CODE UNKNOWN [Re_Sync] Notes on a film excerpt

Installation [Wallprints, Injketprints, Videoprojection] for Weserburg, Museum für Moderne Kusnt, Bremen

The installation was first conceived for Weserburg, Museum für moderne Kunst Bremen. It analyses a key scene in Michael Haneke‘s film CODE INCONNUE (2000), in which another film is dubbed by the actors Juliette Binoche and Thierry Neuvic. Mario Pfeifer re-transfers this scene into an adapted script, giving the moving images a quasi-a-priori source text. This German version script–with an additional fictional establishing shot and end sequence referring to Haneke’s usual strategies of opening and ending a film–is mounted full frame on the exhibition walls in a white cube setting. Within these wall texts ten posters display quotations by Michael Haneke–questions that he had drafted and published before the production of the film. In the following room, Haneke‘s film excerpts in the original French version with German subtitles are screened in a continuously loop. While the scene plays forward in normal speed first, it is later re-winded with high speed to start again. The image quality is rather poor indicating the image appropriation and carries a decoding software symbol referring to user practices of bootlegging films through freeware applications.

Exhibition Design by Devin Dailey
Typography by Melanie Glass
Installation Documentation by Jens Weyers
Conceived by Mario Pfeifer

© 2010 Germany

CODE UNKNOWN [Re_Sync] Notes on a film excerpt

Installation [Wallprints, Injketprints, Videoprojection] for Weserburg, Museum für Moderne Kusnt, Bremen

The installation was first conceived for Weserburg, Museum für moderne Kunst Bremen. It analyses a key scene in Michael Haneke‘s film CODE INCONNUE (2000), in which another film is dubbed by the actors Juliette Binoche and Thierry Neuvic. Mario Pfeifer re-transfers this scene into an adapted script, giving the moving images a quasi-a-priori source text. This German version script–with an additional fictional establishing shot and end sequence referring to Haneke’s usual strategies of opening and ending a film–is mounted full frame on the exhibition walls in a white cube setting. Within these wall texts ten posters display quotations by Michael Haneke–questions that he had drafted and published before the production of the film. In the following room, Haneke‘s film excerpts in the original French version with German subtitles are screened in a continuously loop. While the scene plays forward in normal speed first, it is later re-winded with high speed to start again. The image quality is rather poor indicating the image appropriation and carries a decoding software symbol referring to user practices of bootlegging films through freeware applications.

Exhibition Design by Devin Dailey
Typography by Melanie Glass
Installation Documentation by Jens Weyers
Conceived by Mario Pfeifer

© 2010 Germany

CODE UNKNOWN [Re_Sync] Notes on a film excerpt

Installation [Wallprints, Injketprints, Videoprojection] for Weserburg, Museum für Moderne Kusnt, Bremen

The installation was first conceived for Weserburg, Museum für moderne Kunst Bremen. It analyses a key scene in Michael Haneke‘s film CODE INCONNUE (2000), in which another film is dubbed by the actors Juliette Binoche and Thierry Neuvic. Mario Pfeifer re-transfers this scene into an adapted script, giving the moving images a quasi-a-priori source text. This German version script–with an additional fictional establishing shot and end sequence referring to Haneke’s usual strategies of opening and ending a film–is mounted full frame on the exhibition walls in a white cube setting. Within these wall texts ten posters display quotations by Michael Haneke–questions that he had drafted and published before the production of the film. In the following room, Haneke‘s film excerpts in the original French version with German subtitles are screened in a continuously loop. While the scene plays forward in normal speed first, it is later re-winded with high speed to start again. The image quality is rather poor indicating the image appropriation and carries a decoding software symbol referring to user practices of bootlegging films through freeware applications.

Exhibition Design by Devin Dailey
Typography by Melanie Glass
Installation Documentation by Jens Weyers
Conceived by Mario Pfeifer

© 2010 Germany

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.

A Formal Film in Nine Episodes, Prologue & Epilogue

35 mm film & HD-multiple-channel-projection for exhibition space, colour, Dolby Sr 5.1, 50 min
Hindi, Tamil with English subtitles

The Film describes a contemporary Asian Metropolis through an observational, anthropological approach of filmmaking. Each scenery in those nine episodes depicts landscape, architecture, interiors or humans from rural communities to factories, medical facilities or ancient and religious sites which all share miraculous beauty, a critical view on the cities development as well as cultural phenomenas and aesthetic explorations. Slowly establishing two characters, the film leaves its documentarian nature and progresses into a narrative, which purely follows two humans, sharing their movements in time and space letting us remember a cinema of love in the Asian context. Shot on 35 mm in only single takes without repeating any action, the production of the film itself tries to be aware of its outsider position looking at a contemporary, vastly booming Third World Country and its cultural history of 5,000 years by simply capturing and re-enacting experienced situations. Trying to avoid a clear genre definition to this film, it is entirely shot on location in the city of Mumbai and its suburbia. Both performers, Gopal and Nandhini, work on regular day jobs and live in Bombay’s suburbia--and have never participated in a film project.