Dieter Kovacic

‘Surge’ places us somewhere between figuration and abstraction: its displayed forms defy full visual comprehension, as they stretch and snap in strict accordance with the complex beats and sheets of sound created by schtum.

Film by Billy Roisz and Dieter Kovacic

A road trip in the truest sense: shifts, irritations, motion at the levels of image and sound, in all directions. Like a distillate of a “best-of” road movie, Billy Roisz and Dieter Kovačič condense cinema to pure trip – moving past colorful image surfaces that fluctuate between abstraction and depiction.

While working on his list in the bathroom, Santa Claus is murdered by an evil and all-powerful entity, known only as THE. Can it be stopped before its evil spreads and more victims fall?

The "liquefaction of the liquid" is taken to such extremes that as soon as the guttural singing of Mopcut begins, the image space is overcome with spectral flutters and untenable fluctuations.

“Eight short 30-second sequences punctuated by black frames. smokfraqs, a serial work, is made compelling in part by its structural clarity and formal simplicity.” –Isabella Reicher

‘Surge’ places us somewhere between figuration and abstraction: its displayed forms defy full visual comprehension, as they stretch and snap in strict accordance with the complex beats and sheets of sound created by schtum.

Film by Billy Roisz and Dieter Kovacic

A road trip in the truest sense: shifts, irritations, motion at the levels of image and sound, in all directions. Like a distillate of a “best-of” road movie, Billy Roisz and Dieter Kovačič condense cinema to pure trip – moving past colorful image surfaces that fluctuate between abstraction and depiction.

While working on his list in the bathroom, Santa Claus is murdered by an evil and all-powerful entity, known only as THE. Can it be stopped before its evil spreads and more victims fall?

The "liquefaction of the liquid" is taken to such extremes that as soon as the guttural singing of Mopcut begins, the image space is overcome with spectral flutters and untenable fluctuations.

“Eight short 30-second sequences punctuated by black frames. smokfraqs, a serial work, is made compelling in part by its structural clarity and formal simplicity.” –Isabella Reicher

In their film Bring Me The Head of Henri Chrétien!, Billy Roisz and Dieter Kovačič explore the world of cinematic formats based on the genre that experimented with and exploited the width of the screen to display spectacular landscapes: Western movies.

Voices, noise, beats, shouts—acoustic waves. Those of the sea are the starting material for Billy Roisz’s and Dieter Kovačič’s “picture track” for the composition AQUAMARINE by the group MOPCUT. Images like sounds, as great, wavelike arcs, which wind organically and proliferate, branch out and clump together—and at the same time, refer to the tools and circuits that they’re based on.

In their sci-fi Billy Roisz and Dieter Kovacic pose a question if we will ever be able to communicate across the time and space. Inspired by the communication of cephalopods, they experiment with conveying messages using lights, colours, pheromons, sounds and movements instead of words, and they demand that we receive the signals by our whole bodies, just like octopuses.