Through 2007 - Click on image to view clip

Guillaume Cailleau & Benjamin Krieg

Guillaume Cailleau (1978), Berlin based filmmaker, artist and engineer. Latest works include video for a Slovenian multimedia performance (DEBUT: in memory of coming), short film featured at the Oberhausen International Shortfilm Festival 2008 (BlitzKrieg) and several installations in galleries in Germany and France. Graduate of ICAM Nantes, Student of Berlin Fine Arts Academy (UDK).

Benjamin Krieg (1977), Berlin based filmmaker and photographer. Latest works include photo-installation for stage and exhibition at Schaubühne Berlin, video and photowork as a member of the independent group Oper Dynamo West Berlin and participation in several exhibitions in Germany, Austria and the USA. Studied film and communications at the FU Berlin and will graduate in summer 2008 from University of Fine Arts Berlin (UDK).

 

Through by Guillaume Cailleau & Benjamin Krieg, based on Michael Snow's Windowed Water. (16 mm, 3 min loop)

A timelapse-shot of water. A river, maybe a lake or an ocean, though the steady current implies the former. Superimposed, as it seems, a still photography - once more of flowing water, but now frozen in time, unchanging. Reflecting light glistene on the rippled surface. Alternating swell indicates ships passing by off screen. The sun rises and sets, while the waves curl steadily through the frame, at times almost, but never perfectly matching their photographic blueprint.
Through, (a 16mm loop responding to - and shot 'through' - Michael Snow's installation Windowed Water, presented at the 2007 Forum Expanded section of the Berlin International Film Festival.) confronts us with simultaneous movement and stillness – both integral coordinates of the cinematic process. By reducing the movement to a single frame, while at the same time speeding it up through time-lapse, Through highlights the close relationship between photography and film, time-based cinema being nothing else than a string of fixed images. In a curious take on still-life, the dissonance of the two layers, the impossibility of congruence between the still and the moving image, reflects not only on photography's method of capturing distinct moments in time, but also on the irreproducibility of these moments and on the passing of time itself.
(Uli Ziemons)

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