Ghost Hits Wall

Ghost Hits Wall

Ghost Hits Wall at Pavillion0. at Architecture Biennial Venice

Video Installation, 10’38’’, 2021

Image: Ella Raidel / Sound: Sander Saarmets

Ghost Hits Wall from Ella Raidel on Vimeo.

Ghost Hits Wall is part of an art-based research project on Chinese ghost cities under the title Of Haunted Spaces (2016-2019). The footage was shot in a combination of acting and documenting to indicate the phantasmatic aspect of global capitalism. In China, the need to maintain and boost economic growth in its surplus production results in cities being built more than needed. The subject investigated is how global capitalism is affecting and haunting the living conditions of our time. Urban spaces, which were once a grandiose vision for boosting prosperity in the collective fantasy, have now become exhausted and empty sites.

www.hauntedspaces.net

We Will Always Have Paris

We Will Always Have Paris

Ein verdichtetes Bild des Unheimlichen: Wo sind wir, wann sind wir, entsteht hier etwas oder verfällt es bereits? Ella Raidels We’ll Always Have Paris spielt mit der Orientierung, die Architektur bieten kann, und ihrem Gegenteil: ein Eiffelturm im Nirgendwo, aus der Zeit gefallen, im Raum versetzt – ein Zeichen für eine Gegenwart, in der immer alles da und zugleich abwesend ist.

We will always have Paris, 4 Min., 2020 (Image: Ella Raidel; Sound: Sander Saarmets)

Crossing Europe Fimfestival Linz, Experimental Shorts, 04.06. –11:45

Diagonale Graz, Innovatives Kino, Schubertkino 1: 10.06.– 10:30; 12.06.– 19:30

Höhenrausch Linz, 06.05.- 17.10.2021

Paris is not necessarily the first choice as the setting for a ghost story. The excessive romance of the French metropolis’ cultural symbols renders them simply unsuitable as backdrop for horror stories. But that’s not the case in Ella Raidel’s four-minute short film, which arose in the course of her extensive research project Of Haunted Spaces and refers to an upcoming feature film project. In We’ll always have Paris, the Eifel Tower, Champs-Élysées, magnificent fountains, and trimmed hedges stand as faux French in the hazy rain of Tianducheng. The residential complex located in the suburbs of the Chinese megapolis Hangzhou is one of the countless, largely unpopulated pop-up sites that sprung up overnight through high-speed real-estate speculation. In Raidel’s film, the Eifel Tower is the anti-gravity center of a phantom zone furnished with stark high-rises, parking areas, and gardens—an urban proposition that amounts to nothing. As the camera focuses on the building clone and its surroundings from various perspectives, the film suddenly changes tone. A woman who at first is visible only from behind enters the urban planning remake. Through a construction site corridor, she enters a conference space, improvised by partition walls, from which the view of the tower’s base condenses to an image of the uncanny. Like the pastiche in Tianducheng, We’ll always have Paris also contradicts the logics of representation; the film itself becomes a simulation of an architecture film, of a capitalism critique, of a ghost story: as they say in the film classic Casablanca, “We’ll always have Paris.” But what do we have here? (Esther Buss)

Distributed by Sixpackfilm Vienna

Play, Life, Fight

Play, Life, Fight

60 seconds of the short film PLAY, LIFE Series as a trailer for CHICAGO INTERNATIONAL FILMFESTIVAL –> “Because Everybody Loves Movies”

BERG

BERG

BERG (25 Min., 2016) is a journey with a floating mountain.

During the 2015 edition of the Festival der Regionen in Upper Austria, a group of artists made an imposing wooden model of a mountain that was then transported across a lake taking a journey for 10 days. This floating vehicle became a platform for cultural exchange, welcoming musicians, writers and visual artists to collaborate. The film BERG (25 Min., 2016) using this experience to create a hypnotic and evocative visual poem.

Montage/Realisation: Ella Raidel; Kamera: Martin Putz; Text: Karin Peschka; Sound Design: Sander Saarmets; Sound: Richard Eigner, Billy Roisz; Choreography: Jianan Qu; Cast: Sonia Borkowicz,Viltė Švarplytė

Recent Screeenings –> Crosssing Europe Filmfestival Linz 2016, Trento Filmfestival Italy 2016

COMING UP:

moviesinwonderland

Installation at Tankstelle Dametzstrasse/OK Center for Contemporary Art Linz during Crossing Europe Filmfestival with Clemens Bauder/Felix Ganzer:

berg_ok_2016_01

berg_ok_2016_02

Fotos: Gregor Graf

 

Play Life Series

Play Life Series

Playlifesm Playlife02sm

PLAY LIFE SERIES 玩命系列, 2012, 11 Min., HD

It opens with a traditional Chinese sword fight. Two men in armor carefully exchange choreographed blows while twirling elaborately through the air. Upon closer inspection, the chords with which their bodies are lifted into the air become visible.

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Family Affairs

Family Affairs

Family Affairs (2 Min., 2010) Play and fight of a family at night.

Mozambique, 2010, Camera/Editing: Ella Raidel, Sound by Matchume Zango

 

Slam Video Maputo

Slam Video Maputo

SLAM VIDEO MAPUTO, 27 Min., 2010

In cooperation with the International Filmfestival Rotterdam ‘Forget Africa’

SLAM VIDEO MAPUTO investigates the making of self-image in media of Mozambique where its popular culture mirrors the intersection of global and local cultures that unparalleled social and economic relations are deployed. The film shows the cultural practice of Afro-pop, where gangsta rap, hip-pop, poetry slam and traditional music are fused and reversed as well, in order to illustrate its economic and political dimensions.
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Somewhere, late afternoon…

Somewhere, late afternoon…

‘Somewhere, late afternoon…’ Video, 11 min., 2007, Ella Raidel/Hongjohn Lin

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An architecture model is used to represent a typical living space found commonly in Taipei. The setup suggests the model as a real building well placed into the oriental landscape, suggesting a harmonious and ideal relation to the nature. Florescent lights turn on and off in the building and the camera slowly unfold the building complex partially in order to celebrate the seduction of dwelling in such space and its surrounding. The buildings appear slowly out of the landscape and merge in darkness to create an act of pure gaze onto the projected image. What rendered is not a complete picture of the building, but a partially seen object, visualizing the desire of living in contemporary times.

Distributed by Sixpackfilm Vienna

‘Somewhere, late afternoon…’  was commissioned for the exhibition ‘Discovering the Other [curated by Gertjan Zuilhof], International Film Installations at the National Palace Museum Taipei
Participating Artists: Merilyn Fairskye, Apichatpong Weerasethakul, Tsai Ming Liang, Yael Bartana, Deborah Stratman,Edgar Honetschlaeger, Ella Raidel/Hongjohn Lin

Further Screenings:

Breaking Ground
60 Years of Experimental Cinema from Austria [curated by Brent Klinkum]
2012, UCLA Cinema + LA Filmforum, Anthology Film Archive New York […]

Milano 2015, Filmmaker Festival
A to A: perspective on Austrian Avant-Garde

Trophäen des Alltags

Trophäen des Alltags

Trophäen des Alltags I.+II., 1997/98, Video 3 Min./10 Min.

Ihre Bildsprache entwickelt Ella Raidel ausgehend von vorgefundenem Bildmaterial. Damit löst sie in ihrer Videoarbeit „Trophäen des Alltags“ die Grenzen von Intimität und Voyeurismus auf. Menschen und Landschaften blitzen kurz auf, um dann im Sog der Bilder zu verschwinden.

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