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Place People at Spectacle Theater
June 30, 2022 @ 7:30 pm – 8:30 pm UTC-5
Fluxers filmmakers Patrick Topitschnig and Catalina Alvarez will present a selection of films at Williamsburg’s cooperatively led Spectacle Theater.
Purchase tickets at this link.
wherethereisawill, 2005, Video, 2:42, Austria, Patrick Topitschnig
Carusel, 2017, Video, 5:47, Romania, Patrick Topitschnig
KRIPPE/CRIB, 2012, Video, 6:06, Austria, Patrick Topitschnig
Mark&Garry, 2013, Video, 7:20, Australia, Patrick Topitschnig
FELD, 2019, Video, 5:21, Mexico, Patrick Topitschnig
Sound Spring Seq. #3, 2020, Video, 10:50, USA, Catalina Alvarez
Sound Spring Seq. #6, 2020, Video, 11:03, USA, Catalina Alvarez
Paco 2016, 16mm film transferred to Video, 12 min, USA, Catalina Alvarez
RUMOR MACCHINA, 2009, Video, 2:44, Austria, Patrick Topitschnig
schnitzl, 2006, 15sec, Video, Austria, Patrick Topitschnig
Approximate runtime: 65 minutes.
Co-Presented by Flux Factory
Catalina Alvarez makes choreographed films and experimental musicals. In her anthology documentary, Sound Spring, residents of Yellow Springs, Ohio become actors lip-syncing to their own interviews, narrating their village’s role in American history over hundreds of years. Her 16mm shorts include Paco, the story of a man who wants you to bounce on his lap. With this film and all her others, Catalina Alvarez gets to know her neighbors.
Patrick Topitschnig is an Austrian filmmaker and audio artist whose works also include collaborations with theatre projects.
“A kind of black humor pervades Patrick Topitschnig’s videos. Like in the horror-movie genre he works with audiovisual situations which affect the bodies of the spectators, provoking an uncertainty, sometimes a slight restlessness. Precisely composed images expose their own constructedness and testify to the artist’s interest in cinematic duration. Occasionally, this duration becomes a metaphor for the literal “lifetime” of protagonists, objects, and buildings. All aspects of cinematic sound – a composed score, music, spoken language – are used to reflect the connections between image and narration creating a very specific atmosphere, whereas the “real“ backstory of a work is often revealed much later, be it the history of an abandoned salt mine in Romania or a portrait of a high-tech funeral home in Australia.“ – Claudia Slanar