Awarded Films at EMAF 2014
The EMAF Award was split up to two films this year. The following artist duos will share the prize equally:
Emily Vey Duke & Cooper Battersby
Here is Everything
The jury commented:
“Here is Everything” by the Canadian duo Duke and Battersby from 2013 is a combination of animation, stills and recorded material. The film presents itself as a message from the future to our times narrated by a rabbit and a cat. They explain that they’ve decided to speak to us through a contemporary art video which they consider the highest form of communication presenting the film as the trailer for a longer future version. As the title indicates, the work is dealing with the complex themes of the circle of life: death, God, grace and loss combined with stunning images which are tender and moving as well as hard and repellent such as the core of human life itself is.
Elise Florenty & Marcel Türkowsky
The Sun Experiment (Ether Echoes)
The jury's comment:
The multidisciplinary collaboration of Elise Florenty and Marcel Türkowsky has resulted in an epic “semi-fiction”, a poetic, anthropologic/philosophic work that reflects expertise from their respective areas of practice: primarily theatre arts and music, along with film and animation. “The Sun Experiment (Ether Echoes)” is set somewhere in a darker time, a post-soviet environment, and reflects the collective free thinking consciousness of a parallel reality, through the person of a young girl, who goes deep into the profound and mysterious layers between past, presence and future.
HONORABLE MENTION for the EMAF Award:
Please Relax Now
The jury wrote:
In her film, the German artist Vika Kirchenbauer shows her understanding in dealing with presentation space and medium, in order to verbally communicate with the audiences. This interaction positions the audiences not in the passive role, but instead to be part of the work itself.
This work continues the tradition of what earlier artists, like Nauman or Acconci, did back then with their video performances to find new possibilities of defining art. In this rapidly shifting art environment, it is still important for the new generation to always know the history of the medium they work with.
ARTE Creative Newcomer Award
The jury said about the film:
France-based Hayoun Kwon performs herself. She is a new generation of South Korean artist, who dares to move further with the memories of the promise of utopian space given by the propaganda of North Korea. “Model Village” comprehensively translates the oral myth into a visual that can be seen in a tangible way. Production-wise, she has successfully employed physical craftmanship with generated images that blur each other, in the same way the narration does with the reality and fiction about a fake and hollow border village.
Arte Creative for the Newcomer Award is granted to this work for its ability to incorporate the actual technical language of the artist's generation, as an instrument to encounter history and overcome displacement. Hayoun Kwon will receive € 2,500 production support for an upcoming work that will be presented at EMAF 2015 and by ARTE Creative.
of the German Ministry of foreign Affairs
Let us persevere in what we have resolved before we forget
The jury's comment:
The Dialog Award is dedicated to communication, and to our understanding of this category, especially communication between cultures. Part of TERRITORIAL DRIFT, Ben Russell’s “Let Us Persevere in What We Have Resolved Before We Forget” (2013) is a 20-minute immersion into the Island of Tanna, in Vanuatu, somewhere in Melanesia (in the South Pacific). This is where many battles were (almost) staged in WWII. We hear an elder, a "magician", who tells the history and how it is practiced as a ritual to maintain cultural memory. Russell, working with the British filmmaker Ben Rivers, gives us an anthropological peek into the historically informed and inspired beliefs that result in peace and happiness for the Tannese.
EMAF-Medienkunst-Preis of the German film critics
Susann Maria Hempel
Sieben Mal am Tag beklagen wir unser Los und nachts stehen wir auf, um nicht zu träumen
(Seven times a day we mourn our fortune and at night we get up to avoid our dreams)
The jury of the German filmcritics wrote:
Two feet are dangling above a miniature forest,which stands on a landscape of dirty linen. Then, a series of movable collages on walls, made of animated objects and cut-up plastic dolls, a puppet theatre of terror, living tableaux of waste and nightmares. The soundtrack combines children's songs with fragments of a narration of an invisible protagonist whose words we hear spoken by the director Susann Maria Hempel herself. Her film pulls us into a vortex of associative still lives, revealing bit by bit parts of a shocking biography.
Seven times a day... proves to be touching, but never manipulative, disturbing but never indefinable, politically aware but never patronising. It is theatrical, without using effects for effects' sake. Daring and mysterious in its form, the film reveals itself as a radical cinematic experiment whose power resonates long after the credits have rolled.
HONORABLE MENTION from the "Verband der deutschen Filmkritik":
Olivia von Pilgrim
The jury's comment:
In this fascinating compilation film, Roland Barthes' "A Lover's Discourse: Fragments" is used as the blueprint for a fragmented discourse about love stories in film. Using scenes, or rather moments, of the work of Woody Allen, Won KarWai, Sam Mendes and many others, Olivia von Pilgrim shows how repetitious and surprisingly similar cinematic images construct our ideas and concepts of love.