Mehmet

Philipp Fleischmann develops special cameras designed to formulate specific relations between the material of the footage (16 or 35 mm film) and the object of the recording. For instance, in his 2013 project “Main Hall,” he deconstructs the main exhibition hall of the Viennese Secession, filming the exhibition architecture with 19 individual cameras and thus creating images that show the view of the exhibition space onto itself. Fleischmann’s recent work, “Untitled (Generali Foundation Vienna)" identifies the film camera as a spacial object-form by itself. Correlating with the history of artistic interventions on site, the object is placed in the former exhibition space of the Generali Foundation at Wiedner Hauptstrasse 15, Vienna, and provided with a cinematographic view.

This structuralist experiment breaks through the traditional sequence of frames and uses double exposure to shed new light on the filmstrip. Cinematographie (literally "writing with light") consists of flickering black-and-white footage of almost unrecognizable trees that appears crosswise onscreen. The film is silent with the exception of two sounds at the beginning, and the damage to the image grows increasingly intense: we see cables, hairs and dust distorting it all. Occasionally, a bleak sun shines through or human silhouettes appear in an ever faster flickering. The Austrian filmmaker Philipp Fleischmann built a circular camera obscura construction in a forest, 360 degrees around, in which the light enters through a small hole and shines on light-sensitive material. Inside the camera, he placed two 16mm filmstrips side by side: one was exposed to the world outside the camera obscura, the other to the world inside the construction.

Short film.

Structuralist Philipp Fleischmann continues his architectural examinations of exhibition sites, using specially constructed cameras to capture the interior and exterior of his country’s national arts pavillion at the Venice Biennale.

A miniature portrait of the Viennese cinema, as seen through stuttering, flickering glimpses of walls and other surfaces in a pure play of light and shadow.

Designed by Josef Maria Olbrich in 1898, the main exhibition hall of the Vienna Secession is generally regarded as one of the first White Cube Spaces of art history. The myth of the neutral space has a long tradition of being critically examined by the institution itself. Using 19 specially designed cameras, Main Hall adds a purely cinematographic gesture to the space’s history by having it look at its own architecture.

A work of maximalist minimalism, a chorus of lights dance in darkness in The Invisible Cinema 3, inspired by Peter Kubelka's famed movie-going structure of the same name.