Telemach Wiesinger is a storyteller - film camera and lightblower are his tools. The projection shows settings as only the cinematographic gaze can reveal them: black on white, accompanied by the running noise of the 16 mm projectors. The individual sequences from Wiesinger's "Augenblick" series are simultaneously visual poems, travelogues, and anthropological studies of port cities and mechanically functional architecture. Drawing on the aesthetics of early cinema, his many 3-minute shorts develop a particular tension between movement and stasis, permanence and transience.
Composer Martin Bergande traces the ulterior motive in his music. Seemingly self-sufficient, often spare, its meaning lies in the transition from texture to form. His barrel organ pieces to Wiesinger's "Augenblicken" move from re-imagining, interpreting and determining to ostensible animation: as if the telephone booth door were dancing a slow waltz, a flight simulator a Zwiefachen and a car ballet to the song of the Lorelei.
A performance without a net or a false bottom, including words while changing reels - "Manege frei für Illusionen"!
For more information:
http://telemach-wiesinger.en
