Helga Fanderl
Constellations
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Add rightsFormat DVD9 PAL Interzone
Original format Super 8
Year 1993-2022
Artist(s) Helga Fanderl
Booklet 52 pages (French, English)
Running time 116 min
Films
Constellations contains 50 films selected and cleaned under the direction of Helga Fanderl, with the possibility of a different random playback each time:
RAD UND ZWEIGE • GASOMETER I • VÖGEL AM CHECKPOINT CHARLIE • TORTELLONI • THE COLOR RUN • MONA LISA (2013) • FLUGZEUGE I • APFELERNTE • VOLIERE II (GROSSE VOLIERE) • RUE LABAT IN TRAUER • GLÄSER • NESCIA UND BRUNO • TORTELLINI TORTELLONI • BÜGELN AUF DER STRASSE • FISCHERBOOTE • GESPIEGELT • PARISBILDER FÜR DR. G. • BLÜTENBAUM • IMKERSCHULE • PLEINAIR-FOTOS • MIMOSEN IM WIND • ABENDGLITZERN • FÜR D. • SKULPTUREN IM NEBEL • KAKIBAUM III • NACH DEM FEUER I • SCHLOSSGARTEN • STEG IM PARC DE BERCY • IM SCHNEE • FEUERTURM • EINHORNFISCH • SCHMETTERLINGE • UNTER DEM WASSERFALL • TEETRINKEN • ROTER VORHANG • FÜR M. • KARUSSELL • WASSERPFLANZEN • SCHAUKELN (2022) • SPIELENDE HUNDE • AUFBLITZENDE BILDER • UMLAUFTANK • LEOPARD • LAUB • BLÄTTER AUF DEM GLASDACH • SCHATTENBILD I • WEISSE VORHÄNGE • EIN WINDIGER FRÜHLINGSTAG • FÜR P. (WEISSE BLUMEN) • WILDGÄNSE 3
Description
"I try, Fanderl explains, to film with the freshness of a first encounter and the intensity of a last. With this desire in mind, she has dedicated herself for decades to the precarious process of filming in Super 8 and editing in-camera (which means that the order and rhythm of each film emerge in the present moment of shooting, never after the fact). By working in this way, she courts failure—but she also touches the fullness of experience. Fanderl translates into film the flash sensation of a sudden trembling of the heart, for example, and the humble feeling of something slipping through powerless hands."
— Laura Staab (from the Constellations booklet)
"The choice of films to include in a program is the result of work that confers new meaning on the films, not in terms of their particular content, but with regard to the relationships each film maintains with those that precede or follow it. In this sense, one could say that Helga Fanderl applies, by deploying them in other dimensions, the editing principles at work in certain films by Peter Kubelka, bringing into play notions of resonance, of echo between shots, whether they are consecutive, serialized, or alternating. The choice of films is the moment of editing: Editing or postproduction very much comes into play when I compose programs. For each screening, roughly speaking, I make a specific selection of films. Making these programs—in their totality or in fragments—is an essential part of my work."
— yann beauvais (from the Constellations booklet)