Anita Hansemann

The travelling salesman Jonathan Fisch peddles glass eyes. His journey takes him to the edge of the province, where he checks in to a run-down hotel. The attic room number 606 has its pitfalls. Something rather peculiar is happening beyond the wall. Jonathan Fisch can expect a very turbulent night. A night that begins one evening in late autumn and doesn’t end until spring.

Subotika, a little-known island on the other side of the globe. An enchanting country with extraordinary sights, grand visions and a couple of minor problems.

Engaging with objects from everyday culture is a hallmark of Peter Volkart, both in his art objects and in his films. Volkart stages mysterious journeys that venture into unknown territory and penetrate the consciousness like will-o'-the-wisps, as in "Terra incognita." His short films have a magical appeal: they have been shown at numerous film festivals in Switzerland and abroad and have won many awards.

The travelling salesman Jonathan Fisch peddles glass eyes. His journey takes him to the edge of the province, where he checks in to a run-down hotel. The attic room number 606 has its pitfalls. Something rather peculiar is happening beyond the wall. Jonathan Fisch can expect a very turbulent night. A night that begins one evening in late autumn and doesn’t end until spring.

Subotika, a little-known island on the other side of the globe. An enchanting country with extraordinary sights, grand visions and a couple of minor problems.

Engaging with objects from everyday culture is a hallmark of Peter Volkart, both in his art objects and in his films. Volkart stages mysterious journeys that venture into unknown territory and penetrate the consciousness like will-o'-the-wisps, as in "Terra incognita." His short films have a magical appeal: they have been shown at numerous film festivals in Switzerland and abroad and have won many awards.