hungry eyes festival 2021


the festival 2021

Press commentaries on the hungry eyes festival 2021

"Film art and experiments from all over the world were shown at the Giessen Hungry Eyes Festival in the digital space this weekend. The organizers, film-enthusiastic students of applied theater studies, presented a program that met all demands from spectacle to hermetic art, funny and stimulating films included. The closing "Trash Night" also shone with quirky ideas and great contributions."

- Heiner Schultz (Gießener Anzeiger)

"The hungry eyes festival 2021 is currently being planned by thirteen film and performance enthusiasts who got to know each other while studying applied theater studies in Giessen and the surrounding area. The organizing team sees itself as a collective that works together on a democratic basis and ensures a fluid distribution of work according to personal interests and skills, rather than insisting on a strict division of tasks. They try to create structures that enable them and the invited artists to work together under suitable conditions."

- Bojana Kunst (philosopher, dance- und performance theoretician and dramaturg)

"Overall, a wealth of stimulating, occasionally pleasantly confusing, and also highly aesthetic works and elements won over viewers on all three days of this Giessen film festival."

- Heiner Schultz (Gießener Anzeiger)

"With the Trashnight and the special category Trash, the festival, which targeted the gaze as such at the intersection of film, performance and installation, took the unserious seriously and the serious not too seriously. The little films, often regarded as "tastelessness" and "anti-art," were thus given a place as "pearls of art film" - and the three-day festival a worthy conclusion."

- Karola Schepp (Wetterauer Zeitung)

the team 2021

Frithjof Gawenda

Frithjof Gawenda (* born May 14, 1997 in Stralsund) gained experience in the theater with mentally handicapped people as an assistant director and as an actor in film and television. After graduating from school and doing various internships and assistants, he began studying Applied Theater Studies. He has always been to be found as a temporary technician and lighting designer, performer and dramaturge in various independent theater platforms throughout Germany.

Elena Giffel

Elena Giffel has been working for almost 20 years in different theater groups as an actress, director, stage- and costume designer, technician and dramaturg. For one year she worked as assistant at the Mainfrankentheater Würzburg. Later she took part in a collective production at the Gorki Theater Berlin in the frame of Büchnertage 2013 Since 2013 she studies Applied Theater Studies n Gießen and works there, alone and collectively, on her own productions, audio dramas and festivals.

Linda Gottwald

Linda Gottwald has been studying art and philosophy for teaching at the University of Kassel and the Kunsthochschule Kassel and since 2018 in the double study of visual communication at the art college Kassel. She gained some installation and conceptual experience in the art in a contemporary context class, studied graphic design at Isdat Toulouse in 2019 and is currently in the editorial design class.

Herbert Graf

Herbert Graf studied literary studies at Universität Hamburg andApplied Theater Studies at Justus-Liebig-Universität Gießen. His works, which situate themselves between stage performances and exhibition formats and were worked on partly alone and partly collaborative, were shown i.a. in Frankfurt LAB, Cammerspielen Leipzig, at Prinzregententheater München, at Kunstverein Mönchengladbach, at Neuen Kunstverein Gießen and Palais de la Porte Dorée in Paris. For Ruhrtriennale 2019 he curated the short film program Films In Between.

Amélie Haller

Amélie Haller works as a performer and independent artist in performance art, as well as a curator for hungry eyes festival. Her works have been shown in Keller der Kleinen Künste München, at Theaterdiscounter Berlin, Frankfurt LAB, at Dokumentationszentrum Reichsparteitaggelände in Nürnberg, Gängeviertel in Hamburg and Palais de la Porte Dorée in Paris. In her current performance she is experimenting with performative and narrative possibilities of tying together the human and animal, body and technology, fiction and reality - for this purpose she received a debut-funding from the city of Munich.

Eva Kirsch

Eva Kirsch has been working collectively on performances and cinematic projects in the contexts of installation art, web and the big screen since the beginning of her studies at the Applied Theater Studies and besides as an organising member of student festivals. Recently she has been working several times as a cinematographer (i.a. for a music video of Frankfurter Hauptschule), as artist support at Festival für Politik im freien Theater at the Kammerspielen in munich, as a theater teacher for FSJ-workshops as well as in the catalogue and press department of Diagonale – Festival des österreichischen Films. At the moment she has a keen interest for curational processes and festivals as social and discursive spaces.

Leonie Kopineck

Leonie Kopineck (she/her) already worked as directors assistant at Theater Duisburg before her studies of theater studies and comparative studies in Bochum and later Applied Theater Studies in Gießen. Applied Theater Studies Afterwards she was a directors assistant at Otto-Falckenberg-Schuleand Münchner Kammerspielen (e.g. Hochdeutschlanddirected by Kevin Barz). Besides the organisation of students festivals she was also working as artist support for TANZPLATTFORM in Munich.

Maren Küpper

Maren Küpper develops performances, dance- and choir-pieces. Her performance Hard Feelings has been invited in 2019 to State of the Art Festival in Hildesheim. Together with Kerstin Oppermann she developed in 2019 the performance Team for In/between Festival in Gießen.
Furthermore she works as a director's assistant and production manager, i.a. for Susanne Zaun/ Marion Schneider and SKART.

Anne Mahlow

Anne Mahlow studies Applied Theater Studies at JLU Gießen and works as an artist, dramaturg and curator. Alone and in different collective contexts she develops performances, installation art and audio pieces, which has been shown e.g. its Staatstheater Darmstadt, Mousonturm Frankfurt, FFT Düsseldorf swell as Ruhrtriennale. She is part of the performance collective Hain/Kapsner/Mahlow/Romaowski. In 2016 she was one of the founding members of "hungry eyes festival". Since July 2017 Anne Maslow is part of the dramaturgy at Ruhrtiennale, as well as working as a curator. Since 2018 she curated in the frame of Ruhrtriennale a performative and discursive program for the Third Space created by raumlaborberlin.

Svenja Polonji

Svenja Polonji studies at the Institute of Applied Theater Studies in Gießen and worked for one year as an assistant at Staatstheater Braunschweig. As a board member ofAlleineinboot e.V. in Bad Segeberg she developed performative meeting projects with refugees and citizens. She is awardee of the Deutscher Bürgerpreis, as well as awardee of the Queisser Juniorenpreis and performed in music videos by 2raumwohnung and Messer. In 2020 she showed her installation Island Dreams at Senckenberg Museum Frankfurt.

Sophia Scherer

Sophia Scherer develops performances and video works and searches for hybrid forms of those genres. Before her studies of Applied Theater Studies she already worked as a scene/set designer and as an assistant and intern in different theaters in Graz and Berlin.

Anja Schneidereit

Anja Schneidereit studied cultural studies and French philology in Potsdam and Toulouse and started her dramaturgy studies 2015 in Frankfurt am Main. Her own theater work deals with bodies in public that are confronted with spatial events and is situated between installation and performance.

nikolas Stäudte

nikolas Stäudte (no preferred pronouns) studied German as a foreign language in Leipzig and worked as a directing and dramaturgy intern at Staatsschauspiel Dresden, as well as in press and public relations for euro-scene Leipzig. Besides the studies of Applied Theater Studies and wagework in the cinema, nikolas realises his own projects in different collaborative constellations, that were shown among others in Mousonturm Frankfurt, Cammerspielen Leipzig and Thalia Theater Hamburg. Staatsschauspiel Dresden as well as in press and public relations for euro-scene Leipzig. Neben einem Studium der Angewandten Theaterwissenschaft und Lohnarbeit im Kino, realisiert nikolas eigene Projekte in verschiedenen kollaborativen Konstellationen, die unter anderem am Mousonturm Frankfurt, Cammerspielen Leipzig and Thalia Theater Hamburg .

Eva Streit

Eva Streit completed her education to become a contemporary dancer at Contemporary Dance School Hamburg. She worked i.a. as a performer in projects by Johanna Bruckner, Patricia Carolin Mai, Rica Blunck and Niels Wehr, and as a artistic assistant for the integration project Salon International in Hamburg. Since 2018 she studies Applied Theater Studies in Gießen. Her own artistic works were shown at TanzArt ostwest, at Tanzlabor Hamburg, as well as eigenarten-Festival Hamburg.

artistic works 2021

outreach program 2021

Opening (a festival) despite closed doors. This is a special challenge that the supporting program of hungry eyes festival 2021, as well as the whole cultural sector are facing this year. With the following formats we took on this task and thus asked you and ourselves: What does the word "together" mean right now and how can a festival-visit look like in the digital space?

hungry short film talk (live + online)

We need to talk! Audience and artists are invited to talk live on a joint video conference about the shown works of the film program. The moderation will be held by two members of the curation team and we would like to talk not only about the short films themselves, but also the whole program as a synthesis of the individual works.

hungry festival talk: How to imagine a festival that did not happen (live + online)

What remains of an exhibition when the artists themselves can’t be there, the artworks aren't set up and the audience can't enter the space? Maybe imagination and the willingness to make artworks tangible not only as material objects but also as ideas in our heads. Or is the artwork inseparable from its body? We don't know either but we want to find out with you! Guided by members of the curation team and/or the artists the audience is invited on an imaginary ‘dream-journey’ through the exhibition that never happened.

hungry eyes manual - How to watch together when we’re not together (online)

What belongs to a visit to the cinema is not only a great program but also the ritual around it: standing in line and hoping that there are still tickets available, getting the last one, finding your seat and munching popcorn. Since the online-cinema of hungry eyes festival can hold an unlimited number of spectators this year - and all of them can get their favorite seats - there is only one thing left to do:

In our hungry eyes manual we will personally guide you to your seat in your own room and prepare you and your space for an exciting film program.

hungry channel (online)

What short film programs will happen next, what talks shouldn't you miss and when will start the great Trash-Night-Gala? With the telegram-channel implemented by hungry eyes festival you are always up to date during the festival.

hungry documentation: performances and installations in the digital space (online)

On our website you will find extensive documentation of all invited works. Especially the installation art works and performances will be made accessible - or rather: imaginable with the best possible means due to the particular difficulty of their online representation. The talk "How to imagine a festival that did not happen" will deal specifically with how these works can be experienced.

hungry portraits (online)

"Festival" usually means that artists, audiences and organizers all finally come together. Since this time we unfortunately can't run into each other by chance and say "Hey! Great to see you!" the artists and the curation team want to introduce ourselves in short video portraits on our website. More opportunities for exchange can be found in the live talks and in the hungry eyes telegram-group.

Trash Night Gala (live+online)

The film year 2021 is heading for its spectacular climax: the live broadcast of the prestigious 'Golden Toast Hawaii'-award for the trashiest short film. Once again we expect pure emotions, great musical contributions and a highly professional moderation to guide the audience through the evening. 

So fasten your seatbelts and get ready for some speedy action!

hungry for feedback

Do you have praise, criticism, ideas or want to contact us for any other reason? Write us an e-mail: We are looking forward to hearing from you! I I
kunstrasen giessen e.V. I Postfach 11 06 01 I 35351 Gießen

Laurien Bachmann and Sebastian Six

"Persistent Disturbance"

short film

part of the first short film program on Friday 8pm

The video performance “Persistent Disturbance” visualizes the three-month travel route through South America in an absurd way. At each point where the two artists paused, a short sound performance was created. The performer runs tirelessly with a horn honking through the different landscapes of the Andes. Through this experience not only the different places are shown, but at the same time an acoustic scanning of the respective places is created.

“Eine Tour durch die Anden als surreal verdichtete Filmperformance: Laurien Bachmann und Sebastian Six drehen an Orten ihrer dreimonatigen Reise durch Südamerika je eine statische Einstellung eines durch das Bild rennenden Mannes, der insistierend eine Handtröte zum Klingen bringt. Ob am einsamen Fuß eines Berges, in einem Dorf der indigenen Bevölkerung, in der Wüste oder im Park – immer kommt es zu einer massiven Störung der Landschaft und des Lebens. Zeitgleich ziehen der andauernde Lauf und das (fast) ununterbrochene Geräusch der Tröte die verschiedenen Orte wie eine Perlenkette hintereinander auf. Persistent Disturbance ist einerseits eine kleine, aber raumgreifende, formal konsequent und irgendwie auch witzige Performance mit Blick auf die Absurditäten des Kunstbetriebs, kann anderseits aber auch als Kommentar auf das eigene Reisevorhaben wie auch auf das Bildersammeln als kolonialistische Praxis gelesen werden: Wo immer der weiße Mann eine Landschaft durchquert, wird man wissen, dass er da ist.”(Catalog Diagonale ´20, Alejandro Bachmann)


Laurien Bachmann *1992 in Gmünd/Kärnten and Sebastian Six *1980 in Vöcklabruck are visual artists, currently based in Linz. In their collaborative works they often deal with different topographies and acoustic spaces.

Miguel Escobar

"An Image of a Façade"

short film

part of the first short film program on Friday 8pm

In diesem Video wird ein Filmstill des Films “Blow” (Ted Demme, 2011), der einen geografischen Ort zeigt, seziert. Dabei wird die Landschaft des Bildes zu einem Raum aus bloßen Fassaden, der sich aus fragilen zweidimensionalen Elementen zusammensetzt. Diese visuelle Erscheinung bezieht sich sowohl auf den Raum eines Filmsets, als auch auf eine Außenfläche, die ein Gebäude repräsentiert, das eine architektonische Fassade ist. Eine solches Set heterogener Elemente scheint an mehreren Orten gleichzeitig präsent zu sein. Seine Beschreibung korrespondiert mit verschiedenen und widersprüchlichen Referenzen, und als Folge davon ist es schwierig zu wissen, wer oder was repräsentiert wird.


Miguel Escobar was born in Cali, Colombia in 1992. In 2017 received his Bachelor’s in Plastic Arts at the Instituto Departamental de Bellas, in Cali, Colombia with a meritorious mention. He recently graduated from a MFA at LUCA School of Arts with a Magna Cum Lude distinction. His work has been exhibited in solo shows in Colombian and in group shows in Argentina, Russia and Belgium.

Vera Sebert

"Liquid Traits of an Image Apparatus"

short film

part of the first short film program on Friday 8pm

On the screen’s digital surface abstract machine codes appear as sensual images, readable by humans. Visualised machine instructions make up their own semantics and are base for human instructions. On a cinema screen these images are detached from their initial meaning.They condense on the picture base and swash into our eyes. Like a random rhizome structure an associative montage of minimalistic user interfaces follows the film’s timeline. Our own body perception and our interpretation formed by media conditions become protagonists in a film without narrative.


Vera Sebert, *1987, Media Artist 2007- 2015 Fine Arts at University of Fine Arts Braunschweig and Academy of Fine Arts Vienna. 2015-2019 Language Arts at University of Applied Arts Vienna. Artistic works in the border areas of visual media, language, film, computer programs: Computer code allows the adaptation of all other media whose properties are imitated, fragmented and reassembled in virtual space. The hybrid exposes the categorical separation between artistic image and text production and creates a space for experiments that explore the mesh of code, image, sound and language in a digital environment. How does the user interface determine our idea of the interrelationship between body, language and machine?


Chiemi Shimada


short film

part of the second short film program on Friday 9pm

Chiyo is a poetic exploration of the Japanese suburbs through the filmmaker’s reflection on the life of her grandmother. With a series of everyday moments in Yashio, Saitama from a summer fair to Buddhist rituals, the film meditates on family, intimacy and aging.


Chiemi Shimada is an artist filmmaker from Japan. Working with both analogue and digital materials, her films often form from portraiture and narratives exploring themes of domesticity, intimacy, and displacement. Her films have screened at San Sebastián International Film Festival, Sheffield Doc/Fest, European Media Art Festival, among others.

Bryan ‘Giuseppi’ Rodriguez

"Que Linda"

short film

part of the first short film program on Friday 8pm

In ‘Que Linda’, shot in the summer of 2018, Miguelito, aged 17, collects unconscious bodies of heartbroken, desolate men in Callao, Peru. 

Directed by Bryan G. Rodriguez
Artistic director: Alonso Izaguirre
Sound designer: Mauricio Escamilla


Der in Callao, Peru, geborene und jetzt in London lebende Bryan ‘Giuseppi’ Rodriguez Cambana arbeitet multidisziplinär und verbindet in seiner Praxis die Kinästhetik afrodiasporischer Musikgenres wie Hip-Hop und Salsa mit surrealen Imaginationen/Erinnerungen persönlicher Erzählungen – auf der Suche danach, eine Sprache zu entwickeln, die aus der dysfunktionalen Verbindung zwischen Performancekunst, die diese Genres (und deren visuelle Kultur) bestimmen, und Bildender Kunst entsteht – und sich an einer Konversation über Bewegung, Begehren, Körper, Farbe, Rasse und Armut zu beteiligen. Giuseppis Arbeiten wurden in verschiedenen Galerien, Museen und Festivals ausgestellt, darunter das Queens Museum in Queens, New York, ENCUENTRO in Mexiko D.F., das internationale Festival of The New Latin American Cinema in Havanna, Kuba, und war kürzlich Empfänger des 2018-19 Public Art Grant von More Art in New York City.

Qigemu (April Lin und Jasmine Lin)

"Reality Fragment 160921"

short film

part of the third short film program on Saturday 8pm

Reality Fragment 160921 is Qigemu's debut film. Using footage they collected during a summer together, they decided to create a film, writing and editing through Skype calls between Los Angeles and Stockholm. Thus, the piece simultaneously materializes this iterative process of reflection as well as its result. Due to its organic conception, Reality Fragment 160921 transcends the boundaries of distinct genres, encompassing docu-fiction, experimental narrative, and video art in its structural form and use of aesthetic storytelling mechanisms.


七个木 Qigemu 七個木 was a duo consisting of lovers April Lin and Jasmine Lin exploring the interstices of movement, visual media, identity, and the global Asian diaspora as respectively, Chinese-Swedish and Taiwanese-American.

Alexander Isaenko


short film

part of the second short film program on Friday 9pm

EXISTO MINIMA is a shore line, where the brief presence is an analysis of personal history. Here, on the borderline between statics and dynamics, within the frame of someone's own 'drama', one phase of crisis evolves into the next one. It unfolds from the teenager's feeling of adulthood, to the middle-age crisis, where the meaningfulness is totally devalvated.


Alexander Isaenko was born in 1976 in Izmail, USSR. He is an Ukrainian artist who works with various media, including photography, video, text. Lives and works in Odessa, Ukraine.

Sarah Lasley

"How I Choose to Spend the Remainder of My Birthing Years"

short film

part of the third short film program on Saturday 8pm

Indem sie privates Narrativ und geteilte popkulturelle Erfahrung miteinander verbindet, bekundet die Künstlerin eine lang gehegte Kindheitsphantasie innerhalb der Liebesszene aus “Dirty Dancing” (1987). “How I Choose to Spend the Remainder of my Birthing Years” stellt pre-pubescent sexual desire with that of a woman descending her sexual peak. Fantasy is both a balm to religious piety and an act of resistance to reproductive pressures put upon women approaching middle age. Here the digitally simulated image, in its wavering verisimilitude, exposes our willingness to desire to believe.


Sarah Lasley ist eine Filmemacherin und interdisziplinäre Künstlerin aus Louisville, Kentucky und Assistenzprofessorin für Neue Medien an der University of Texas San Antonio. Ihre Filme wurden international auf Filmfestivals und an Universitäten gezeigt, unter anderem auf dem Cannes Art Film Festival in Frankreich und an der National Chiao Tung University in Taiwan. Zu ihren Museums- und Galerieausstellungen gehören das CICA Museum in Korea, Leslie Hellar Workspace in New York City und LAXART in Los Angeles. Vor kurzem war sie in der KMAC Triennial im Kentucky Museum of Art and Craft und in Video Snack an der Virginia Commonwealth University vertreten. Lasley arbeitete als Animatorin für Martha Stewart Omnimedia und als Titelanimatorin für Todd Haynes’ für den Oscar nominierten Film Carol, Panda Bear und MGMT-Musikvideos. Als Projektionsdesignerin arbeitete sie unter anderem für das Baryshnikov Arts Center, Harlem Stage und Ars Nova in New York City und ist Projektionsdesignerin für Brenna Palughis Theatergruppe Virago. Sie ist Empfängerin des Toby Devan Lewis Grant der Yale School of Art, wo sie über ein Jahrzehnt lang als Dozentin unterrichtete. Sie hält einen MFA von der Yale School of Art und einen BFA von der University of Louisville inne. 2004 war sie Stipendiatin an der Skowhegan School of Painting and Sculpture.

Bianca Hisse

"The future is classy, crisis is sexy"

installation art

Six fast-paced timelapse videos compose Bianca Hisse’s work ‘The future is classy, crisis is sexy’.

Bewegung im öffentlichen Raum ist ein wiederkehrendes Thema ihrer Praxis, welches dieses Mal eine ‘Mikro-Aktion’ suggeriert: beobachten, langsam und ausdauernd. In dieser Arbeit erscheint Hisse an strategischen Punkten verschiedener Städte – Plätze, Parlamentsgebäude und historische (Gedenk)stätten -, Räume, die normalerweise eine Doppelfunktion haben: Sie sind nicht nur Szenerie von Touristenfotos, sondern auch Schauplatz aktueller Proteste und politischer Demonstrationen. Auf der Leinwand entfaltet sich die minimale Geste des Beobachtens zu einem beschleunigten, frenetischen Bild ihrer ‘unsichtbaren’ Performance. Indem sie sich mit der Sprache der täglichen Kommunikation auseinandersetzt – dem Selfie-Format, schnellen und kurzen Sätzen, der Instagram-Typografie – reflektiert die Arbeit, wie sich dokumentierte Aktionen, geschriebene Sprache und aktuelle Politik der Zirkulation auf unseren alltäglichen Bildschirmen manifestieren.

practice and work

In my recent works, I have been interested in looking at the body and choreography as a method of collective organization, and how it can infiltrate power structures of social life. Public space has always been an important element in my performances, and to a certain extent, the body is always trying to twist the unspoken rules of these spaces. I have been crawling, sliding, laying and rolling in various different contexts, looking into all possible forms of non-vertical movements, and most of the time as an unannounced action - so people are not expecting what they see. For me, performing is always a way to challenge normative behavior, to suggest that there are gaps and cracks in our spaces and that we can occupy them.


Movement in public space is a recurring subject in her practice, this time suggesting a micro-action: to observe, slowly and persistently. In this work, Hisse appears in strategic points of various cities - squares, parliaments and historical sites -, spaces that normally carry a double function: They are not only scenario of tourist photos, but are also a stage of recent protests and political demonstrations. On the screen, the minimal gesture of observing unfolds into an accelerated, frenetic image of her ‘invisible’ performance. Delving into the language of daily communication - the selfie format, quick and short phrases, Instagram typography - the work reflects on how documented action, written language, and current politics of circulation are manifested on our everyday screens.

Her works have been exhibited across Norway and internationally, including: Museum of Modern and Contemporary Art Rijeka, Galerija Miroslav Kraljevic, Galerija Nova (Croatia), BABEL Visningsrom for kunst, Kunstnernes Hus, Tromsø Kunstforening, Small Projects (all in Norway), Centro Cultural São Paulo and others. Recent shows include 133. Statens kunstutstillingen, Høstutstillingen, and the 19th Mediterranea Biennale (San Marino, 2021).

Biba Cole

"Pulp of the Sea"


Biba Cole (UK) ist eine interdisziplinäre Künstlerin, die derzeit in Den Haag (NL) lebt. Sie positioniert Fehlschläge als generative Handlungen und gibt Ausrutschern aus bekannten Sprachen einen Wert. Sie wird ihr neuestes Werk “Pulp of the Sea” aufführen, in dem sie die Praxis des Surfens, des Umfallens und des Schreibens erforscht. Sie untersucht die Beziehungen zwischen ihrem eigenen Körper, dem Wasser und dem Schreiben – als Gefäße, die ständig überlaufen. Der sich bewegende Körper hat keine Kanten: er läuft aus, dehnt sich aus und zieht sich zurück. Durch handgeschnittene Animationen wird überschüssiges Material hervorgehoben wenn die flimmernden Ränder ihres Körpers mit viszeral gemalten Umgebungen verschmelzen. Der Film gleitet über seine eigenen Ränder hinaus wenn sich zwei Darsteller*innen in einem Balanceakt zusammen bewegen, während sie fallen, auslaufen und Bilder verzerren. Gefüllt mit Spannung und dem Noch-Nicht, ist jede Performance einzigartig.


performance by Biba Cole. 
Performers – Biba Cole & Alejandra López Martínez.
Soundtrack – Biba Cole & one-four.
Camera & Editing – Bob Demper & Marnix van Uum.


Biba Cole (UK) is an interdisciplinary artist currently based in The Hague (NL). Positioning failures as generative actions, her practice revolves around ‘slippages’ from known languages. Swimming in pools of excess material – questions of productive action, consumption, language, disgust, and desire emerge.

Greta Alfaro

"He Had Got Certain Vibes"

short film

part of the first short film program on Friday 8pm

A humble still life about the fragility and drama of the everyday and domesticity and the indiferenciation between real life and life in the screen.


Greta Alfaro (Spain, 1977) is a visual artist. She works mainly on video, installation, photography and on site-specific projects. Her solo exhibitions include Decimocuarta estación (2019) at the Fundación BBVA, Madrid, In Ictu Oculi (2019) at the Flint Institute of Arts, Michigan; El cataclismo nos alcanzara impávidos (2015) and European Dark Room (2014) at Galeria Rosa Santos, Valencia; Still Life with Books (2014) at Artium, Vitoria, Spain; In Praise of the beast (2013) at Hiroshima City Museum of Contemporary Art, Japan; and In vencion (2012) at Ex Teresa, Mexico City. Among her solo site-specific exhibitions are I Will Not Hesitate to React Spiritually (2019), with Roaming Room and A Very Crafty and Tricky Contrivance (2012), with Genesis Foundation, both in London, an Co medias a honor y gloria (2016) in La Gallera, Valencia, Spain. She has taken part in numerous group shows in venues like the Whitechapel Gallery, Institute of Contemporary Art and Saatchi Gallery in London; Centro Cultural Banco do Brasil in Brasilia; The Bass Museum of Art in Miami; the Conciergie in Paris, Künstlerhaus Bethanien in Berlin; and La Casa Encendida in Madrid; and in film festivals such as the International Film Festival Rotterdam 2011, Rencontres Internationales Paris Berlin 2020 and 2012, Punto de Vista International Documentary Film Festival of Navarra 2013, and Kassel Documentary Film Festival 2020.

Mariusz Sołtysik


short film at the Trash-Night

Sunday 7th February 8pm

“Invaders” ist das ironische Videoprojekt, das, auf der Basis alter, amerikanischer populärer TV-Sci-Fi-Serien aus den 60ern, einen Kommentar über uns = Menschen ausdrückt. Wir verhalten uns wie die “Invasoren des sterbenden Planeten”, die die Erde übernehmen und zerstören wollen, wie ein Erzähler es ausdrückt. Ich stellte mich vor meine Kamera und nahm mich bis zum ersten Blinzeln auf. Mein Fokus lag darauf, zu versuchen, die Augen so lange wie möglich offen zu halten – ohne zu blinzeln. Jeden Tag bin ich erneut erstaunt wenn ich die Nachrichten von unserem Planeten sehe oder lese – was tun wir?


I am a visual artist (based in Poland) working across a wide range of forms, namely sculpture, installation, video, drawing, painting and photography – presenting my work in various contexts — from gallery spaces through site-specific to public realm. I am the author of documentary movies, from 2011 lecturer at the Academy of Fine Arts in Krakow (Poland) on the Intermedia Faculty. I exhibited my works (more than 100) in Poland and abroad in such countries as Belgium, France, Germany, Italy, Ireland, Iceland, Sweden, India, Australia, Taiwan, Chile and the USA.

Andrew Neil Hayes

"Animals Beginning With P"

short film at the Trash-Night

Sunday 7th February 8pm

Andrew Neil Hayes is a film maker and performance artist based in Bristol, UK. Sometimes he makes films that are performances and other times he makes performances that are films.

His work focuses on the absurdity of the human condition. He frequently wears a suit (as any self respecting professional should), however he likes to see the formal attire as an instrument for freedom rather than restriction. Especially when he can tear it up and cover it in mud or drown it in a lake or set fire to it. The five elements have inherent importance.

His latest film that is a performance, contrasts the modern man with Pigeons, Praying Mantis, Possums and Pigs.


I'm a film maker and performance artist based in Bristol, UK. Playing with the constraints of reality such as time and place, is a particular obsession of mine.

I think of it like fishing for answers. But you only get good answers if you ask good questions, like why don't Dogs wear ties? - I'm sure Laurie Anderson could answer that.

Zoe Dittrich-Wamser

"back to"

installation art

For the exhibition at KiZ Zoe Dittrich-Wamser is installing a phone video. The interaction of fingers with a surface, as experienced interacting with others via phone is linked to a more secretive way of messaging: writing with a finger on somebody’s back. Language gets passed on in a rather sensual way giving space to the layers beneath the mere information.


Zoe Dittrich-Wamser, born 1993 in Gießen, living in Düsseldorf. Studied fine art in Bremen and Düsseldorf, degree in 2019.

Veneta Androva


short film

part of the third short film program on Saturday 8pm

“AIVA ist Künstlerin, belebt durch Algorithmen. Vor allem aber ist sie die ernüchternd beschränkte männliche Tech-Vision davon, wie mehr Diversität im Kunstbetrieb aussehen könnte. In ihrer Malerei bevorzugt AIVA die Vertikale, man feiert Erfolge. Eine „Kunst-Doku“ lässt an ihrem Schaffen teilhaben und nimmt blauäugig jedes Klischee mit. Präzise beobachtet, mit reduzierten Gesten und zielsicherem Witz reflektiert Veneta Androva in ihrer computeranimierten Zukunftsfiktion einen Istzustand.”

(André Eckardt, DOK Leipzig 2020)


Veneta Androva work mixes media sources with paintings, all linked through animation and simulated environments. Born in Sofia, Bulgaria, in 1985, she obtained a degree in history of art and philosophy from Humboldt University Berlin and also graduated in fine arts from Weißensee Academy of Art Berlin.

Vitalii Shupliak


short film at the Trash-Night

Sunday 7th February 8pm

Touch the material side of the device. Dialogue through glass. Who is more real now?


Vitalii Shupliak (*1993, Ukraine) arbeitet hauptsächlich mit Video, Installation und räumlichen Aktivitäten, Gründer der Galerie “Pi”. Wohnt in Polen. Studierte Kunst in Lviv (UA), Gdańsk (PL), Poznań (PL) und Braunschweig (DE). Beschäftigt sich vor allem mit den Themen Spannungen, weit verstandenen Grenzen, Migration und Identität, baut Werke von ökonomischer Form, aber mit breiten Konzepten.

Sherie Sitauze

"mbedzi land, our land, queens land"

short film

part of the second short film program on Friday 9pm

For the black person, the traumas of the past, far and near, will always persist into the present –and, more than likely extend themselves into the future*. For me, it begins around 1270AD: the Mapungubwe Kingdom and VhaVenda of southern Africa. I am in a constant cycle of coming to terms with my ancestral past while simultaneously seeking it in order to mobilise it within the present day. All the while being a long-term resident on this very foreign, western and British soil. Soil I have conditioned myself into understanding as one of my homes since the age of 6. 

*s/o to Jacques Derrida for putting into words feelings I once did not know existed words for.


Sherie Sitauze: b. Bulawayo, Zimbabwe. currently in London, U.K. studying a masters in Fine Art at Goldsmiths, University of London. Sherie’s artistic practice is multidisciplinary and heavily embedded in, and refers itself to post-colonial theories and concepts, it aims to establish and reproduce –if possible, the precolonial histories of Southern Africa.

David Wittinghofer


installation art

„ … i / always / wanted / to dance / > / just / to dance / but / i am not a dancer … “

A person moves, fragmentarily and eratically on an empty stage and is accompanied by a voice that speaks about dance. At the same time, further dancers can be seen in a trashy thunder-storm of images that are connected to various fragments of speech. The two-channel video-installation beyond / performances examines and interprets the relationship between dance actions and linguistic reflections on them through the appropriation of movements and statements by others. An “I”, which is composed of the voices of four choreographers and dancers, speaks from an admiring external position about individual observations, wishes and ideas of dance, thereby setting other figures in motion.

An alternative narration was constructed from fragments of voice-over commentary from a 1980s US television program about postmodern dance and served as a template for a new montage of the footage. This chronological manipulation of audio also influenced the associated images, now interrupting or advancing the dance choreographies through rapid image jumps. The individual fragments of movement were subsequently interpreted by a dancer on camera and could therefore also be strung together in accordance with the alternative and newly recorded text version. 

The found footage video and its performative reconstruction correspond to a text-based choreography, which only becomes visible through the technical means of video editing. beyond / performances proposes what there is still to be discovered beyond what is shown as well as what else could have been said about it.


born 1991, lives and workes in Linz (AT)

since 2009 exhibitions, screenings, projects and performances 

since 2014 study of Fine Arts - applied cultural studies, Linz Art University

Diploma, Fine Arts - Experimental Art, university of art and design Linz

2018 studio grant Salzamt, City of Linz

2019 Talent promotion bonus for interdisciplinary art forms, Province of Upper Austria

Sarah Trad

"10 Celebrities You Didn’t Know Were Arab!"

short film at the Trash-Night

Sunday 7th February 8pm

Das Video zeigt arabische Prominente wie Salma Hayek und Shakira, welche SWANA (South West Asian / North African) Menschen in Schauspiel*innenrollen portraitieren und bei den SuperBowl-Halbzeitshows performen. Zoe Saldana, die ebenfalls stolz mit ihrer Herkunft wirbt, wird aufgrund ihrer Vorbildfunktion für Schwarze Araber*in, welche oft aus der arabischen Gemeinschaft ausgelöscht werden, ebenso dargestellt. Ariana Grande wurde aufgenommen, da ihre kulturellen Wurzeln in den letzten zehn Jahren von italienisch bis “gemischt” fluktuierten nachdem sie einen DNA-Test gemacht hatte, der besagte, dass sie u.a. griechischer und nordafrikanischer Herkunft sei. Obwohl der DNA-Test vermutlich hunderte Jahre von Migration zwischen dem mediterranen Europa und Nordafrika widerspiegelt, beeinflusste er Grandes Ästhetik, die einige als “Blackfishing” bezeichneten.  Obwohl sich manche dieser Prominenten nicht offen als Araber*innen identifizieren, erweitern sie die Wahrnehmung dessen, wie Araber*innen aussehen können und werfen Fragen der ‘racial appropriation’ und Authentizität auf.


Sarah Trad ist Künstlerin und Kuratorin, deren Arbeit sich auf die Gegenüberstellung von subjektiver und objektiver Emotionalität, die Navigation im täglichen Leben mit psychischen Erkrankungen, die Beziehung des Einzelnen zur Popkultur und die Dekolonisierung des westlichen Verständnisses des Nahen Ostens und der arabischen Amerikaner*innen konzentriert. Als lebende Verkörperung des Zusammenhangs zwischen chronischer Depression und Binge-Watching-Praktiken eignen sich ihre Videoarbeiten “tiefgründige, aber übersehene” Momente aus Filmen, Musikvideos und dem Internet an und manipulieren diese. Sarahs Videoarbeit nimmt mediale Darstellungen von Personen aus dem Nahen Osten, Nordafrika und den arabischen Ländern und manipuliert sie mit Hilfe von Computereffektprogrammen um neue abstrakte Werke zu schaffen. Durch diese Veränderung des Kontextes hofft sie, falsche Vorstellungen von MENA und arabisch-amerikanischen Menschen abzubauen und die Schönheit ihrer Herkunft und ihres Volkes zu zeigen. Ihre Arbeit erforscht ebenfalls das Konzept der “vererbten Trauer”, das besagt, dass Traumata durch biologische oder verhaltensbedingte Mittel an zukünftige Familiengenerationen weitergegeben werden, so dass Familienmitglieder Restauswirkungen von Traumata erfahren, welche sie nicht selbst erlebt haben. Im Besonderen konzentriert sich ihre Arbeit darauf, wie der Tod ihres Großvaters, eines arabischen Amerikaners, in ihrer Familie väterlicherseits Wellen psychischer Krankheit und verzerrter kultureller Identität verursachte. Sarah hat einen BFA von der Syracuse University und studierte an der Film and Television School of Performing Arts (FAMU) in Prag, Tschechien. Sarahs Arbeiten wurden auf dem Strangelove Time-based Media Festival (Folkestone, England), Woman Made Gallery (Chicago, IL), The Front (New Orleans, LA), Rendezvous With Madness Festival (Toronto, ON), Big Muddy Film Festival (Carbondale, IL), The Warehouse Gallery (Syracuse, NY), Kitchen Table Gallery (Philadelphia, PA) und dem Everson Museum of Art (Syracuse, NY) gezeigt.

Jeanne van Eeden

"Finding Eva"

short film

part of the third short film program on Saturday 8pm

Finding Eva is an (auto)biographical essay film that addresses the language-robbing mechamisms of sexualized violence and counters them with the self-empowering decision to speak. 

The point is not to join #MeToo, but rather, in the sense of MeToosa, to let the language-stealing voices petrify and, as women who have become subaltern through experiencing sexualized violence, to lift themselves up into the Olympus of speakers. At least for the length of the play. So it's about the right to speak. Strictly speaking, it is about being heard, since speaking alone does not mean having a voice and prevent one from falling into an eloquent silence. 

The mediation of an (auto)biographical perspective on reality gives voice to the contact with the world that precedes any reflection on the world and is thus able to change the established construction of reality, in which sexualized violence is tolerated at best as a passe-partout.

Because the autobiographical work of art entitles to speak and simultaneously promises to be heard. And what is and makes more powerful than this entitlement? It is so powerful that one feels disempowered when it appears uncertain or unstable. And so powerful that it makes you overcome the fear of speaking and empower yourself again. In this empowerment, in turn, lies the disempowerment of the oppressors and all their accomplices, since claiming the right to speak and to be heard cuts the Gordian knot that chains together silincing psychologisms and social mechanisms supposedly inseparable.

‘Finding Eva’ zoomt rein in das Innenleben junger Frauen, zoomt raus auf ihre Körper und versucht dabei, den Blick auf beides einzufangen. Freigelegt und entfaltet, entblößend und (selbst)darstellerisch.


Jeanne van Eeden: lives in Cologne. Currently studying there at the Academy of Media Arts. She is researching ways to turn the channels of subaltern voices louder and the channels of hegemonic voices quieter. Apart from that, all good! 

par1s1en, where are you? (Ahmad Masoud and Olufemi Atibioke)

"Ti amo mi amor Imolito"

short film

part of the third short film program on Saturday 8pm

“Ti amo mi amor Imolito” (2020) ist ein Kurzfilm des Künstlerkollektivs “par1s1en, where are you?” und stellt eine poetische Liebeserklärung in einer fragmentarischen Erzählweise dar. Die Verwendung verschiedener Produktionsmittel und Found Footage, aber auch die Ästhetik und die authentischen Charaktere ergeben eine unkonventionelle Filmkomposition, die sich jeder einfachen Klassifizierung entzieht und vorherrschende Sehgewohnheiten in Frage stellt. 


Ahmad Masoud: Hamburger. Lebt in Leipzig. Alles gut.

Olufemi Atibioke: Personification: Somewhere between Ütersen and New York.

André Guiboux


short film

I expect the light to shine on me.

I expect an image to stare at me.

I expect a gesture to discharge me.

                              Sardanapale burns his kingdom so that nothing can survive him.

                              I open a door and something else goes by, witness on hold.

                              We speak in one world but we see in the other.


Born in 1987, André Guiboux graduated from the art school of Grenoble with the congratulations of the jury. He lives and works between Paris and the south of France.

Erotic, political or oriented towards the sacred; the artistic practice of André Guiboux crosses a reflection on the role and power of images through a succession of passionate gestures which unloads him and attaches him to the world; in order to find, a moment perhaps, a primitive unity between things. His artwork has been exhibited at the 5th Orient'Art Express Festival of Oujda, the 17th Biennial of young creators of Europe and the Mediterranean in Milan, the 32nd Winter Festival in Sarajevo, during The Others the art fair in Turin with the Pauline Pavec gallery and recently at the frac-Centre Orléans.

Finn Rabbitt Dove

"vendor beast"

short film

part of the second short film program on Friday 9pm

Standing in the dim light, in a void of blue, dwarfed by a presence as strong as it is vulnerable - instincts are restricted by glass.


Geboren in London und derzeit in Glasgow ansässig. Finn Rabbitt Doves Arbeit spiegelt ein anhaltendes Interesse an der Interaktion von menschlichen und nicht-menschlichen Tieren in einer Welt von zunehmend fabrizierten Landschaften wider. Mit einer dokumentarischen, sich auf Feldaufnahmen stützenden Herangehensweise an das Filmen unterwandern Elemente der Fantasie und des Humors die massenmediale Darstellung von “Natur”. Durch seine Ausgangspunkte in Malerei und zoology, he uses these fields of knowledge to speculate upon what this world is.

Charlotte Oeken

"Against the Romance of Community"

installation art

Ein Wimpernschlag des Schwebens, der Weite, des Ausbruchs. Nichts ist gewiss, außer die Ungewissheit. Bilder sind Bilder, sie brauchen keine Erzählung. Schnappschüsse, in denen die Zeit ihre Bedeutung verloren hat. Etwas bricht, etwas anderes ist noch nicht da. Und dazwischen das Gefühl, alles sei möglich. Sich auflösende Identitäten. Es ist ein Kampf. So viel man auch zu wissen glaubt – das Unbekannte lässt sich nicht vorhersehen. Was können wir also daraus lernen? Wie können wir die Idee einer visionslosen Vision in unsere offenen Arme schließen? Und während wir versuchen, unsere Umgebung zu verstehen, vergessen wir, wonach wir eigentlich suchen. Ich schaue von oben, ich schaue von innen. Wir träumen von einem utopischen Ort, aber wir wissen, dass es ihn nie geben wird. Und wir geben uns dieser Illusion hin, während wir uns fragen, was oder wer dieses “wir” ist, von dem wir sprechen. Ich sehe dich. Ich sehe dich. Ich sehe dich, ja, das tue ich.


Charlotte Oeken beschäftigt sich in ihren Multimedia-Performances mit der Dekonstruktion kollektiver Narrative. Sie studierte Regie an der ZHdK Zürich, Schweiz und an der School of Visual Theatre, Jerusalem, Israel. Sie gründete das Performance-Kollektiv “service not included” und die Musikplattform MuscleCat Records. Ihre Arbeiten wurden u.a. am Münchner Volkstheater, Theater Neumarkt Zürich, Machol Shalem Jerusalem gezeigt. 

Gil-li Menkes is a multidisciplinary artist, currently based in Haifa, Israel. In her works she explores and investigates rituals, spirituality and healing powers. As a visual artist she creates collages and develops several alter ego and characters with which she performs in different events and performances. 

Connected Realities 
(Giorgi Gedevanidze, Phaidon Gialis, Seongmin Yuk)

"Connected Realities"

installation art

The proverbial adoption of other perspectives is the concept underlying the installation Connected Realities: The participants of the installation are connected to each other via VR headsets, but instead of seeing virtual realities they look through each other's eyes. Each headset shows the perspective of another participant in the experiment. What this circumstance means for further collaboration is shown in the subsequent Installation, in which perspectives literally collide.


Giorgi Gedevanidze, Phaidon Gialis und Seongmin Yuk sind drei in Köln lebende Künstler. Sie haben sich im Interesse zusammengefunden, mit der Verbindung zwischen Perspektive und Wahrnehmung und der Interaktion zwischen Raum und physischem Körper zu experimentieren. Ein Hauptinteresse ihrer Arbeit ist das Konstruieren von interaktiven Räumen und Umständen, sowie die Erforschung von physischer Verkörperung und Kommunikation. Mit dem Projekt ‘Connected Realities’ experimentieren sie mit ihren selbstgebauten Brillen auf interaktive und performative Art und Weise.

Jack Wormell

"Crumbs #3 (Cinema Trailer)"

short film at the Trash-Night

Sunday 7th February 8pm

A parodic cinema trailer voiceover is paired with footage of a beach in south-west Ireland, filmed in the summer of 2019. The image and sound really have no connection with each other, which is the point, and hopefully the badly delivered bombast of the voiceover is humbled by shining banality in amateur camerawork, seaweed, surf, and sand. This is the third in a series of 16mm films called Crumbs, which I use to explore and experiment with different techniques and textures. The dog is called Monster. The camera had a broken shutter.


Ich mache kurze, landschaftsbasierte Filme, in denen Straßenschilder, Bäume, Architektur und Orte wie Parks, Autobahnen und Stadtrandgebiete durch Kameraführung, Schnitt, Text, Voiceover und Soundcollage aufgeladen und reaktiviert werden. Mich interessiert die Grenze zwischen dem Gewöhnlichen und dem Außergewöhnlichen: die Bewegung und die Farbe einer verstopften Stadt, die unheimliche Euphorie der Autobahn, die belanglosen Erinnerungen, die Orte hervorrufen können. Meine Filme überhöhen diese sensorischen Momente in einer euphorischen Rückgewinnung des Alltäglichen, die sich einer “Amateur”-Ästhetik wie Bewegungsunschärfe, Belichtungsänderungen und eingefrorenen Bildern bedient. Die Form jedes Films variiert, von offenkundig humorvoll bis hin zu abstrakteren und hinterfragenden Tönen, aber die Überschneidung zwischen dem Alltäglichen und dem Transzendenten liegt allen Filmen zugrunde. Die Filme wurden beim London Short Film Festival, Barbican, Whitechapel Gallery, BFI, Transient Visions, Exploding Cinema, Flatpack Festival und Aesthetica Film Festival gezeigt. Lebt und arbeitet in London.

Kati and Jens Bruder (dipol-visuelles spannungsfeld)


installation art

"The viewer's perspective functions as a prerequisite for the construction of the "Other" within our cultural system." The discourse of spectatorship generally characterizes the gaze as desire and implies a split between "desiring subjects" on the one hand on the one hand, and "objects to be desired" on the other. This separation is increasingly overcome by the "transgression of the increasingly blurred boundaries between exclusive object constitution and coherent subject nature". "Seeing" and "being seen" are given a special role in the "structures of desire" of "Spectatorship (SYN.Idle)", as the object can function both as object and as subject or as both at the same time. The observing persons are part of the whole, without being able to determine this themselves. The, according to Plato, "divine quality" of the human being, "the viewing of the viewing person" is led ad absurdum in "the viewing of the viewing person who views the viewing person" and so on. The beholding of the beholders is an interplay of the constellations of the gaze and projection relations. By looking at the screen, the "subject" is synchronously switched, i.e. transformed into an "object" to be desired.


Kati Bruder Kati Bruder (1978, Graz) studied at the Academy of Fine Arts Vienna (graduated in 2015), where Peter Kodera taught her how to use a camera. Since 2003 she has been working as a freelance photographer with a focus on portraits. In her photo series Kati Bruder explores the ambiguity of visibility, searching for answers to the following questions: how do our social status and gender affect our visual perception? What are we allowed to see by whom? What role is played by the symbolic significance of the gaze and what poses do we strike as soon as a camera is pointed at us? Kati Bruder lives in Vienna and works internationally.

Among other accolades, she was awarded the Austrian State Scholarship for Artistic Photography in 2017 and in 2015 the Advancement of Photography Prize by the City of Graz, the Audience Award at the Wiesbadner Fototage, and the commendation of the ‘architekturbild’ European Architectural Photography Prize. Exhibitions at home and abroad include: MAK– Museum of Applied Arts, Vienna; Museum of Photography/Helmut Newton Foundation, Berlin; DAM – Deutsches Architekturmuseum, Frankfurt; Clervaux – cité de l’image, Luxembourg; Literature Museum, Odessa; StageOne, Zurich; Arebit Gallery and Getty Images Gallery, London; Alkatraz Galerija, Ljubljana.

Jens Bruder Jens Bruder (1977) studied Media System Design at FH Darmstadt (graduated 2003). He has been working with moving images in combination with sound since 1998, first analog as a VJ in clubs, later for theater productions and art installations. Jens Bruder combines creativity with technological know-how. As 'Head of Creative Engineering' he manages and develops international media installations with innovative strategies for the company Nous Wissensmanagement GmbH. Jens Bruder lives in Vienna and works internationally. 

With the innovation project NOUS Sonic he, together with his team, was awarded the 2nd place of the Austrian State Prize for Design and Communication. Video performances and installations at home and abroad: including Jewish Museum Berlin, Jewish Museum Vienna, MAK Vienna, Natural History Museum Vienna, Danmarks Borgcenter Vordinborg, IG Bildende Kunst Vienna, OÖ Kunstverein Ursulinenhof Linz, Urban Art Forms Festival in Wiesen, Club Delphin Vienna, WUK Vienna, ESC Graz, Burgruine Reinsberg Lower Austria, Louvre Abu Dhabi UAE, ...

Robin Lopvet

"Voyage, Voyage, Voyage"

short film

part of the second short film program on Friday 9pm

Robin Lopvet kreiert Animationsfilme Bild für Bild in einer experimentellen Animationstechnik, die sich auf die Umnutzung von Werkzeugen der digitalen Retusche konzentriert – eine Technik, die er als einziger anwendet. Diese Technik ist eine Brücke zwischen Standbild und Video, das sich in den so genannten “fotografischen Film” einordnen lässt. In der hier vorgestellten audiovisuellen Arbeit wurden die verwendeten Meisterwerke der Malerei entmaterialisiert um in die Web Hall of Fame aufgenommen zu werden. Sie haben sowohl ihren Status als Kunstwerk verloren, der sie von der Reproduktion in der Fotografie unterscheidet, als auch ihren physischen Status als Kunstwerk, wodurch sie auf den gleichen Rang wie ein triviales Bild zurückgestuft werden. Losgelöst von Hierarchie oder Ehrerbietung hat Robin Lopvet allerlei Arten von Landschaftsbildern im Internet gesammelt und animiert sie zu Remixen; sie werden ausradiert, überlagert und in einem “Remix” neu zusammengesetzt, in einem organischen, jubelnden Tanz. Wie das Lied Voyage sind sie zu berauschenden Refrains geworden, deren Bezug uns verloren gegangen ist, wie Worte, die aus ihren Werken herausgelöst und zu einer langen oulipianischen Tirade recycelt werden. Getrieben vom Konsum der Produkte, macht Robin Lopvet paradoxerweise eine Hommage an diese körperlosen Bilder. Keine Geschichte mehr, kein Autor mehr, keine Heiligkeit mehr. Voyage, Voyage, Voyage, Reisen innerhalb einer trivialisierten Kultur, die aufgewertete Version eines Wunsches nach Flucht, ein unendliches Ritornell.


Robin Lopvet is a multimedia visual artist working on the issues of language games, economics of recovery, parody and playfulness. Everything he makes comes close to an immense and serious parody, without cynicism. He lives and works on the Internet.

Maya Wallis

"I’m not sure if this feeling of being able to dance will come about again"

short film at the Trash-Night

Sonntag, 06.02., 20 Uhr

Dressed in a red jumpsuit and boots, the artist sich die Künstlerin in her bedroomHer eyes are shut and the music, Hounds of Love – Kate Bush, is playing through headphones, the sound consuming her whilst she sings out loud and begins to dance. Exploring the bodily experience of excitement and its effects on the body, the artist tunes into how she feels when listening to the song. The dancing is unchoreographed, messy, unrehearsed - her instinctive reaction to the beat and Kate's voice. The short, one take film, originally planned as a live performance, was recorded during the Covid-19 Lockdown. Dancing in the middle of a pandemic, the artist attempts to find excitement amongst the uncertainty, the solo performance creating a strange sense of heightened intimacy.


Maya Wallis explores the bodily experience of excitement: its essence, intimacy and effects on the body. She focuses on analysing the internal adrenaline rush found in small acts such as listening to music, dressing and dancing in her room. She constantly questions how to allow an audience to witness these private moments contained within her body.

Heather Warren-Crow


short film

part of the first short film program on Friday 8pm

Between experimental film, video art, and performance art, reCAPTCHA (2020) is a disorienting story of bodily trauma. The text of the video is a message the artist sent to a Canadian city police department via an online contact form. To make the voiceover, the artist read this text aloud while listening to herself on headphones at a small delay. The echo makes the resulting voiceover disorienting, emphasizing the ways in which the story of an injury can't adequately be told.


Heather Warren-Crow is a performance artist based in West Texas in the United States. She has exhibited her work in galleries and performance spaces, on monitors and on stages, in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Taiwan, Trinidad and Tobago, and across Europe and the United States.

Karl-Heinz Mauermann

"brain shots / was einem durch den Kopf schießt"

short film at the Trash-Night

Sunday 7th February 8pm

A cross old man grumbles and prates about neighbours, country and people. He knows: Everything was better in the olden days. An English and German version of the video enhance each other and combine to a film that proves stupidity and loneliness to be international phenomena. The images used were derived from family albums, combined with found footage from archives.


Karl-Heinz Mauermann arbeitet konzeptionell. Er entwirft Ordnungssysteme für eine chaotische Welt und bedient sich dabei der Bildenden Kunst und ihrer Grenzbereiche zur Literatur und zur Musik. Die von ihm benutzten Medien reichen dabei von der Zeichnung über Collage, Computergrafik, Rauminstallation bis zum Video. Mitte der 1980er Jahre schloß er das Studium der deutschen Sprach- und Literaturwissenschaft, der Philosophie und der Kunst ab. Seither waren seine Arbeiten in einer Reihe von Ausstellungen in Deutschland, aber auch international zu sehen. 1987 erhielt er den Sonderpreis des Max-Ernst-Stipendiums für das Videotape “Aren’t we drawing such lines whenever we move?”

Anna-Maria Nabirye and Annie Saunders

"Up In Arms"

Saturday 6th February, 18:30-19:45

Anna-Maria Nabirye and Annie Saunders produced this video for the live performance at the hungry eyes festival 2021.


Up in Arms is a transmedia performance project that removes the boundaries between process and product, utilizing performance, visual art, and social practice. Participants are invited to re-embody and re-create the iconic 1971 portrait of activists and friends Dorothy Pitman-Hughes and Gloria Steinem, which creates a space for meaningful dialogue around racism, feminism, and friendship. For hungry eyes festival the artists will be taking the archive documentation of the project, including the intimate portrait and dialogue experience for two people at a time, editing the sound and visuals separately and syncing it for the first time for this online audience. They will also hold a talk back discussion exploring the connections and disconnections in the work and their own relationship to it.

portrait gallery

The artists remember moments from the experience with each pair of participants and reflect on these moments as they relate to the project’s development.


Anna-Maria Nabirye
Acting work includes the BBC, DNA Films & The National Theatre. Collaborative film works include Hold Your Ground (Film & Video Umbrella) & The Scar (London Film Festival).

Co-founder of AfroRetro a fashion and participatory company focusing on fashion as a stimulus for identity and cultural exploration; commissioned by Yinka Shonibare’s Guest Projects, The Black Cultural Archives, Southbank Centre & The V&A. Anna-Maria is currently on attachment with the Whitstable Biennale. 

Annie Saunders
Her company Wilderness, has presented its immersive performance The Day Shall Declare It site-specifically in Los Angeles and London. They have also presented work at REDCAT and the Getty Villa and created commissioned work for Asics and Mastercard. Annie has devised and performed original work with Neil Bettles, the Lyric Hammersmith, Bush Theatre, Latitude Festival, Queen Mary University, Boston Court Theatre, Son of Semele and Theatricum Botanicum. She is a core collaborator with Lars Jan’s Early Morning Opera on Holoscenes and other works.