PETER KUBELKA : BIOGRAPHY
Peter Kubelka (b. 1934) is a multifaceted artist and theoretician who has worked in the art forms of film, cuisine, music, architecture, speaking and writing. Since the beginning of the fifties he has been a leading exponent of the international avante garde film and has had screenings in all the European countries as well as in the USA and Japan.
In 1964 Kubelka co-founded the Austrian Film Museum and has been its curator ever since.
Kubelka has been involved in creating avante garde film collections, a music ensemble and has taught at various universities in the USA and Europe. In addition, he has been a professor in film at the Art Academy in Frankfurt since 1978 where he also served as Rector in the period of 1985-88. As a theoretician he has held numerous lectures and participated in many symposiums among others, “Non-Industrial Film – Non-Industrial Cuisine”. Already in 1967 Kubelka created his first theoretical work in cuisine as an art form and in 1980 his teaching position was expanded to include “Film and Cuisine as Art”. Another of his large projects has been his plan for the ideal cinema – The Invisible Cinema – the first draft of which he finished in 1958. It was created again in 1970 for Anthology Film Archives in New York where he was also a co-founder. It was created once again nineteen years later for the Austrian Film Museum in Vienna. Continue reading
In the heat of the summer. A lonesome house in the countryside between woods and corn fields. Nine-year-old twin brothers are waiting for their mother. When she comes home, bandaged after cosmetic surgery, nothing is like before. The children start to doubt that this woman is actually their mother. It emerges an existential struggle for identity and fundamental trust. Continue reading
Siegfried A. Fruhauf
Born:1976 in not specified
Foto: Siegfried Wöber
Born in Grieskirchen (Upper Austria) in 1976 and grown up in the small village of Heiligenberg (Upper Austria). 1991 – 1994 Training as commercial manager.
Studied experimental visual design at the University of Artistic and Industrial Design in Linz where he first came into contact with the Austrian Film Avantgarde. From 1995 to 2010 he lived and worked in Linz and Heiligenberg. 2002 Supporting Award for Filmart by the Austrian Federal Chancellery.
Since 2001 organization of film and art events. Since 2009 lecturere at the University of Artistic and Industrial Design, Linz. Numerous works and shows in the area of film, video and fotography. Participation in various important international film festivals (Festival de Cannes – Semaine Internationale de la Critique, Intenational Filmfestival of Venice – Section Nuovi Territori, Sundance Film Festival Park City, …). Member of sixpackfilm.
Has a son (Jonas Theodor) with the Austrian journalist Anna Katharina Laggner. Lives and works in Vienna and Heiligenberg since 2010. Continue reading
Engaged to the daughter of an aging baron, an ambitious advertising executive wishes to renovate the baron’s crumbling castle into a holiday getaway for the social elite. In his zeal to seal the deal, he manages to alienate his friends, lose his fiancee, and end up with nothing.
Based on Gerhard Fritsch novel, nominated for the Academy Awards. With avantgarde jazz music by Friedrich Gulda. Considered the first film of New Austrian Cinema in 1968. Continue reading
“An Austrian videogame designer (Helmut Köpping) who has turned his pathological hatred for his politician father into a life’s mission to create a father-killing videogame, ends-up, through a set of curious circumstances, renovating the basement hideout in Long Island of a Lithuanian Nazi. ” Continue reading
A blind pianist living in 18th-century Vienna forms an extraordinary relationship with the physician who is trying to restore her sight. Continue reading
Michael Haneke’s masterful first film The Seventh Continent/Der Siebente Kontinent introduced concerns basic to the director’s art, principal among them the notion that the “death of affect”, a key fixation of postmodernity, should not be a subject of cynical concelebration (as it seems to be for many artists of the moment). Rather, Haneke views the end of affect, which is to say the acceptance of alienation as an inevitable and rather “hip” state of being, as a profound sickness that serious art no longer interrogates, the standard postmodern view being that its study is a naïve and dated preoccupation. As a consequence, Haneke is often associated with cinema’s great modernists, with Antonioni frequently cited as the kinsman of closest sensibility. Continue reading