Linda Christanell is associated with: Double 8
Double 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s [...] In the gesture of mutual filming, images are created in the eyes of the others. The gazes into the camera create a visual loop between the two ...
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A few takes of Barbara Stanwyck and Fred MacMurray, a scene from Billy Wilder's Double Indemnity, are the starting point for Picture Again: a woman and a man in a car, the murderess and her prey. The images in this sequence are accompanied and superimposed ...
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A house facade as compressed memory, an ephemeral film between inside and out, between then and now. In Linda Christanell's newest film Moving Picture, the opulent presentation of fetishistically decorated tabeaus has made way for a material-transposing mo ...
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A film about which there are no words - an action with the camera - objects tell a random story - objects are bearers of obsessions -issuing energy as fetishes. Symbols of femininity and masculinity that have become glitter and trinkets are arranged, conte ...
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Anna is a portrait of Anna Rheinsberg, and an attempt by Christanell to see herself in her friend: What do women of a certain age have in common, whatconstitutes femininity? One answer would be the objects in one's life, and what one does with them. ...
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1978 Linda Christanell experimental short ...
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Every encounter with an image, every interaction searches for its own form. She is the other gaze is a collaboration with five female visual artists of an older generation who have been part of the Viennese art scene since the 1970s and engaged in the wome ...
Watch NowDouble 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s [...] In the gesture of mutual filming, images are created in the eyes of the others. The gazes into the camera create a visual loop between the two ...
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This is the theme of the film: The secret of objects in the huge space and time curve: the not-being-able-to-recognize, the not-being-able-to-grasp, the not-knowing. The curve is presented in the film as a miniature: 24 hours (morning, day, evening, night, ...
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