33. Stuttgarter Filmwinter — Festival for Expanded Media

Expanded Media Exhibition

Expanded Media Exhibition
Expanded Media Exhibition
Media in Space & Network Culture Competition

Leonhardsplatz 28
70182 Stuttgart

U-Bahn / Bus: Rathaus


Leonhardsplatz 28
70182 Stuttgart

U-Bahn / Bus: Rathaus

Artistic works from the competitions Media in Space and Network Culture are on display, which includes cross-border formats such as performance, installation, Expanded Cinema and Net Art like interactive web or social web projects or interventions at public and virtual spaces.

Opening Hours
Expanded Media Exhibition at Kunstbezirk
Thu 17.01.19, 17:00-18:30
Fri 18.01.19, 15:00-19:00
Sat 19.01.19, 14:00-19:00
Sun 20.01.19, 14:00-18:30
Mon 21.01.19, closed (Individual Guided Tours for Groups on Request)
Tue 22.01.19, 15:00- 21:00

Exhibition and Supporting Programme – Free Admission

Guided Tours
Thu 17.01., 17:30 (Opening with Guided Tour through the Exhibition)
Fri 18.01., 16:00
Sat 19.01., 14:00
Sun 20.01., 17:00

Guided Tour for Families with Sara Dahme
Sun 20.01., 15:30

Individual Guided Tours for Groups
Please contact: marcus.kohlbach@wand5.de

Meeting Point for Guided Tours
Kunstbezirk Information Counter

Thu 17.01.19, 17:00-17:30
Wake Me Up Get-together with Performance Monitor Man by Yassine Khaled, afterwards opening of the exhibiton

Thu 17.01.19, 18:30-19:00
Rapid Eye Movement - Under the Surface between Fiction and Reality
A Walk through Awake and Dream States with the Studiengang Figurentheater from Kunstbezirk to festival centre at Tagblatt-Turm-Areal „Unterm Turm“.
(HMDK / Studiengang Figurentheater, 2. Jahrgang - Künstlerische Betreuung: Stefanie Oberhoff)

Tue 22.01.19, 19:00-21:00
Performance Try Outs VII
Students at ABK Stuttgart (performance-module Cindy Cordt) will perform in the spaces between artworks during opening hours at the Expanded Media Exhibition on one evening.

Download Flyer

Competition Media in Space

The Return

Colin Andrews
Schottland, Schweden 2017
1-Kanal-Video-Installation/Single-Channel Video Installation



The Return is a work about cycles and returns, reappearance, repetitions and recurrences in space and time. The work utilises the form of the circle, the associations of home and dwelling, and the symbolism of fire, as agent of both destruction and renewal, beginning and ending, in an exploration of loss, return and the mythic and philosophical notions of the cyclical nature of time and history.
The Return references the penultimate scene in Tarkovsky’s, The Sacrifice, in which a character burns down his house. When shooting this scene the camera jammed and it was not recorded. Tarkovsky’s final act of production, before dying of cancer, was to rebuild this house in order to reshoot the scene. The house in The Return is a copy of that in The Sacrifice, which in turn was modelled on Tarkovsky’s own.

No Fear

Martin Brand
Deutschland 2018
1-Kanal-Video-Installation/Single-Channel Video Installation



On a wall-filling projection, the black and white shot of a historic stereo system with side horn speakers and an overly large bass unit can be seen. In addition, a computer-generated, distorted and reverberant male voice is heard, apparently sounding from the horn speakers of the projected stereo system. This English-language voice contains a poetic text consisting exclusively of terms that begin with “no”: no fear, no anxiety, no truth … The terms refer to general human, social and psychological topics, to current day and world political problems, phenomena and discourses.

The Other Cheek
Die andere Wange

Gregor Kuschmirz
Deutschland, 2017/2018
Kinetische Klanginstallation/Kinetic Soundinstallation



The other cheek is a kinetic soundinstallation about hurt and retiliation. Physical display of force and counterforce alternate in its tale of an endless boxing match:
Two loudspeakers circulate horizontally in a room. They regularly collide with each other in middle. The loudspeakers alternately respond to the impact by emitting a whining sound. Each time the howling turns into an aggressive scream, which is only stopped by the following collision.


Aaike Stuart (NL)
Deutschland 2018
1-Kanal-Video-Installation. Beamer, Subwoofer, Verstärker, Media-Player, Stahlkonstruktion, Holz, Aluminium, Beton
1 Channel Video-Installation. Beamer, Subwoofer, Amplifier, Media Player, Steel Construction, Wood, Aluminium, Concrete



Quake is an attempt to stabilize video footage of the 2015 Nepal earthquake in a physical manner by setting the projector into counter-movement, using a subwoofer. The smoothening out of a remote catastrophe seems to ironically resemble the way we process these very same images almost on a daily basis. As if we have developed an inner stabilizer, helping us to deal with the continuous stream of upsetting content. However, stabilizing the video inevitably means shaking up the installation itself. By connecting consumer technology with geological processes, the work also plays with the notion that earth materials, climate and natural disasters cannot be viewed separately from today’s technology consumption habits.

Quake was realized with the support of Karl Hofer Gesellschaft e.V.

50.000 Scans

Benjamin Verhoeven
Belgien 2017
1-Kanal-Projektion, Farbe, Ton, 22:28 Min.
Single Channel Projection, Color, Sound, 22:28 Min.



50.000 Scans is part of an ongoing project called “Scanning Cinema” that explores the physical action of scanning moving images. This video is made entirely out of scans. A self-thought manual scanning process generates the shifts between them. Using a flatbed-scanner and a computer screen, as a newly combined medium, the images are wrapped into one single frame. These scans are then assembled into an animated film.
50.000 Scans focuses on how the choreography of a human body functions in the scanned reality. It explores this scanned dimension and holds it against the historical birth of film and the registration of movement through the medium of photography.
The sound is adapted to the same scan-process as the images.

Competition Network Culture

Monitor Man

Yassine Khaled
Finnland 2016-2018
Langzeit-Performance, Video der Performance, Künstlerbuch
Ongoing Performance, Video of the Performance and Artistic Publication



In Monitor Man, Yassine Khaled creates an embodiment of virtual communication in public space. The artist wears a helmet affixed with an iPad, which offers a real-time connection to a person outside of Europe and Western world. Through the use of technology and his own body, Khaled uses the performance to transgress actual, national borders which separate people. The performance is an opportunity for people to meet with someone who is physically far away and restricted in their freedom of movement. Monitor Man was inspired by the current refugee crisis and how it is unfolding in relation to the internet, social media, and the omnipresence of technology. The project began on the streets of Helsinki, but is ongoing, as the artist presents the work in different locations around the Western world.

Performance Monitor Man, Thu 17.1.19, 17:00 at Kunstbezirk (and during the festival in public space).

Touch the Heart

Gisela Nunes & Paulo Almeida
Portugal 2017
Webbasiertes Kunstprojekt
Web-based Artwork



Touch the Heart is a web-based interactive project, built around a 3D physics simulation of two “hearts” hanging from “ropes”. People can pull and release each heart, making them oscillate and eventually collide, while “moving” around the scene. The artwork reflects on how our experience changes our perceptions and perspectives on the world. Both sound and visuals are synthesized in real-time according to the simulation. The whole rendering varies along time, in a day-and-night cycle. The project is written in JavaScript and GLSL, leaving most rendering details to custom written shaders.

Unerasable Images

Winnie Soon
Dänemark 2018
HD Video



Unerasable Images presents over 300 screenshots from Google Image Search results for the search term “六四” (“64”), a reference to the date of the Tiananmen Square Protest of 1989 in Beijing. The most iconic image of that day known as “Tank Man” facing down a column of advancing tanks. In 2013, a Lego reconstruction of the “Tank Man” image started circulating in China before it, too, was eventually erased. This image, after four years, occasionally prioritizes on the first few rows of the search. Masking all the search results except the colored image, the thumbnail image(s) move within the hidden infrastructural grid and beyond the screenshot’s frame, examining the geopolitics of data circulation, internet censorship and the materiality of image (re)production.

Kinshasa Collection

Dorothee Wenner
Deutschland 2017
Webserie und Modemarke
Web Series and Fashion Brand



Kinshasa Collection - A web series and fashion brand between Kinshasa, Guangzhou and Berlin hijacking cultural stereotypes and stealing its audience for a roller coaster ride through real and fake, piracy and appropriation. A Berlin film team is sent to the Congo by a PR agency with close ties to the government. Their mission: to shoot a trailer for an image campaign intended to change the public perception of Africa in Germany. During the shoot, the team encounters the famous fashionista guerillas, the local film making scene, and designers whose creativity reaches far beyond cool outfits. “Kizobazoba” - Lingala for 'improvisation' - becomes their guiding principle and results in the quarreling team transforming a film project into a fashion label. Kinshasa Collection creates feedback between the digital and the analog as much as between fiction and reality.

Kinshasa Collection Night, 17.01.19, 22:00 at FITZ! Cinema

Where is Africa? -Talk and Screening, 18.01.19, 18:30 at tri-bühne, Cinema.

HBG: Humans, Beasts & Ghosts

IP Yuk-Yiu
Hong Kong 2018
Videospiel/Video Game
Tongestaltung/Sound Design: Ulf Langheinrich



Inspired by the works of the Chinese literary master Qian Zhongshu, HBG is an experimental video game, a playable life simulator in which the player, assuming the role of God, facilitates the everyday being of the different worlds inhabited by humans, beasts and ghosts. The player can choose to act as an interventionist god, creating and destroying whimsically, or simply watching the worlds unfold with minimal or no interference.
A literary adaptation in a digital and playable form, HBG is a digital canvas and an allegorical play about human existence, its dilemma and other catastrophes.