Uncheck the box to avoid the aggregation and analysis of your behaviour data collected on this website. Done
Looking for something specific?
Just start typing anywhere to search anything.

Yours, KOW

Hurd's Bank, 2020


Hurd’s Bank (2019) was commissioned by the art space Blitz Valetta in Malta. The 14-minute film deals with oil smuggle on the Maltese coast, the murder of journalist Daphne Caruana Galizia, and the question of what of it all we can and cannot see. Tobias Zielony went to the far borders of the EU and used a telescope to film movements of ships at Hurd’s Bank, miles away, where tankers from Libya and other ports trade crude oil in international waters, and sell it in questionable ways. He observes a space beyond legality, looking for explanations for the murder of Daphne Caruana Galizia, the intertwining of the Mafia with politics, the oil trade, corruption and international law. While the images capture the distant sea in front of the island, Malta expands into a space that evades law, creates its own rights, kills and at the same time stays untouched.

Hurd’s Bank (2019) entstand als Auftragsarbeit für den Kunstraum Blitz Valetta auf Malta. Der 14-minütige Film befasst sich mit dem Ölschmuggel an der maltesischen Küste, mit dem Mord an der Journalistin Daphne Caruana Galizia, und der Frage, was von all dem wir sehen können und was nicht. Tobias Zielony begibt sich an die Grenzen der EU und filmt durch ein Teleskop die Bewegungen der Schiffe an der meilenweit entfernten Hurd’s Bank, dort wo in internationalen Gewässern Tanker aus lybischen und anderen Häfen Rohöl parken und auf fragliche Weise vertreiben. Er beobachtet den Raum jenseits der Legalität, späht nach Erklärungen für den Mord an Daphne Caruana Galizia und für das Ineinandergreifen von Mafia, Ölhandel, politischer Korruption und internationalem Recht. Während die Bilder das entfernte Meer vor der Insel erfassen dehnt sich Malta zu einem Raum, der dem Recht entgeht, sein eigenes Recht schafft, tötet und dabei entrückt bleibt.

single-channel HD video, 14:55 min, color, sound
edition of 8 + 2AP

  • INDEX:

Tobias Zielony

Tobias Zielony is known for his photographic depictions of young people living on the fringes of affluent societies and social acceptance. For the past 20 years, Zielony has focused on suburban milieus that, from Canada to England, Ukraine, Israel, and Japan, have in common that they have fallen out of the promises of modernity's progress and are establishing a temporary life in their own cultural niches. What goes hand in hand with melancholy at the same time reveals a great human tenderness in the cohesion of precarious communities, which Zielony approaches and gives the space to stage themselves. In the process, Zielony's critical approach to documentary manifests itself in a specific aesthetic and relationship to fiction. His numerous institutional exhibitions include the German Pavilion in Venice 2015. Tobias Zielony is a professor in Hamburg since 2022.

Zielony´s work has been shown in many solo and group exhibitions recently such as Watching TV in Narva (KOW Berlin 2023), Dark Data (Marta Herford 2022) and Touch. Politiken der Berührung (EMOP Berlin, c/o Amtsalon 2023), Nach August Sander Menschen des 21. Jahrhunderts (Museum für Gegenwartskunst Siegen 2022).

Full Biography