Volker Schreiner

Artists from feature films whose lives were invented, fictional artists: who are they, how do they live, how do they work?

A countdown from 266, using classic movie scenes.

A compilation of parasitic TV monitors.

Rule no. 1: 'You can make any Hollywood movie interesting, if you cut the movie several times...'

A compilation of light cones of electric torches.

The world is what sound is: Main motive is the speaker - on masts, in halls, on roofs in cars, living rooms, in headphones and handsets, in radio installations. Listeners are to be seen in parts or blured only. Sound gets through the speakers, as unclear part of communication and dialogues, distorted music and announcements, search of transitions, noise. Volker Schreiner gives a new, a different, a forgotten voice to the general and omnipresent noise, that since a long time is no more experienced in the mordern world.

Artists from feature films whose lives were invented, fictional artists: who are they, how do they live, how do they work?

Artists from feature films whose lives were invented, fictional artists: who are they, how do they live, how do they work?

Artists from feature films whose lives were invented, fictional artists: who are they, how do they live, how do they work?

A countdown from 266, using classic movie scenes.

A compilation of parasitic TV monitors.

Rule no. 1: 'You can make any Hollywood movie interesting, if you cut the movie several times...'

Rule no. 1: 'You can make any Hollywood movie interesting, if you cut the movie several times...'

A compilation of light cones of electric torches.

The world is what sound is: Main motive is the speaker - on masts, in halls, on roofs in cars, living rooms, in headphones and handsets, in radio installations. Listeners are to be seen in parts or blured only. Sound gets through the speakers, as unclear part of communication and dialogues, distorted music and announcements, search of transitions, noise. Volker Schreiner gives a new, a different, a forgotten voice to the general and omnipresent noise, that since a long time is no more experienced in the mordern world.

Made in 1989, this tape comprises 130 pictorial sequences, where countless different rolls of paper are rolled out and up with one hand at breathtaking speed. Constantly, new pictures emerge, from monochrome to patterned areas, though they can hardly be perceived with the quick succession of pictures.

It's not a simple ABC, this found footage alphabet by Volker Schreiner. Schreiner reveals his qualities in collecting and choreographing footage from classic (Hollywood) films. The concept of alphabetical ordering is loosely maintained so there's room for a playful contribution from the subconscious

"In the videotape "White Screen" of 1988, which Schreiner calls a "noise and material video", the subject are white screens of various materials that is torn over and over again in short sequences both vertically and horizontally. In addition, the cinema’s projection screen is attacked by breaking, cutting, sawing, drilling, and in one sequence is riddled with numerous holes. This destructive act is like that of Lucio Fontana who in the sixties became famous for the slits and drill holes he made in canvases, thus making the picture into an object. Cut and sound are synchronous, there always follows another picture, another sound, another action after the next. But in spite of the overarching theme, the viewer is meets with many surprises (what comes next, and where?), and is left in suspense."