Harry Kramer

A dancer glides through industrial landscapes accompanied by groovy jazz rhythms.

Like "Sackgasse", a brilliantly filmed and edited impression of a big city, underpinned by groovy jazz rhythms.

In the film, ramshackle automobile-puppets - strange kinetic sculptures built from found objects - wander and stumble through abandoned courtyards, shattered walls, and sun-scorched ruins, their blind mechanical motions echoing humanity’s lost laws and deserted dreams.

Sky and walls, a liana of water pipes, dilapidated backyards, cracks in walls, cracked walls full of lost, enigmatic children's signs, rusty railway station grounds, deserts, within them the figures, not conformed to the environment in their sightlessness and obsessive deformation to themselves. clinging to legalities of mechanisms that had become senseless and fused with them, that had perhaps once served them, hovering as if in a dream of condensed emptiness, without moving from the spot, they stumbled and rolled with the machines through sun-hardened, burnt-down landscapes, deflected only by objects, by congealed meteorites.

The film, which features objects based on found items, shows surreal, deserted landscapes in which the objects seem to observe and follow each other. The images, composed like a dream with breaks and illogical repetitions, are reminiscent of surveillance scenarios, while the rough sound collages by English composer and Stockhausen student Cornelius Cardew reinforce the impression of menace and coldness.

A dancer glides through industrial landscapes accompanied by groovy jazz rhythms.

A dancer glides through industrial landscapes accompanied by groovy jazz rhythms.

Like "Sackgasse", a brilliantly filmed and edited impression of a big city, underpinned by groovy jazz rhythms.

Like "Sackgasse", a brilliantly filmed and edited impression of a big city, underpinned by groovy jazz rhythms.

In the film, ramshackle automobile-puppets - strange kinetic sculptures built from found objects - wander and stumble through abandoned courtyards, shattered walls, and sun-scorched ruins, their blind mechanical motions echoing humanity’s lost laws and deserted dreams.

Sky and walls, a liana of water pipes, dilapidated backyards, cracks in walls, cracked walls full of lost, enigmatic children's signs, rusty railway station grounds, deserts, within them the figures, not conformed to the environment in their sightlessness and obsessive deformation to themselves. clinging to legalities of mechanisms that had become senseless and fused with them, that had perhaps once served them, hovering as if in a dream of condensed emptiness, without moving from the spot, they stumbled and rolled with the machines through sun-hardened, burnt-down landscapes, deflected only by objects, by congealed meteorites.

The film, which features objects based on found items, shows surreal, deserted landscapes in which the objects seem to observe and follow each other. The images, composed like a dream with breaks and illogical repetitions, are reminiscent of surveillance scenarios, while the rough sound collages by English composer and Stockhausen student Cornelius Cardew reinforce the impression of menace and coldness.