an event dedicated to contemporary practices of the moving image.
Centre Wallonie Bruxelles – Screening – Thursday 5 May – 6pm
A collaborative Virtual Reality project by Ella Raidel (Austria/Singapore) and Hyun-Suk Seo (South Korea) Saturday 26 March, Work-in-progress presentation, 2:00 – 6:00pm, Residencies Studios, NTU CCA Singapore, Blk 38 Malan Road, #01 – 07
The Insensible Cities is a collaborative cinematic Virtual Reality project by Ella Raidel and Hyun-Suk Seo based on the two artists’ ongoing research on the ways human senses interact with modernist architectural ideas in different Asian cultures. Incorporating elements of performance in the most advanced capacities of VR technology, The Insensible Cities results from the artists’ shared interest in addressing and challenging the ideological and historical frameworks that govern one’s origins and identities. Through the sensory documentation of the multiple layers of time, memory, perception, and ideas, The Insensible Cities is a unique VR experience that reintroduces, reinterprets, and restructures the changing dimensions of everyday life in Asia beyond the conventions of cinema and performing arts.
The Insensible Cities is supported by Arts Council Korea (ARKO) and International Arts Joint Fund Korea-Singapore International Exchange Program. NTU Cohass Arts and Humanities Research Grant, ADM School of Art, Design, and Media.
Video Installation, 10’38’’, 2021
Image: Ella Raidel / Sound: Sander Saarmets
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.
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. 2021 –11:45
Diagonale Graz, Innovatives Kino, Schubertkino 1: 10.06.2021– 10:30; 12.06.– 19:30
CINETEKTON 8, Festival Internacional de Cine y Arquitectura, Mexico City, 2021
Architecture Film festival Lund/Sweden, 2021
Antimatter – International Media Art & Experimental Cinema Festival, 2021
Rencontres Internationales Paris, 05.05.2022
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)
60 seconds of the short film PLAY, LIFE Series as a trailer for CHICAGO INTERNATIONAL FILMFESTIVAL –> “Because Everybody Loves Movies”
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
Installation at Tankstelle Dametzstrasse/OK Center for Contemporary Art Linz during Crossing Europe Filmfestival with Clemens Bauder/Felix Ganzer:
Fotos: Gregor Graf
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.
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, 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.