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ESIOD 2015, 2016

Video

GermanEnglish

Vienna 2051. After many years, a customer comes back to the city to close her bank account. Not only data about money, but also memories and other personal data are digitally stored in this account. The customer is not recognized by the computer system. She has to undergo a “memory check,” during which they observe how she reacts to data, videos, and images from the account. She is looking for a way to access the virtual safe in order to travel back in time and to send a message to our present.

In ESIOD 2015 Clemens von Wedemeyer creates a layer of dystopian science fiction, projecting the current financial crisis and the virtualization of work, life, and capital in the architecture of the “First Campus” – a construction project of the Austrian Erste Bank – into the not all too distant future. His protagonist gets visibly lost in the border zone between real and virtual space, and the film itself continues to disintegrate into a cloud of pixels, becoming transparent.

Vienna 2051. After many years, a customer comes back to the city to close her bank account. Not only data about money, but also memories and other personal data are digitally stored in this account. The customer is not recognized by the computer system. She has to undergo a “memory check,” during which they observe how she reacts to data, videos, and images from the account. She is looking for a way to access the virtual safe in order to travel back in time and to send a message to our present.

In ESIOD 2015 Clemens von Wedemeyer creates a layer of dystopian science fiction, projecting the current financial crisis and the virtualization of work, life, and capital in the architecture of the “First Campus” – a construction project of the Austrian Erste Bank – into the not all too distant future. His protagonist gets visibly lost in the border zone between real and virtual space, and the film itself continues to disintegrate into a cloud of pixels, becoming transparent.

Clemens von Wedemeyer, ESIOD 2015, 2016, HD video, 16:9, color, sound with German and English language
Clemens von Wedemeyer, ESIOD 2015, exhibition view "Orte unter Einfluss. Affected Places", Hamburger Kunsthalle, 2016. Foto: Fred Dott
Clemens von Wedemeyer, ESIOD 2015, exhibition view "Orte unter Einfluss. Affected Places", Hamburger Kunsthalle, 2016. Foto: Fred Dott
Clemens von Wedemeyer, ESIOD 2015, exhibition view "Orte unter Einfluss. Affected Places", Hamburger Kunsthalle, 2016. Foto: Fred Dott
Clemens von Wedemeyer, ESIOD 2015, exhibition view "Orte unter Einfluss. Affected Places", Hamburger Kunsthalle, 2016. Foto: Fred Dott

HD video, 16:9, color, sound, 38 min

Director: Clemens von Wedemeyer
Script: Clemens von Wedemeyer
Cast: Stephanie Cumming, Sven Dolinski
Camera: Frank Meyer
Editor: Janina Herhoffer
Sound: Herbert Verdino
Music: Birke J. Bertelsmeier, Rioji Ikeda
Sounddesign: Maximilian Liebich
Production Design: Renate Schmaderer
Costumes: Julia Cepp
Additional Credits: Masken Design - Kiky von Rebental, Scan & Kinect - Florian Rist, VFX Supervisor - Holger Hummel
Producers: Florian Brüning, Thomas Herberth
Production: Horse & Fruits Filmproduktion

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Clemens von Wedemeyer

Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. The artist and filmmaker studied photography and media at the Fachhochschule Bielefeld and the Academy of Fine Arts Leipzig and graduated as Meisterschüler of Astrid Klein in 2005. Clemens von Wedemeyer participated in group shows such as the 1st Moscow Biennale (2005), the 4th Berlin Biennale (2006), Skulptur Projekte Münster in 2007, the 16th Biennale of Sydney (2008) and dOCUMENTA (13) (2012). He had solo shows among others at MoMA PS1, New York, ARGOS Centre for Art and Media, Brussels, the Barbican Art Centre, London, Frankfurter Kunstverein, Museum of Contemporary Art, Chicago, and Hamburger Kunsthalle. “ESIOD 2015” premiered at the 66. Internationale Filmfestspiele Berlin (Berlinale) in 2016.



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