Vincent Katz: Books: Art Books and Catalogues, Hannes

Hannes Schüpbach Film Solo: Films 2000-2002

Published on the occasion of the film tour October-December 2003

Cinematheque Ontario, Canada; University of Wisconsin, Milwaukee; Pacific Film Archive, Berkeley; The Film Society of Lincoln Center, New York; Bard College, Annandale-on-Hudson; Lux, London; Kunstmuseum Winterthur; Stadtkino Basel; Filmpodium Zürich; Kino Arsenal, Berlin; Institut für Theater-, Film- undMedienwissenschaft der J.W. Goethe-Universität mit mal seh'n Kino, Frankfurt

Hannes Schüpbach: Blinking The Mind’s Eye
by Vincent Katz

The films of Hannes Schüpbach are perverse. They work against film’s seductive nature, that calms us by lapping us with imagery, which, even when difficult, partakes, in the best cases, of life’s inevitable rhythms, and therefore comforts us. Schüpbach, by contrast, strictly controls what we see, tantalizing us with glimpses of scenes of solidarity and repose, that are shattered, or rather, dissected by the editor’s scalpel, leaving us with the impression not of witnessing or experiencing, but of being absent from the scene referred to.

One of the most striking elements in Schupbach’s short films is the willful and precise use of black. Not only does the black frequently separate images, unlinking what came from what follows; it also is subject to its own pacing. The blacks themselves have different lengths and thus take on more active tonal value. Superimposition is frequent, and the filmmaker replays shots or variations on shots, so that progression is not linear, but cumulative, like emotion.

The films are silent; music does not fill in their stops. The stops, or limits, are felt. On first viewing the films can seem abrupt; on repeated viewings, their rhythms become better understood. Below, I offer my writings on three of Schüpbach’s films. They attempt more to reflect the feeling of the films than to recount their elements.

Portrait Marriage 2000
9 min.
Starts with shimmering, delicate images. Takes shape with the appearance of a path through grass. The path is taken. People are glimpsed; snatches of nature. Camera moves on objects, giving shape to people’s well-dressed animation. Water on rock; stone structure. Is that a church? Their coats of flowers; walking through water. Now walking; now dancing. So well-dressed, so beautiful. She in red, he in white. Leaving, on stones. Drinks, balls are rolled, through trees. White geese preen. Tablecloths, plates of food. Fresco of a banquet; actual feast. That pattern returns.

Spin 2001
12 min.
Flower (Foxglove?) in late light. A shape made of light, oblong hovering. Hands, arms, sitting. Same flowers in sun. Out-of-focus distance (mountain and sky -- a projection filmed?). Heavy rain over the plants. The mountain. Still blurry, then suddenly sharp with sharp clouds. The play of shapes. Rhythms of hard and soft, clear and blurry. What one is given to see. Projections, and a slit that passes, providing a tracking glimpse, magic-lantern-like but no totality, no resolution. The hand, the arms, the shirt, the tea. The flower, wet, in sun. Smell of earth. A relatively long shot of flowers, changing focus.

Finally, a tiny glimpse of a fragment of the face. Then back outside, a long shot of trees and grass. Are those red, ripe apples on that tree? White shapes flapping in breeze as wipes. A white-haired head; grass with little flowers. Sneakered feet walk; white head proceeds down a road into indistinct distance. The face seen clearly, front and side. The face remembered.

Toccata 2002
28 min.

”immediato” blue and hands white petal water drops sun in sky windows reflection semi-circle light almost gone people walking standing shifts grating still then move a body steps fruits reflection growing with cloud light through glass water dripping line in texture fast bodies fast drops who are those people? where are they italy? fountains someone i would like to know more about fountains cars late light on bed ball in water flies a hand fish above trees rocks towels hang from lines the slit between a hand moves a way the rhythms became acepatable not those of life but parts water shapes a hand moves away shapes one wants to know more about

“reiterando” water moving not in waves but in shapes active people walk in shadowy urban space water surface peoples’ legs walking down steps a fragment light shadow on rock walk water shape close up there is something one sees into but what? one does want to know one relaxes and the experience stops in black flowers move shifting camera movement closeup red a dried leaf more walking always in same late light only glimpses of backs light almost dying many days went out to see the light positive/negative in plants you always want to hurry to see water coming in water over rocks a bed or a mountain rocks and water a hand working a red irregular line an eye

“vivo” a darker light yet darker water spreads bed’s edge daylight steps down old city a stone garment the same steps an arcade lavender curtain an arcade with light shape becomes an arm less still less light orange pale blue white a hover a blend red steps red stone light on window on wall late moonlight? curtains dark steps an opening to light total light a closing to lavender to scarlet rooftops towers then cranes soft bright shapes moving bits of city last light needles dance over tops blue


Art Books and Catalogues	Curatorial	Poetry	Translation

Hannes Schüpbach Film Solo: Films 2000-2002 Published on the occasion of the film tour October-December 2003 Cinematheque Ontario, Canada; University of Wisconsin, Milwaukee; Pacific Film Archive, Berkeley; The Film Society of Lincoln Center, New York; Bard College, Annandale-on-Hudson; Lux, London; Kunstmuseum Winterthur; Stadtkino Basel; Filmpodium Zürich; Kino Arsenal, Berlin; Institut für Theater-, Film- undMedienwissenschaft der J.W. Goethe-Universität mit mal seh'n Kino, Frankfurt
Hannes Schüpbach: Blinking The Mind’s Eye by Vincent Katz The films of Hannes Schüpbach are perverse. They work against film’s seductive nature, that calms us by lapping us with imagery, which, even when difficult, partakes, in the best cases, of life’s inevitable rhythms, and therefore comforts us. Schüpbach, by contrast, strictly controls what we see, tantalizing us with glimpses of scenes of solidarity and repose, that are shattered, or rather, dissected by the editor’s scalpel, leaving us with the impression not of witnessing or experiencing, but of being absent from the scene referred to. One of the most striking elements in Schupbach’s short films is the willful and precise use of black. Not only does the black frequently separate images, unlinking what came from what follows; it also is subject to its own pacing. The blacks themselves have different lengths and thus take on more active tonal value. Superimposition is frequent, and the filmmaker replays shots or variations on shots, so that progression is not linear, but cumulative, like emotion. The films are silent; music does not fill in their stops. The stops, or limits, are felt. On first viewing the films can seem abrupt; on repeated viewings, their rhythms become better understood. Below, I offer my writings on three of Schüpbach’s films. They attempt more to reflect the feeling of the films than to recount their elements. Portrait Marriage 2000 9 min. Starts with shimmering, delicate images. Takes shape with the appearance of a path through grass. The path is taken. People are glimpsed; snatches of nature. Camera moves on objects, giving shape to people’s well-dressed animation. Water on rock; stone structure. Is that a church? Their coats of flowers; walking through water. Now walking; now dancing. So well-dressed, so beautiful. She in red, he in white. Leaving, on stones. Drinks, balls are rolled, through trees. White geese preen. Tablecloths, plates of food. Fresco of a banquet; actual feast. That pattern returns. Spin 2001 12 min. Flower (Foxglove?) in late light. A shape made of light, oblong hovering. Hands, arms, sitting. Same flowers in sun. Out-of-focus distance (mountain and sky -- a projection filmed?). Heavy rain over the plants. The mountain. Still blurry, then suddenly sharp with sharp clouds. The play of shapes. Rhythms of hard and soft, clear and blurry. What one is given to see. Projections, and a slit that passes, providing a tracking glimpse, magic-lantern-like but no totality, no resolution. The hand, the arms, the shirt, the tea. The flower, wet, in sun. Smell of earth. A relatively long shot of flowers, changing focus. Finally, a tiny glimpse of a fragment of the face. Then back outside, a long shot of trees and grass. Are those red, ripe apples on that tree? White shapes flapping in breeze as wipes. A white-haired head; grass with little flowers. Sneakered feet walk; white head proceeds down a road into indistinct distance. The face seen clearly, front and side. The face remembered. Toccata 2002 28 min.
”immediato” blue and hands white petal water drops sun in sky windows reflection semi-circle light almost gone people walking standing shifts grating still then move a body steps fruits reflection growing with cloud light through glass water dripping line in texture fast bodies fast drops who are those people? where are they italy? fountains someone i would like to know more about fountains cars late light on bed ball in water flies a hand fish above trees rocks towels hang from lines the slit between a hand moves a way the rhythms became acepatable not those of life but parts water shapes a hand moves away shapes one wants to know more about “reiterando” water moving not in waves but in shapes active people walk in shadowy urban space water surface peoples’ legs walking down steps a fragment light shadow on rock walk water shape close up there is something one sees into but what? one does want to know one relaxes and the experience stops in black flowers move shifting camera movement closeup red a dried leaf more walking always in same late light only glimpses of backs light almost dying many days went out to see the light positive/negative in plants you always want to hurry to see water coming in water over rocks a bed or a mountain rocks and water a hand working a red irregular line an eye “vivo” a darker light yet darker water spreads bed’s edge daylight steps down old city a stone garment the same steps an arcade lavender curtain an arcade with light shape becomes an arm less still less light orange pale blue white a hover a blend red steps red stone light on window on wall late moonlight? curtains dark steps an opening to light total light a closing to lavender to scarlet rooftops towers then cranes soft bright shapes moving bits of city last light needles dance over tops blue
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