Telemach Wiesinger
2021KALEIDOSCOPE
Telemach Wiesinger
Weaving together numerous journeys across Europe and North America, and shot in his signature deadpan style, Wiesinger opens up a wondrous world of movements and structures. This heady adventure of discovery is brought together by an innovative soundtrack that envelopes the black and white 16mm images in a kaleidoscope of contemporary musical compositions and abstract sounds.
KALEIDOSCOPE
Rondo
Telemach Wiesinger
While a man eats his banana in the cold winter wind, other miraculous things happen. Like humans and a machine, a cow rotates in a circle against its will. The associatively linked images created by the humorous eye give the viewer space for multi-faceted observations.
Rondo
Signal
Telemach Wiesinger
A nightly lake, two resting boats... But who is waving the chessboard pattern of a checkered flag here? Telemach Wiesinger has composed a film poem from everyday scenarios using analog craftsmanship, the humor of which opens up his own stories. The subjects and objects visible to the human eye are infinite, but often inflationary. The visible world also includes the surreal, which rarely shows itself, which can be discovered in some places and brought to light from time to time.
Signal
Doppelgänger
Telemach Wiesinger
The picture – shot on 16 mm film by means of double exposure – merges two locations from the Swiss town Bale on the Rhine River. The leading actor, artist Werner von Mutzenbecher, brings from his „inner eye“ the viewer into a drama suspending space and time. Water and air seamlessly pass into one another, as horizontal and circular movements become one. The music, adapted from Franz Schubert‘s Doppelgänger song, has been arranged and varied for two barrel organs in reference to the motif of doubling in the film. The instrumentation alludes to the sounds of a carnival, while the character of the music emphasizes the melancholic mood of the overlayed scenes.
Doppelgänger
Passage
Telemach Wiesinger
On one hand „PASSAGE“ is a subjective report of a journey and on the other hand it is a documentary film about „movable bridges“. Telemach Wiesinger visited waterfronts in France, Germany, England, Belgium, Italy, the Netherlands and the U.S.A. to make a note of historic swing- and lift bridges, the last hovercrafts and the gigantic ship hoists by means of moving images. Many masterpieces of bridge construction from the heyday of ship- and railway constructions are nowadays dismantled or fall into ruins. These technical dinosaurs become a document and an allegory of Wiesinger’s timeless imagination of travel. The sound film „PASSAGE“ is his second collaboration with composer and multi-instrumentalist Tobias Schwab. The musical collage is used to reflect the cinematic language of Wiesinger and to mirror his mechanical film tools.
Passage
Motor
Telemach Wiesinger
In his filmpoem "PASSAGE", Wiesinger already choreographed "moving" bridges. From his point of view, this means of transportation is mechanically, acustically and optically closely connected with his analogous filmpictures in motion. As a continuation of this analogy, "MOTOR" works as a sequence of several different habour settings in the West of France, where the mechanical process of filming takes place. For the sound Andreas Gogol uses analogously produced sound structures and freely associates into the acustic spaces. Even though sound and image of "MOTOR" can exist alone, one and one in the ongoing teamwork is three, not two... "MOTOR" is also a continuation of the film performance " Landed Takes & Sound Times" for which Andreas Gogol and Telemach Wiesinger won the team work award in the 20th "Stuttgarter Filmwinter"(2007).
Motor
Meer
Wolfgang Lehmann, Telemach Wiesinger
This film poem about the sea is a visual invitation to an imaginary journey through the landscape of waves along the Atlantic coast. Or as Herman Melville writes: "Let a distracted person sink into deep dreams... And, invariably they will lead you to water... Yes, everyone knows that meditation and water are closely connected!" The sources of inspiration for our film flow of film pictures were the "soul images" described by Melville in MOBY DICK and the rhythmic and powerful music of composer Misato Mochizuki.
Sea