Also Directed by Björn Kämmerer
Alternating the individual slats of a set of Venetian blinds, Björn Kämmerer’s Untitled creates a mysterious cadence as it directs attention to the individual shapes and shadows of the shades, creating a vibrating, animated screen with visual music cues.
A disaster film. Danger is omnipresent, but vague and concentrated on its verbal invocation. From a total of 417 minutes of material from a seven-part science fiction production, Björn Kämmerer and Karoline Meiberger have distilled the quintessence of the command structure. Like in a piece of concrete music, appellative signal words (« General », « Sir! », « Commander! ») accelerate, culminating in the coda: « Catastrophe! ». New territory of retroactive science fiction: the directors' cut. »
26 TAKES FOR HARUN FAROCKI is a film collage made by former students. One minute per take. This film was shot by Arthur Sumereder, Axel Töpfer, Björn Kämmerer, Christoph Kolar, David Pujadas Bosch, Franziska Pflaum, Georg Tiller, Jessyca R. Hauser, Johann Lurf, Josephine Ahnelt, Karo Riha, Mina Lunzer, Michael Poetschko, Monika Rabofsky, Mrova, Nathalie Koger, Patrick Schabus, Peter Muzak, Selma Doborac, and Thomas Lehner.
A black screen with a reticle in its centre, vaguely reminiscent of Ego-Shooter games. Then figures from shooting galleries make fleeting appearances, lasting just fractions of a second, pistol in hand, standing or kneeling. A conglomeration of stereotypes from American gangster movies. The TRIGGER in its double meaning, as a trigger for both weapons and cameras. From 150 so-called “training targets” Björn Kämmerer made a selection for his latest film, filmed these on 35mm and with the aid of overexposure assembled them to a cinematic stroboscope. That makes a bang, even without sound!
Shot in a single take on 70mm, Arena is the latest film by the ever-inventive Austrian artist Björn Kämmerer and a tribute to the unexpected aesthetic pleasures we risk overlooking.
In Navigator, Björn Kämmerer films a set of vertical mirrors with beveled edges in monumental close-up, and vigourously edits them in a back-and-forward motion that offers a dizzying array of Cubist perspectives.
The ‘film as time made manifest' is the centrepiece of Björn Kämmerer's Louver, a film that acts as a huge shutter, a louver.
When it comes to cinema, a mirror is rarely just a mirror. As one of the medium´s most ubiquitous and expressive symbolic objects, mirrors have long represented something greater than themselves — usually, when looked upon, some otherwise internalized or unsavory facet of a person´s psyche. With TEAL, Björn Kämmerer strips the mirror of its metaphoric trappings and, in the process, restores a bit of its practical magic.
Western-found footage, manipulated to the point of being unable to convey a plot: an armed robbery is prevented through the camera, which brings one figure into a grotesque conflict. The armed confrontation gets stuck in a pounding staccato, while the public - although enbedded in the narration - remains disinformed.
Experimental film about window frames.
