: cut-up and sugared pancake) and coffee. The movie is made in the darkroom without a camera. The ingredients affect the film as they affect the stomach, e.g. the egg turns the b/w-film yellow. The cooking-activity is abstracted on to the film, the ingredients appear as they are during cooking. The foodfilms-menu is cooked and served after the screening. The filmstrips are exhibited on a light table.
'As food and its trace pass simultaneously through the machine and our own digestive tracts, we witness how nourishment is absorbed into both film material and our own bodies.' (Vicky Smith)
A touristic, romantic portrayal of the metropolis of Vienna as well as a fetish, stripped down portrayal of the medium film itself, made with contactprints in the darkroom. The soundtrack is generated directly from the visual information.