Konstellationen Super 8
by Helga Fanderl u.a.
Künstlerbuch — Helga Fanderl: Konstellationen Super 8 — Hatje Cantz Verlag, Berlin 2023 — D/E/F 248 S. ⤷ Read more
FROM — Konstellationen Super 8, 2023
Helga Fanderl
Film Talks 15 Conversations on Experimental Cinema
by Simon Payne / Andrew Vallance
Edited by Simon Payne / Andrew Vallance Published by Contact In association with Arts University Bournemouth and Anglia Ruskin University, 2021 ⤷ Read more
FROM — Film Talks: 15 Conversations on Experimental Cinema, 2021
Helga Fanderl, Constellations
by Helga Fandelr
Les saisons, Une part discrète du cinéma, 3 Revue de cinéma Paris, 2021 ⤷ Read more
FROM — Les saisons 3, 2021
Berlin Art Link on Helga Fanderl
by Jesse Cumming
Helga Fanderl’s ‘Raum für Film’ can be found behind an inconspicuous frosted glass window-front in Charlottenburg. The three words are visible on the window’s exterior, but they are easy to miss unless one is actively looking. It’s only the first confluence between the space and the work of the artist, who has been steadily producing and exhibiting small-gauge films that reflect fragments of life since the mid-1980s. [...] → Download
FROM — Berlin Art Link, 2019
Un fotograma detrás de otro
by Toni Junyent Rosa
Hace algunos dÃas, entrevisté a la cineasta alemana Helga Fanderl, que nos descubrió su singular prácticafÃlmica en dos sesiones consecutivas en el Xcèntric del CCCB: en la primera vimos un programa depelÃculas suyas hinchadas a 16mm, y en la segunda, Fanderl ofreció una masterclass durante la quepudimos ver nueve filmes en Super 8, el formato con el que ella trabaja. El orden de ambas sesionesestaba previsto inicialmente a la inversa, pero un problema técnico obligó a trasladar la clase magistraldel jueves al domingo. Conversé con la cineasta después de la primera sesión en 16mm, y una de lascosas en las que hizo hincapié fue que todavÃa no habÃa visto su obra tal y como debÃa verse, en Super 8.Debido a la dificultad cada vez mayor para poder hacer copias desde los originales reversibles en dichoformato, en los últimos años Fanderl ha ido hinchando algunas de sus pelÃculas de Super 8 a 16mm. Susfilmes son pequeños, en términos de duración, y piden, también, un ajuste de las dimensiones de laproyección. Esa es otra circunstancia que contribuye a hacerlas especiales: la cineasta acompaña lassesiones de sus obras para crear un espacio óptimo, dándoles a las proyecciones un carácterperformativo y convirtiéndolas también en una forma de introducir al público en su singular prácticafÃlmica. Cuando pude ver con mis propios ojos sus pelÃculas en Super 8 pude comprobar que,efectivamente, son otra cosa. → Download
FROM — Transit, 2018
«Una lunga vacanza nella Terra» in conversazione con Helga Fanderl
by Giorgio Cornelio
Ho incontrato Helga Fanderl al Festival di Pesaro, nel 2015, mentre introduceva quella che mi era sembrata, allora, una piccola ingegneria dello stupore. Quando, come nel cinema di Helga, è in opera uno sforzo di comunione, il dono della presenza piena appare ineludibile, e ogni elemento è teso a portare, meticolosamente, il peso e la forma del suo mistero. Sottrarre questa costellazione di film alla pratica che li vuole ogni volta ricomposti, ravvicinati e disgiunti (come fosse un’allegoria coniugale, un tappeto cucito e inconsutile) vorrebbe dire destinarla ad un divorzio dal destino che le è proprio, quello cioè di indicare una misura del mondo che sappia essere, allo stesso tempo, richiesta, decifrazione e deposito di senso. → Download
FROM — Artnoise, Magazine di arte e cultura, 2017
Eternity in the ephemeral
by Harshini Vakkalanka
I think my love for poetry has shaped me to a large extent, my films are small, they are not epic. The sound or the music of language becomes visual music. There is a sense of rhythm, of density. It is about capturing the moment and opening up a particular experience, without having to explain everything. It is more or less what poets do, they are very aware of the way they say something. → Download
FROM — The Hindu, 2015
Das Esszimmer, Bonn:
Film Live by Helga Fanderl
by Sibylle Feucht
Dieses (Super 8) Kino wird während der ganzen Ausstellung nur zweimal zum Leben erweckt, nämlich wenn Du darin Deine eigens für den jeweiligen Abend zusammengestellten Super 8-Programme zeigst. Ansonsten ist es eine Art Kino-Torso, in das man sich setzen kann, um die eigenen Filme vor dem inneren Auge abzuspielen. Ich denke, das ist eine bemerkenswert radikale und konsequente Art und Weise Deine Arbeiten, aber auch Deine Haltung und Arbeitsweise im Rahmen einer Ausstellung zu präsentieren […]. → Read more
FROM — Katalog, Das Esszimmer, 2015
Die Poesie des Moments
by Karola Gramann and Heide Schlüpmann
Die poetische Dichte dieser „Miniaturen“ hat anfangs dazu verleitet, Vergleiche mit der Lyrik zu suchen, etwa mit dem Haiku. Doch geht dieses Verständnis am Kern der Arbeit von Helga Fanderl vorbei, an dem Verhältnis von Körper und Apparat, in dem sich ein ganz ande rer Prozess entfaltet als das Schreiben. Körperliche Aktionen und Reaktionen, Gesten des Blicks, der Empfindung, des Verlangens, gehen ungefiltert durch eine bewusste Reflexion in die Filme ein – die im Übrigen reine Aufnahmen vorgefundener Wirklichkeiten sind. Das Leben hinter der Kamera mischt sich mit dem Leben vor ihrem Auge. → Download
FROM — Grip 50, Frankfurt a. M., 2014
Present Tense
by Andréa Picard
Like the quiet, yet intense, meteorological quivering in an Agnes Martin grid painting, presence in art is a notion both unremittingly subjective and resolutely romantic. At least, it used to be. the pleasurable anxiety that often accompanies the encounters that banish our busyness, allay our fears, and remind us of our existence has become increasingly rare. → Download
FROM — Cinema Scope, Issue 55, Toronto, 2013
Helga Fanderl Films and Screens
by Philippe–Alain Michaud
«Mädchen», «Sardinenkorbe», «Strom», «Pfosten im Fluß», «Pflanzen»: all the films made by Helga Fanderl — more than six hundred to date — describe, without metaphors, a simple action, a figure, an event involving movement or color, captured in the moment they happen and thus preserving their fleeting radiance. → Download
FROM — Katalog, Internationale Kurzfilmtage Oberhausen, 2013
Les haïkus films d’Helga Fanderl
by Raphaël Bassan
Cette cinéaste allemande, établie en France, a fait de sa caméra à la fois une troisième main et un troisième œil. Elle a tourné, après avoir suivi les cours de Peter Kubelka, en vingt-cinq ans, quelque sept cents opus n'excédant pas les trois minutes, soit la durée d'un chargeur Super 8. Depuis 1989, ses films son montrés dans divers musées internationaux, et certains édités en DVD. → Download
FROM — Bref, le magazine du court métrage 99, Paris, 2011
Film Live
by Helga Fanderl
To film with a Super 8 camera allows me to respond immediately to what I experience. My eye at the eyepiece, the camera in my hand - perceiving and recording simultaneously - I concentrate and create films in correspondence with the subject matter, in one gesture, as it were. I surprise what happens and feel surprised at the same time. I try to catch the moment, hic et nunc and in situ. That is the main reason why I always edit in the camera and why there is no postproduction. → Download
FROM — Sequence Issue 1, 2010
Layers and Lattices:
The Super 8 Films of Helga Fanderl
by Nicky Hamlyn
Fanderl’s willingness to surrender to the particular dynamics of the situation in which she finds herself, opens up her practice to otherwise unavailable possibilities. In some ways her stance exemplifies what most artists discover in the process of making, which is to allow the work’s own momentum to pull them with it, so that there is always a margin of doubt, of things to be discovered and surprised by, before the conscious awareness of the contents of this margin of doubt permits retrospective theoretical and strategic consolidation to take place. → Download
FROM — Sequence Issue No. 1, 2010
Collection d’images, autour du travail de Helga Fanderl
by Clara Schulmann
L’artiste allemande Helga Fanderl réalise depuis les années 80 des films courts, n’excédant pas 3 minutes, au moyen d’une caméra Super 8 légère. Attentive à des événements infimes et singuliers, elle capte des mouvements aussi divers que la marche de passants dans la rue, le vol d’oiseaux dans une volière, le geste de marins se passant des corbeilles de sardines au retour de la pêche…Un mouvement, une rythmique, une lumière guident son regard qui recueille et enregistre au moyen de la caméra selon la modalité spécifique du « tourné-monté », façon de lier dans un même geste percevoir et filmer. La forme brève ainsi créée répond à une procédure de fabrication rigoureuse qui permet de constituer une collection d’images multiples, fragmentaires. Je vais donc m’attacher à décrire cette procédure depuis les différents effets de discontinuité qui la caractérisent avant d’esquisser les pistes historiques qui rattachent les films d’Helga Fanderl aux gestes du collectionnisme et de l’archivage → Download
FROM — , 2007
Film by Helga Fanderl
by Kasper König
Due to the play with rhythms and settings, a new experience of time that can only be produced in film comes into existence. Reality isn't reproduced; the films rather describe an inner reality, essential images are created. These produce déjà -vu-experiences, reminding one of scenes from our childhood or of painting and literature. → Download
FROM — Film, Frankfurt a. M., 1998
Bernhard Uske on Helga Fanderl
by Bernhard Uske
A noticeable feature of Helga Fanderl’s aesthetic conduct is that every time she shows her numerous films, which are one to three minutes long, she makes a different sequence. One would be inclined to explain this specific phenomenon in terms of the aphoristic quality of cinematic miniatures; however, the density and diversity of rhythm, form, color and tectonics of many of the films, edited in the camera, contradict such a supposition. → Download
FROM — Helga Fanderl «Filme», Frankfurt, 1997