Action!
Philipp Fleischmann in the context of other filmmakers

Film screening:
3:00 PM to 4:00 PM

Natalia del Mar Kašik
TRAILER 24/25, 2025
1 min, 16mm, color, silent
Developed as part of a project initiated by Philipp Fleischmann for the Friedl Kubelka School for Independent Film, which he heads, Kašik—as in much of her work—explores the possibilities of the female gaze, subtly playing with the expectations that come with it.

Kurt Kren
31/75 Asyl, 1975
8 min, 16mm, color, silent
For 21 days, the filmmaker fixates his gaze on a landscape in the Saarland – a meadow, a lake, hills, trees. Using a mask with daily changing cut-outs, a complete panorama gradually emerges. Subtle shifts in weather, light, and season transform each frame and lend the landscape a surreal, almost dreamlike quality. The film explores the relationship between time, nature, and perception in an experimental manner, creating a quiet, nearly meditative form of alienation and refuge. A subtle masterpiece of cinematic reduction.

Kurt Kren
28/73 Zeitaufnahme(n), 1973
2 min 56 sec, 16mm, color, silent
Kren investigates the single frame as the smallest unit of cinematic movement. In this rapidly edited portrait of Hans-Peter Kochenrath, a vibrating image beyond temporal logic unfolds – a moving portrait composed entirely of frozen moments, yet constantly eluding the present.

Kurt Kren
15/67 TV, 1967
4 min 8 sec, 16mm, b/w, silent
From five simple shots taken through a café window in Venice, looking out at the sea, Kren develops a visual game of repetition and variation. The multiplied shots follow an almost playful structure – reminiscent of a counting rhyme – transforming incidental observations into a composed chronology of vision. TV is less cinema in the traditional sense and more of a conceptual “tele-vision”: a reflection on perception, rhythm, and the potential of the single frame.

Siegfried A. Fruhauf
Exposed, 2001
9 min, 16mm, b/w, mono
Fruhauf deconstructs a short fiction film scene and transforms it into a visual study of perception and projection. Through a moving grid that reveals only fragments of the image, what is seen becomes fragmented, making the act of seeing and observing the central theme. Accompanied by rhythmic editing and an atmospheric soundscape of noise, whispers, and dripping, the result is a hypnotic play of light, motion, and the voyeuristic power of cinema.

Peter Tscherkassky
Motion Picture (La Sortie des Ouvriers de l’Usine Lumière à Lyon), 1984
3 min, 16mm, b/w, silent
A microscopic approach to the cinematographic process – an analytical dissection down to the most elementary unit of the moving image: the single frame, ab ovo. Tscherkassky chooses none other than the famous “first” film by the Lumière brothers, La Sortie des Ouvriers de l’Usine Lumière à Lyon, as the basis for his investigation of cinema’s fundamental and intriguingly binary nature. Motion Picture is a radical reassembly of that film – broken down into thousands of frames and projected onto unexposed film stock. The result: flickering black-and-white images, where light and dark surfaces rhythmically alternate.

Stefanie Weberhofer
filmkoop wien trailer, 2015
30 sec, 16mm, color, silent
The experimental filmmaker from Vienna specializes in analog formats such as Super 8 and 16mm. As a member of filmkoop wien, she promotes analog film through workshops and collaborative projects.
Her 2015 trailer uses the Double-8 technique, where two Super 8 films are exposed side-by-side and then projected as a 16mm film, resulting in a composition of four individual frames.

Viktoria Schmid
NYC RGB, 2023
7 min, 16mm, color, mono
In this work, Viktoria Schmid offers a unique view of New York – not of the city itself, but of its image. Each shot, taken from a high-rise building in Manhattan, results from sequential exposures of the filmstrip using red, green, and blue filters. Through this process, motion, light, and life burst forth from the rigid architecture in vibrant colors. Accompanied by an atmospheric soundtrack, the film becomes a hypnotic viewing experience that deconstructs the urban structure while presenting it as a stage for life – a poetic journey through space, time, and color.


Our heartfelt thanks go to Johann Lurf for curating this film program. Johann Lurf (b. 1982) studied at the Academy of Fine Arts Vienna under Walter Obholzer, Dorit Margreiter, and Harun Farocki. He is known as an artist and experimental filmmaker whose works defy conventional categorizations and stylistic classifications. Lurf’s films explore various forms of human and machine-assisted vision and perception. His formally driven cinematic experiments are always accompanied by a strong narrative layer, subtly addressing social structures, codes, norms, perception, and the history and evolution of cinema. His short and feature-length films, realized in both analog and digital formats, sometimes incorporate archival material and have been shown at numerous festivals and cultural institutions.