WHEN?

Christiana Perschon, film still from “das bin nicht ich, das ist ein bild von mir", 2018

In reaction to COVID-19 and its effects of temporary isolation, physical and spatial distance, this curated program of the Vienna based Golden Pixel Cooperative presents film and video works by its members for the first time online and is thereby launching the newly founded GPC Online Screen platform.

↗︎ More
↗︎ GPC Online Screen

Salomé Lamas, film still from “Eldorado XXI", 2016

Screenings as part of the ZWISCHENRÄUME festival dealing with processes of mineral extraction in the Anthropocene.

↗︎ More
↗︎ Salzburger Kunstverein

Iris Blauensteiner, film still from “Schwitzen", 2014

Closeness and touch, friendship and togetherness, mutual support and solidarity – in both real and virtual terms, current relationships must be subject to a rethink. In its contribution to the opening evening of Le Studio, The Golden Pixel Cooperative has dedicated itself to a translation of these challenges into a visual language for the senses.

↗︎ More
↗︎ Le Studio

Mohammad Shawky Hassan, film still from "And On a Different Note", 2015

“To Preserve A Revolution” presents works by five Egyptian filmmakers and artists who analyze a historical event and experiment with the impossibility of its representation.

↗︎ More
↗︎ GPC Online Screen

Antonia Rahofer & Mona Schwitzer / The Golden Pixel Cooperative, "Überschreitungen (Transgressions)", text intervention at the BIX-Medienfassade, Kunsthaus Graz, 2022. Photo: Kunsthaus Graz/J.J. Kucek

From film on the façade via the word: both a medial as well as formal transgression, The Golden Pixel Cooperative refers to two of their artist film works.

↗︎︎ More
︎↗︎ Kunsthaus Graz

Installation view, "Indizien", Kunsthaus Graz, 2022, Simona Obholzer: "große simple Linie (stitched)", photo: Simona Obholzer

“Indizien” (Indices) is the theme of the group exhibition and the Diagonale’22 festival trailer.

↗︎︎ More
︎↗︎ Kunsthaus Graz

Christiana Perschon, film still from “Double 8", 2016

In this film programme, selected cinematic works by current and former cooperative members are set in relation to experimental films by British artist Sandra Lahire.

↗︎ More
↗︎ Diagonale ’22

Olena Newkryta, film still from "Ruins in Reverse", 2020

“The beginning is the end is the beginning” is a selection of audiovisual works that interact with ruins in different locations (a Soviet residential building in Oleksandrivka, the now demolished National Theater in Tirana and Glory’s nightclub in Ibiza). These interactions, conceived from different personal perspectives, enable the rupture of linear time: past, present or future become uncertain and may even take place simultaneously.

↗︎ More
↗︎ GPC Online Screen

Katharina Swoboda, film still from "Stones", 2021

“Unearthed Foundations” presents three disparate but equally poignant video pieces that deal with specific mined materials and the utilitarian realities that have been ascribed to them. Despite their contrasting approaches—an observational piece, a critical satire and a film essay—these works look upon mineral exploitation with a critical gaze. Sometimes ironic and performative, sometimes documentary and poetic, sometimes quiet and elastic, this program hopes to broaden perspectives on the rocks that have been unearthed in order to shape, construct and support the present moment.

↗︎ More
↗︎ GPC Online Screen

Clea Stracke & Verena Seibt, film still from "The Ship Is Sinking", 2014

“A Succession of Waves” embraces the impossibility of comprehending the inexhaustible swell by presenting three attempts to represent it through film. First, in Obholzer’s “2 days left”, the wave has been constructed artificially: an anthropogenic leisure trick captured through a rather abstract succession of moving images. In the second attempt, Wang’s “One Thousand and One Attempts to Be an Ocean”, a hasty succession of scenes becomes overwhelming, a flood that reminds us of infinite scrolls and latent threats. The last example, “The Ship is Sinking” by Stracke & Seibt, goes back to a moment of quietness, where the “The Raft of the Medusa”, a magnificent symbol of human’s wrecked horizon, is reenacted by collapsing two planes and materialities into one.

↗︎ More
↗︎ GPC Online Screen

Pille-Riin Jaik, "Communal Weeds" (sketch for mural intervention), 2023

The film program “Plants as a Site of Knowledge” collects stories about the relationship between plants and memory: observations on how socio-political and economic interdependencies influence the history of ecosystems. What kind of memory do plants carry with them? To what extent are they part of cultural memory? Can time be turned back in ecosystems and if so, what (political) implications does this have? The films shown in this compilation deal with plants that are separated from their environment in the service of colonial representation or economic interests in order to circulate or be cultivated elsewhere.

↗︎︎ More
↗︎ Flucc Vienna

Exhibition, "out of office", 2023, photo: Olena Newkryta

Behind every screen, every piece of digital information, every exchange of data lies a complex arrangement of material and work. It includes not only mined minerals and electrical grids, but also visible and invisible workers. This hidden work sometimes appears as a hand dismantling something, as an eye looking at endless sequences of images, or as an ear listening to the noise of fans. The group exhibition “out of office” is an attempt to shed light on the subject this time by presenting artistic works in a speculative setting – a coworking space that is recreated by the aesthetics of the exhibition design.

︎↗︎ More
︎↗︎ Medienwerkstatt Wien