4K video, 85 minutes, starring Christian Serritiello, Eva Ferox, Marilena Netzker, Maria Hengge, Shaun Lawton, Helena Prince, Denis Lyons and many more
A Fleischfilm and Tropical Grey Pictures production
FLESH CITY is a hostile place but it has great clubs… where not only beats are pulsating. In one of these dance temples, located at an abandoned industrial site, Vyren hooks up with Loquette. They explore the underbelly of the venue and fall into the trap of Prof. Yagov, the resident mad scientist who preys on lost and drugged out fashion victims. As he introduces them to mutation and mayhem the whole city gets infected. Soon everybody in FLESH CITY will be connected… via flesh link.
„FLESH CITY is a Trojan horse of a film. It starts as a genre movie but slowly derails into manipulating the audience’s mind. You come to realize that you yourself are the real victim of the film’s mysterious mad scientist character. After the visually intense finale one can only wonder as to what extent your brain has been altered and for what purpose. It’s hard to shake off the feeling of having been brainwashed.”
“A wild, distorted fever dream of a brutalist city exploding into flesh. Rapid, machine gun fire editing and an infernal soundtrack create an unforgetable trip overriding the senses of even the most desensitized image consumers.”
HD, 5:45 minutes
Individual elements from a carrier of visual information have been isolated to construct alternative visual reagents. Repetition (in space and in time [and in moderation]) is administered as a binder to tame the wild particles in motion, evoking a golden ratio of the mind’s eye.
Using historical imagery on a historical film carrier as the building blocks for an alternate reality, the influence conserved history has in building our present and thus the future is suggested.
Best Experimental Film at Cinema Perpetuum Mobile 2015 [Belarus]
Third Prize at Montreal Underground Film Festival 2015 [Canada]
Honorable Mention at ZOOM 2015 [Poland]
HD, 12:42 minutes, starring Lise Ivanouw, Daniel Scheimberg, Timo Fleisch and Thorsten Fleisch
A surreal escape of a disintegrating mind into neon-lit nightmares from a discarded future. Suddenly interferences from sub-particle proliferation occur within the protagonist’s body, a transformation can’t be avoided.
This exploration of cinematic space within an implosion of cerebral space is a daring tale of aliens, experiments on humans, video games and mutation. It is showering the unsuspecting viewer in handmade visual and aural stimuli from planet Fleisch.
Award for Best Experimental Film at Euroshorts 2012
HD, 10:06 minutes
A meditation on speed. The ephemeral phenomenon becomes palpable as a speed sculpture begins a relativity drive along space-time avenues.
– Best Videoart at Visions from the Future 2010 Iridescent Worlds
Dromosphäre is available on DVD on the Animation Avantgarde compilation DVD.
DV, 6:02 minutes
The source material is a found footage super 8 film. The visual carrier was attacked in a multitude of ways. It was scratched, cut open and violated. I captured an attempt to screen it. There it burned and was destroyed by the projector. Sorry little film. With the video footage I provoked the encoding. As a result some pixels were dislocated. In the end I reshot the film from the monitor while I somehow angered the cables that connect the monitor with my computer. That all may sound very negative to you but the goal was an almost humanist one: Unification of the digital with the analogue world. They seem so far apart and yet they aren’t. By exposing every material’s weaknesses and injuries it was made one. It’s all visual sensations in the end. Rita Hayworth grindedly sings along.
An online review by Eye For Film [Josh Morrall] here. Another online review by Academic Hack [Michael Sicinski] here.
HD, 2:28 minutes
A short commissioned by Red Bull for their X13 compilation. It’s my little hommage to Tsukamoto’s Tetsuo and Cronenberg’s Films;-)
HD, 5:03 minutes
From a mere technical point of view the TV/video screen comes alive by a controlled beam of electrons in the cathode ray tube. For ‘Energie!’ an uncontrolled high voltage discharge of 30.000 volts exposes multiple sheets of photographic paper which are then arranged in time to create new visual systems of electron organization.
Music by Jens Thiele.
-Best Experimental Film at Fargo Film Festival
-Best Experimental Film at Dotfest
-1. Prize at In Out Festival 2009
-1. Prize at FLEXfest 2009
-Special Jury Mention at Film Anca 2009
-Emerging Experimental Video Artist Award at the Ann Arbor Film Festival
-Jury’s Choice First Prize at Black Maria Film & Video Festival
-Special Award at Optica 2007
-Best Visual Award at Fantoche 2007
-Special Mention at the International Festival of Animated Film Stuttgart 2008
-Best Visual Work at Vallecas Puerta del Cine
-Best Video at International Videofest Bochum
-3rd Price at Movies and Stills
-3rd Prize at Formula Mundi
-Best of Abstract Panorama at the Melbourne Int. Animation Festival
-Honorary Mention at the Milano Film Festival 2007
-Honorary Mention at Abstracta in Rome
-Honorary Mention at 25 FPS in Zagreb
-Honorary Mention at Flensburger Kurzfilmtage Tricky
-Honorary Mention at Visual Music Award Frankfurt
-nominated for Best Experimental Short at San Joaquin Film Festival
Energie! is included in the Aurora Edition 1 DVD compilation, 10 ans de Labo DVD, the Ann Arbor Film Festival DVD Time Pieces, the Black Maria Festival DVD, Expérience(s) 04 – Festival Némo 2008 and also available on the Simultan 03 DVD. It is also included as an extra on the special edition DVD and Blu-Ray of Enter The Void by Gaspar Noé released by Wild Side in France and on the German edition released by Capelight where I also did a commentary track.
16mm, 5:11 minutes
The mystery of the crystals under closer examination. What is it that makes them possess magic powers as claimed by mystics of all ages? Through growing crystals directly on film their mystical qualities shine straight to the screen. Unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.
–Vicki Honeyman Award for Best 16mm Film at the Ann Arbor Film Festival
-Best Experimental Film at the Chicago Underground Film Festival
-Silver Award at Impakt in Utrecht
-Director’s Choice Award at the Black Maria Film & Video Festival
-Second Prize at the International Week of Short Films of San Roque
-Jury Award at the $100 Film Festival
16mm, 7:40 minutes
Burned filmstrips meet light and invade the screen with structures of residue, ashes, flames and destruction. New landscapes appear in a state of disintegration through fire. The former carrier of conserved imagery is now in full bloom of organic splendor. The lifeless filmstrips have been resurrected.
An interpretation / remix of my expanded cinema piece ‘Feuer Frei – Open Fire’.
Friendly Fire was financed in part by Jens Thiele.
DV, 5:20 minutes
Four-dimensional quaternions (fractals) are visualized by projecting them into three-dimensional space. Instead of modeling objects of human imagination the realm of mathematics is explored. Only the variables of one formula (x[n+1]=x[n]^p-c) were changed. It took me about a year to get an idea of the transformations and shapes which could be expressed by this formula. Almost another year was needed to render the sequences which I decided to use.
I added some sketches to the Sketches category here, here and here
More on the 4th dimension here
-Honorary Mention at the Prix Ars Electronica 2003
-Best Video/Computer Art at the Asolo Film Festival
-Best Experimental Film at the Lausanne Underground Film Festival
-Low Budget Video Award at the Microcinefest
-nominated for the Imagina Award at the Imagina
Gestalt is available on the following DVD compilations:
-CyberArts 2003 – International Compendium Prix Ars Electronica
-Imagina Trips – Volume 2
HD, 5:20 minutes
A re-rendering of Gestalt in HD and 16:9. Since this film is basically a visualization of a mathematical body it is theoretically possible to render it in as high a resolution as technically feasible. One would always get more detail. The visual structures and transformations that one can see in the film are only inferior representations of much more complex visual ideas that exist in four-dimensional space and are not bound to a certain resolution or 3D representation. In theory it would be possible and more true to the original formula to show the visual transformations as a 3D hologram where one could then perceive different perspectives that are of course not available in the conventional film format.