Martina Heyduk, AT 2011, 7´05´´
16mm film strips were painted and scratched by hand, creating a mystical, nostalgic play of colors, shapes, compositions, interferences, and black-and-white elements.
Ina Loitzl, AT 2011, 5´23´´
Money is beautiful. We handle banknotes and coins every day, but pay little attention to their design, color and size and find it hard to describe them when asked.
Loriana Casagrande, AT 2011, 4´58´´
Three days and three nights without food – and behind the window all these patés, fruit and vegetables, and breakfast for two euros. But he hasn’t got two Euros…
Janna Keltsch, AT 2011, 5´31´´
A child who has lost all appetite for anything – until he tries his first hot dog.
Linda Hofmann, AT 2011, 2´35´´
A pig’s path until it comes out as a sausage in an abattoir.
Elisabeth Gschaider / Vera Wittkowsky, AT 2011, 4´22´´18
Fragility and speechlessness through gender norms. Inspired by Paul Auster’s “City Of Glass”.
Mirjam Baker / Michael Kren, AT 2011, 5´55´´
The attempt to come to terms with a situation, and the escape from it, told through puppet animation.
Barbara Wilding / Eva Hausberger, AT 2011, 3´09´´
Everything that can go wrong will go wrong.
Regina Reisinger, AT 2011, 6´37´´
On Halloween little Adam gets a truly magical chance to take his fate in his own hands.
Karin Csernohorski, AT/DE 2011, 2'
A music video of the song of the same name by the Austrian band “The Incredible Stragglers”. 60s garage trash & rock and roll.
Nikki Schuster, AT/AG 2011, 6´10´´
The scenes are like a guided tour of the city but the figures were digitally constructed using garbage from the street, packing materials and souvenirs.
Caro Estrada, AT 2011, 3´56´´
The typographic elements of a mechanical typewriter arrange themselves into an ironic animated massacre, referring to the “bureaucratic” levels of warfare.
Birgit Scholin / Johanna Unger, AT 2011, 2´53´´
Operation “Heartspace” offers insights into a place that usually lies inside.
Christine Schörkhuber, AT 2011, 4´
An experimental musical film about a chimney sweeper’s child from the 19th century is re-interpreted using visual analogies relating to work, finance, and industry.