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Tyler Winther

Tyler Winther

What’s your background?

Filmmaking has always been a part of my life. I grew up on film sets and watched the best people in the world make movies. It wasn’t until I turned 23 that I decided to try making one of my own. For the 13 years prior I had been training in Classical Piano, guitar and electric bass. Music is my first love, but movie making both narrative and conceptual captured my imagination a few years ago and hasn’t let go. A few projects into my career I realized I make movies so I can score them.

What are your artistic influences?

All sorts of things. Architecture. Photography. Music. Paintings. Books. Great Conversations. Arguments. The sound of someone’s voice. The way the light hits a street corner at mid-day. Influence subconsciously seeps into me at anytime, anywhere, in any form. It’s not until I make something that I look in the rear view and realize what exactly it was.

How do you start a new work?

A new work comes seemingly at random. It sneaks up on me, whispers something in my ear that makes my hair stand on end, and runs off. The work you see are the little whispers I cared enough to catch. That Whisper and I sit down for a few months and go back and forth with one another until we feel confident enough to yell our crazy idea from the rooftops until the next one comes along.

What are you working on right now?

Narratively, I’m working on a screenplay about the American Dustbowl Crisis which I will turn into a movie. On the conceptual side, I’m waiting on the right whisper to come along.

Tyler Winther’s portfolio →

Ralph Pritchard

Ralph Pritchard

What’s your background?

I have lived in London all my life. At 19 I left a film BA and started freelancing as a videographer for lots of political causes and I got heavily involved in journalism. Then I left that stuff quite abruptly and became a participant at the School of the Damned, an alternative fine art course based all across the UK, completely self-organised by the students. Now I’m at the Royal College of Art doing an MA pathway entitled Critical Practice.

What are your artistic influences?

Many of my influences are from cinema. Fassbinder’s work remains very compelling for its rawness and strength of feeling. Andrei Tarkovsky has always amazed me. I think that ability to make invisible sensations visible is basically the highest aim of cinema. I realised that when I started trying to involve instant messages into my moving image work.

I’d recommend people check out Andrzej Żuławski too – his films have this crazed energy that I really vibe with. There are too many people trying to make films about normal people, I catch myself leaning towards it sometimes too. I think art is uniquely positioned to capture the weird and the irrepressible.

How do you start a new work?

I have my best ideas when I’ve just seen a piece of work I really love. That’s the stuff that fills up notebooks. It’s all too easy to gravitate towards things that are dissatisfying and try and negotiate with them, but the feeling of connecting with a great work is far stronger.

Early ideas get channelled into hasty outlines. The general structure of a narrative usually spills out in a few minutes. Then it can be months of fine-tuning and experimentation.

What are you working on right now?

There’s a few things: a project about climate breakdown and parental resentment, another about an ASMR artist. Because I’ve just finished my short film On Your Terms, I’m back in the writing phase. The challenge now is managing the about-ness of the work, and finding out the format. Right now I’m testing things out.

Ralph Pritchard’s portfolio →

Kristian Skylstad

Kristian Skylstad

What’s your background?

I have a degree in photography and a Master in Arts. I’ve been one of the main contributors in the independent art scene in Oslo, curating, running galleries, writing and trying to change the hierarchies and structures of the local art scene, while still attempting to make art that is relevant in a global context, using the method that is available at the certain time I’m inspired to act.

What are your artistic influences?

Mostly I’m inspired by avantgarde movements like the French New Wave and the Italian Auteurs, especially Chris Marker, Jean-Luc Godard and Michelangelo Antonioni. In film Carlos Reygadas, Sharon Lockhart and Apichatpong Weerasethakul has been highly influential in my practice. I’m also very inspired by writers like Arthur Rimbaud, Roberto Bolaño and Anaïs Nin and philosophers like Gilles Deleuze, Noam Chomsky and Albert Camus. In photography Wolfgang Tillmans, William Klein and William Eggleston are very influential. Félix González-Torres and Marcel Duchamp forces me to still relate to readymades. John Maus keeps my blood pumping.

How do you start a new work?

I dwell deeply on certain topic, place or phenomenon, sometimes for years, then I manically execute whatever I’m urged to do, when the procrastination has been going on for too long, and the urge becomes too severe. My process is highly bipolar, so I try to work as little as possible, since it’s mostly unhealthy for me. I feel that an artist shouldn’t make just for the sake of making, but rather follow his instincts when it feels absolutely necessary, an attitude that often leads to highly productive phases follow by great lapses of meditative states, which again feeds new production. Almost like a Buddhist I hope this cycle one day stops, and I can be content with just being a witness to the whole caboodle, doing almost nothing, understanding a lot.

What are you working on right now?

I’m preparing a book with 777 portraits of the Cambodian population, emulating the photographs by Nhem En, who photographed the victims of the genocide in the ’70s, I’ve gone to all 26 provinces of Cambodia, trying to make a new and hopeful history, giving voice to the survivors of the tragic history of the country and their children, igniting a hopeful scenario for the crazy, amazing and beutiful Khmer people. After I’m done with that I’m going to walk around with my Sony A7RII and my Voigtländer lens, recording life Cinéma vérité style, mostly at night, and write notes for a new beginning in a moleskin, maybe.

Kristian Skylstad’s portfolio →

Liddy Scheffknecht

Liddy Scheffknecht

What’s your background?

I studied at the University of Applied Arts in Vienna and the École nationale supérieure des beaux-arts in Paris.



What are your artistic influences?

There are a lot of artists that I admire and some of them might have had influenced my work, like James Turrell or Roman Signer. I was always interested in architecture and the role artificial and natural light plays in buildings. Urban Art has a great impact on my work as well and often I connect my work with literature, especially folk tales, literary fairy tales and myths.



How do you start a new work?

Often I’m inspired by the space. The light, the architecture, the interior design and objects I find in the space. Sometimes I also start with the function of the building for which I’m creating the work for or the geopolitical context of a place.



What are you working on right now?


I’m working on an outdoor sculpture that will be permanently shown in the alpine area.

Claudia Larcher

Claudia Larcher

What’s your background?

I studied Transmedia Arts and Sculpture in Vienna but also have a background in Graphic Design. My job as a visual artist in a club for electronic music, was the beginning for my experiments with live video and the interaction between sound and light.

What are your artistic influences?

Pipilotti Rists video art and installations are a great inspiration for me, as well as the art of Kurt Schwitters and Gordon Matta-Clark. Architecture in general and some film makers like Maya Deren, Claire Denis and David Lynch.

How do you start a new work?

Usually I get inspired by traveling. I try to work on a project in a different area for a longer period of time. Surrounded by different architecture, the results are often video works that deal with real and / or utopian living spaces and their inhabitants.

What are you working on right now?

I am working on a Virtual Reality project, that deals with architecture and our own personal perception. I am also interested in the gap between digital and analogue. Grown up between these two worlds I sometimes feel alienated. In my opinion this kind of dilemmas is always a good starting point for a new work.

Bernd Oppl

Bernd Oppl

What’s your background?

It depends where I am standing or in which space I am. Sometimes my background is the city, a street, a house, a room. Sometimes it is a landscape, sometimes it is the bed where I sleep. It depends on the point of view.

What are your artistic influences?

I am influenced by what surrounds me. It is the architecture that surrounds me, my body as the smallest space I have to carry around, technologies that influence and change our perception of what surrounds us. So what interests me the most is this relationship between the media image, physical space, technology and our body.

How do you start a new work?

It can be different things that trigger a idea and lead to a work. Sometimes it is a text, a found object, a film I watched. But also often it feels like one work leads to the other. So the process of working and experimenting is what leads to new works.

What are you working on right now?

At the moment I work on a series of dioramas. those dioramas create a mise-en-scène of completely empty spaces. The viewer sees a series of 3D-Prints of non-descript spaces of transition and pause. Given their monochrome simplicity, these random places become surfaces onto which fantasies and memories can be projected.

Alberto Cabrera Bernal

Alberto Cabrera Bernal

What’s your background?

My artistic interests have always been varied, although my initial calling was literature, when I studied a degree in Hispanic Philology in Madrid and published my first book of poetry, “Integrando” (Ed. Devenir, 2003). Later, I wrote “Salida al interior” (2003), to shortly thereafter abandon literature and begin to create collages with graphic images from newspapers, detritus and money. Without realising it then, the distance from there to filmmaking was minimal. Keeping in mind what Bruce Conner said about himself, I simply substituted “collage” with “montage”.

What are your artistic influences?

I would prefer not to talk about influences, exactly, but rather of affinities that I share with artists from different disciplines. There are many who have, at one time or another, been important to me for different reasons, the majority of those for questioning the limits of the language they used. Acrobatics with a bit of humour, I would dare to say that Palaeolithic pictorial and sculptural expressions could cohabitate with Baroque music and John Cage in my conceptual imagery, with the playful aggressions of Fluxus, the formal rigour of Structural Film, and YouTube.

How do you start a new work?

Most of the time my works are linked, and I do not think I could well indicate the boundaries between them. When thinking about concepts, above all, what I really do is continue to research in a concrete direction. But sometimes it happens that new ideas materialise on occasion and show themselves without it being necessary to know of their origins. I like to think that my mental attitude is of permanent surprise at myself.

What are you working on right now?

I am preparing new 16 mm films, a photographic series that should be called “antilandscape”, and various sculptural works around the concept of “Added”.

Edouard Decam

Edouard Decam

What’s your background?

Although I studied and worked as an architect for years I always had this attraction for the landscape and especially for the mountains, the physical connection we have with those territories. Since 2016 I dedicate all my work to artistic research, trying to understand our relationship with nature and the construction of the landscape, through the prism of architecture and science.

What are your artistic influences?

I am really concerned by the artists of the land art, mainly Robert Smithson. Works by Gordon Matta Clark, Anthony Mc Call, Dan Flavin, Raphael Zarka, are some other important influences, together with all the photographers of the Datar project in France during the 80′. Scientific research and most of all the spaces where it takes place are topics which highly informs my practice.

How do you start a new work?

My work – and life – depends on physical displacements, explorations and hikes. Most of the time I am attracted by a specific architecture – a dam up in the mountain, an astronomical observatory or a synchrotron -; the moment I discover those places my work starts to exist. The images I capture, both photographical or moving images, are built at this very moment, they arise themselves somehow: the sites and the movement create those images.

What are you working on right now?

After my first film, Volva, I am currently working in a new one – to be shot in 16mm as well – at La Palma Island (canary Islands). Images will create a dialogue between the crater of the local Volcano Cumbre Vieja, the astronomical observatory in place and the natural surrounding landscape of the island.

Elisabeth Molin

Elisabeth Molin

What’s your background?

I’m born in Copenhagen, Denmark and moved to London in 2006 to study at Chelsea College of Art. I got interested in art through films and the way in which they can resemble the mind and mental states. Through film I got interested in these metaphorical moments and fragments in film which represents something about the whole, a mood, which you can’t describe but can relate to. I did my Masters at RCA from 2011-2013 and since then I have been traveling doing residencies and site specific projects in Athens, Rome, Copenhagen, Cologne and Los Angeles which has been exciting and productive for my work.

What are your artistic influences?

I’m influences by the everyday mostly, the paradoxes and surreal interstices I find around me, as well as dream life and the subconscious. Some of the artists and writers that has influences me the most are Laurie Anderson, Siri Husvedt, Pierre Huyghe and Jeremy Deller.

How do you start a new work?

It depends what I’m working on. I like to create small bubbles for myself which defeat a bit day and night and act more like pockets of time for particular works. If I’m for instance writing I will devote the morning to writing and the afternoon to editing, if I’m taking pictures or go filming I will record in the day or night and edit in the night or following morning. Although I’m devoting different work to different days it often happens that the pockets collide and film become text or story become image. The notion of being in transit, in between spaces, between purpose, have a relevance. It symbolizes to me, moments where different worlds meet and transform each other mutually.

What are you working on right now?

At the moment I’m in New York doing a residency. I’m spending the time filming, writing and taking photo’s in the city. The video I’m making ‘Sun 88 Realty’ is about elevators, escapism and about how value is created. It combines the personal experience of living in the city with ideas of comfort and post capitalist life.

6x6 project screening

Screening #1

We are thrilled to invite you and your friends to the inaugural screening of 6×6 project!

Wednesday, 24th of January, 8 pm
at
Blake & Vargas
Reichenberger Straße 72
10999 Berlin

Facebook Event

PROGRAMME:
Anita Delaney / The Cusp of Your Credenza / 10:33 min / 2015
Anne Haaning / Mother of Monsters / 06:39 min / 2015
Dagmar Schürrer / I Want To Be Like You / 05:45 min / 2016
Lotte Meret Effinger / Surface Glaze / 08:00 min / 2015
Mirelle Borra / Was machst Du hier? / 11:00 min / 2014
Sarah Bernauer / Feeling Felt Episode 1: Are you real? / 13:42 min / 2016

We are looking forward to see you there!