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Michaela Schwentner

Michaela Schwentner

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Zwischen mir und der Welt / Aufräumen 2020 (7)

Set theory, one of the cornerstones of mathematics, serves as a metaphor for “social structures as spatial arrangement”, as the first sequence of the film reveals. The visual playfulness first becomes an exploration of two- and three-dimensionality and then turns out to be a well-founded reflection of social power relations. The search for a supposedly correct “order of things” triggers the compulsive element in many viewers. Who’s (not) afraid of being different?


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Bellevue 2007

Snow, fog, clouds—and in the midst of it all, a barely perceptible massif. Or, better yet, a white noise from which contours gradually emerge and just as steadily dissolve back into: As though ghost lights in the digital image-fog that dominates the expanse of this composition. A mountain peak, only vaguely discernible for the longest time, that halfway disappears again the moment it appears.


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Swinging 2006

A bridge with an arched metal structure stretching over it is visible on a white field. The colors are subdued - gray and black, various shades of brown, blue and green - though they seem quite intense on the light background. The places connected by the bridge aren't visible; portrayed as an isolated structure, it becomes the focus of an analysis in the medium of film.


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