(Germany 2011, 30 min, German OV)
An apprenticeship with Opel in Bochum: one contract, three years perspective.
Six correct numbers in the lottery. Daily routine. Wake up. Take the train. Shop floor. Breaks. Only just started working life and the future is already uncertain.
(2008, 8 min, single channel projection)
On a rail trolley through Berlin’s underground tram network. A play of light and shadow and real danger in between the passing trains. The work’s unfamiliar perspectives refocus the viewer’s attention on time perception in train travel.
(2010, 35:30 min, German/English OV, English SUBs)
The film introduces three teachers of Marxism-Leninism from the DDR. They talk about their careers and their fates before and after the reunification of Germany. Their accounts are interpolated with archive material from highly ideological times.
(2007, 34 min, one channel video installation, English OV)
The film shows locations of the younger Indian generation such as silk shops, coffee shops, trains and markets in re-staged scenes. An occupation with the layering of meanings and media remodellings also enables Odenbach to integrate idealised notions about India that had circulated Western youth culture in the 1960s.
(1978, 17 min, one channel videotape)
This black-and-white video piece looks at everyday activities and visits to cafés in Paris and plays with the most beautiful clichéd images of the French capital.
(2011, 93 min, english OV, HD Video)
This film about the psychiatrist Ronald D. Laing blends extensive archive material on the anti-psychiatry movement from television and other sources with newly filmed material. The result makes clear how the spirit of optimism in the 1960s was shaped by the media, how this was connected with the anti-psychiatry movement and uncovers the movement’s social and political interests.
(textlist of the film)
(2010, 45 min, HD installation)
After the end of industrialisation, the Japanese island of Inujima, on the Seto Inland Sea, was left to decay and was abandoned by the younger generation. In May 2010 the Naoshima Fukutake Art Museum began with the building of 10 art pavilions. This unhurried film shows the transition into a period of waiting.
"Der Film zeigt nicht nur Bilder, er umgibt sie auch mit einer Welt." Gilles Deleuze zufolge zeigt sich das Verhältnis von Bild und Welt vielgestaltig. Dieser Heterogenität entsprechend lassen sich die dokumentarischen Formen des Sichtbarmachens deuten. Zum Kernbestand dokumentarischer Ästhetik wie dokumentarischer Politik gehört es, Aufmerksamkeit dorthin zu lenken, wo sie zuvor fehlte.Weiterlesen...