Ute Aurand

Portrait of Canadian artist Susan Turcot in 1993 and 2011.

No synopsis available yet.

Throughout her work, Aurand frequently makes her camera and her images felt as an active, moving body—spinning, rushing, departing, returning, expanding, contracting, hanging upside down. In A Walk, her film goes walking. The camera occupies a snowy Swiss setting, as Aurand creates a material, tonal landscape that is both nebulous, serene, and wonderfully energetic.

A filmic encounter with Brazil, which Aurand visited for the first time in September 2022 for screenings of her films and Margaret Tait’s in São Paulo and Rio de Janeiro. Aurand’s 16mm films are portraits of people and place, often prompted by the discovery and experience of travel. As George Clark has written, the journey is a cornerstone of Aurand’s filmmaking: "“Her work builds out from fragments, detours, refrains and returns; her camera picks up discarded gestures and suspends them in time. Films are always moving, always fleeting, Aurand’s work reminds us. These qualities are as fundamental to lived experience as they are to the cinema. Throughout Ute Aurand’s work we encounter a world animated by her mobile and dynamic camera, following, chasing, leading and dissecting space."

No synopsis available yet.

Scenes in the park of the Rietberg Museum in Zurich with its collection of Asian, African and Indian art.

Portrait of Canadian artist Susan Turcot in 1993 and 2011.

No synopsis available yet.

Throughout her work, Aurand frequently makes her camera and her images felt as an active, moving body—spinning, rushing, departing, returning, expanding, contracting, hanging upside down. In A Walk, her film goes walking. The camera occupies a snowy Swiss setting, as Aurand creates a material, tonal landscape that is both nebulous, serene, and wonderfully energetic.

A filmic encounter with Brazil, which Aurand visited for the first time in September 2022 for screenings of her films and Margaret Tait’s in São Paulo and Rio de Janeiro. Aurand’s 16mm films are portraits of people and place, often prompted by the discovery and experience of travel. As George Clark has written, the journey is a cornerstone of Aurand’s filmmaking: "“Her work builds out from fragments, detours, refrains and returns; her camera picks up discarded gestures and suspends them in time. Films are always moving, always fleeting, Aurand’s work reminds us. These qualities are as fundamental to lived experience as they are to the cinema. Throughout Ute Aurand’s work we encounter a world animated by her mobile and dynamic camera, following, chasing, leading and dissecting space."

No synopsis available yet.

Scenes in the park of the Rietberg Museum in Zurich with its collection of Asian, African and Indian art.

Shot on 16mm, Ute Aurand documents the archive of Kino Arsenal - Institut für Film und Videokunst before its contents underwent a thorough 'repotting' operation

One day in Neubrandenburg, filmed in a small city 130km north of Berlin in September 1995.

Short film featuring images of flowers.

Four women film each other getting dressed in this four-part film. The motive for making the film was to work with a Bolex camera. A protected space is created, to which only women have access – and in which the female gaze is directed towards the female body.

For a year at monthly intervals, Ute Aurand and Bärbel Freund filmed In the Garden, a lovely portrait of a Potsdam-Bornim garden designed in 1910 by gardener and philosopher Karl Foerster. An extraordinary variety of flora, natural lighting effects, textures and colors unfold in this gentle, expertly edited film, which forms a bridge between the natural world and the individual soul.

A film structured around Detel Aurand and Jon Sigurgeiersson.

ZU HAUSE (At Home) ist the final sequence in TERZEN, playing with the filmmakers shadow and the Bolex camera while filming in her kitchen.

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.

Experimental film about a train ride. The carriage window becomes a screen, the landscape a mood, the mood a landscape.

A short portrait of the filmmaker Renate Sami.

"Franz von Lucke is my godchild, and I have filmed him since he was very young. Franz is now 26 years old." U.A.

“In the day after seeing Terzen, there was a surprising sense of the film that developed for me. The rhythms were still present and helped to unify a multitude of impressions. This lead me to reconsider the general tone of the film because, as I reached beyond its quick pace and rhythmic lightness and beyond the everyday content, I realized that its Heiterkeit grows out of a serenity or courage in facing mortality. This is the surprising sense of the film, its inner music. (…) Early in the film I recall a chair held in the strong afternoon sunlight. Even though you show it from many angles, it has a potent stillness. This strikes me as a good example of how you embody an active sense of seeing in your filming, and you reflect back to us the paradox that it is in movement that we create stillness. The eye, constantly moving yet creating stillness." — Robert Beavers

The portraits allow the filmmaker to emphasize gestures and private moments beyond narration and documentation. In his work system, he collects images for years before making the decision to compose a portrait, like Franz or Paulina. There are exceptional cases like Lisbeth, filmed on two occasions and little edited in which we see the artist Lisbeth Burri in her garden on the outskirts of Zurich. An instantly fleeting monument.

An imaginary journey on a ship. We turned the building of the Film Academy into a ship. Claire and Solange from a Jean Genet piece, a polish woman with her Madonna, screaming sailors are a few of the passengers on this artifical journey.

An imaginary journey on a ship. We turned the building of the Film Academy into a ship. Claire and Solange from a Jean Genet piece, a polish woman with her Madonna, screaming sailors are a few of the passengers on this artifical journey.

A new short film portrait that, as often in Ute Aurands work, was filmed over several years and in different places, in this case Germany and Japan. "Filming portraits allows me to emphasize private gestures and moments, and thus to transcend the narrative or documenting." (UA)

No synopsis available yet.

A walk, a moment at the beach... And the Japanese filmmaker Utako Koguchi behind the heard piano.

Two memories from a longer visit to New England in Autumn 2012: a group of elderly ladies playing bridge followed by the stormy ocean at Cape Cod in Winter while listening to Etienne Grenier's music practice.

Jón in Akureyri is the second part of Detel + Jón. I filmed Jón Sigrurgeiersson walking through the streets of his childhood, meeting his filmmaker brother and telling childhood stories.

“Fadenspiele 2“ (Toying with String 2) is an animation made with the painter, my sister, Detel Aurand. We filmed inside the studio and outdoors in the forest and fields. From various elements like paper, wood, plastic and fabric come images that continuously change their form. We see one image evolving out of the other, becoming something new.

A portrait of the filmmakers Bärbel Freund and Karl Heil like a song in its changing verses, the locations were chosen according to mood and season: in spring, in snow, in Venice, in the flat, alone and together.

Paulina Buda is my godchild, and I have filmed her since she was very young. Filming portraits allows me to emphasize private gestures and moments beyond narration and documentation.

A cinematic interpretation of an ancient myth and the visual metaphor of the feminine sea.

"India" developed out of my three journeys to Pune in 2001, 2002 and 2004. I arrived in a forgein country, and felt surprisingly familiar in the foreign. There in the streets, walking among the people, surrounded by their movements, their gestures, by the colors, the light, the beauty. Small things awakened my attention, sometimes only a short glimpse, a hand movement, the color of a sari, a temple hidden in a courtyard. It was like a long hot bath that I took there in Pune's streets - something unique and very beautiful.

For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

2 minute film about two Japanese ladies.

A collection of fleeting observations that document the passage of time through intimate encounters with friends and family captured between 1999 to 2018.

A collection of fleeting observations that document the passage of time through intimate encounters with friends and family captured between 1999 to 2018.

Four seasons in four major European cities form a four-part film cycle. This is the third part about autumn in London.

A film about my friend Maria Lang. The light falls on a few details, chance selections, out of which a place is composed, the place where Maria lives with her mother. A landscape, a village, a kitchen, 25 her room.

A small cinematic poem from subjective street scenes, mirrored faces, and the city passing by, as well as naked female bodies underwater, creating an essay made from observed images.

A small cinematic poem from subjective street scenes, mirrored faces, and the city passing by, as well as naked female bodies underwater, creating an essay made from observed images.