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ANIMATED FILMS BY

MARIA LASSNIG

62 min
Sat. 12.3., 21:00
online available for 48 hours

We are proud to present a prestigious new award! Sponsored by the Maria Lassnig Foundation, the Maria Lassnig Golden Film Reel is worth 10,000 euros. To celebrate this, we pay homage to one of the most important Austrian artists of the 20th and 21st centuries and present Maria Lassnig’s animated film works. While living in New York in the early 1970s, Maria Lassnig began to use film as another medium to visualize her ‘body awareness’, one of the central themes of her work. Independent of her painting, but closely connected with it, her (animated) films take a humorous and critical look at the rigid, outdated (male) standards of earlier periods of art. The program includes some of Lassnig’s so-called Films in Progress – films that remained unfinished and have recently been made available.


KOPF / HEAD

Maria Lassnig, 1970, [country], 2 minutes

An exercise in self-analysis, the film visualizes Maria Lassnig’s interior imagining of her life, projecting forward to its conclusion.

ENCOUNTER

Maria Lassnig, 1970, [country], 1 minutes

An anthropomorphized fuchsia figure changes form and takes its first steps in a process of emerging and, eventually, becoming. It is Maria Lassnig’s first traditional hand-drawn animated film.

STONE LIFTING. A SELF PORTRAIT IN PROGRESS

Maria Lassnig, 1971, [country], 7 minutes

The autobiographical essay film collages together images chronicling Lassnig’s time in New York, as well as a range of materials highlighting her diverse approaches to filmmaking.

CHAIRS

Maria Lassnig, 1971, [country], 2 minutes

Drawn on paper with a felt-tip pen, various kinds of chairs resemble breathing beings. Accompanied by an out-of-tune piano playing music for a silent film, they begin to move.

SELFPORTRAIT

Maria Lassnig, 1971, [country], 5 minutes

Lassnig, or more precisely her head, drawn with felt-tip pen, sings in English with a heart-rending Austrian accent about her life and her dreams. At one point a film camera appears on her face. It is obstacle, protective mask and visual aid at the same time.

COUPLES

Maria Lassnig, 1972, [country], 10 minutes

Human forms dance to J.S. Bach’s breakneck runs on the harpsicord. But the animated steciled spray paintings of chubby discus throwers and wiry girls quickly confuse our culturally conditioned eye: What is male, what is female?

SHAPES

Maria Lassnig, 1972, [country], 9 minutes

Human forms dance to J.S. Bach’s breakneck runs on the harpsicord. But the animated steciled spray paintings of chubby discus throwers and wiry girls quickly confuse our culturally conditioned eye: What is male, what is female?

PALMISTRY

Maria Lassnig, 1973, [country], 10 minutes

a) a stout girl sings about her refusal to grow thin in order to become attractive for men. b) the first time for her and him. c) at the palmist. A confrontation of terrible science and terrible superstition.

ART EDUCATION

Maria Lassnig, 1976, [country], 8 minutes

The film is a cheeky commentary on art history in which the ‘superstars’ among the works of art, such as Michaelangelo’s Creation of Adam, are re-coded in scenic miniatures.

MARIA LASSNIG KANTATE

Maria Lassnig & Hubert Sielecki, 1992, [country], 8 minutes

The artist looks back on her life in 14 verses: ‘It is art, oh yes, that keeps making me younger, first it makes the mind hungry, and then it fills it up!’