Freies Kino: Susi Jirkuff – Film und Animation

Susi Jirkuff ist bildende Künstlerin. In ihren Arbeiten beschreibt sie vornehmlich städtische Räume und thematisiert Erzählungen, die in ihnen eingebettet sind. Die (Re-)Präsentation von Stadträumen über populäre Medien und die damit verbundenen Vorstellungen und Selbstinszenierungen über bzw. von sozialen Gruppen fließen dabei als Bildmaterial und Narrative in Filme und Zeichnungen ein.

Ihre bevorzugten Medien sind Zeichnung, Fotografie, animierter Film und Installation, zuletzt lag der Schwerpunkt auf animierten Dokumentationen, in denen fiktionale Elemente eingeflochten wurden.

Ihre Arbeit wurde international in Ausstellungen gezeigt, unter anderem in Amsterdam, Berlin, Barcelona, Bilbao, London, Paris, Vilnius, Los Angeles, New York sowie national in Wien, Graz, Linz und Salzburg. Animationsfilme liefen auf Festivals und in Screenings, darunter Annecy, Animafest Zagreb, Animateka Laibach Kurzfilmfestival Oberhausen, European Media Art Festival Osnabrück Diagonale, Crossing Europe und Tricky Women.

Sie erhielt das Schindler-Stipendium, den Hilde-Goldschmidt Preis, das Staatsstipendium für Bildende Kunst, das Margret Bilger Stipendium, den Gabriele Heidecker Preis sowie den Outstanding Artist Award für Experimentalfilm. 2020 schloss sie eine Dissertation ab, in der sie animated documentary als Methode zur Untersuchung von Stadträumen einsetzte. Das Filmprogramm zeigt einen Querschnitt von Arbeiten der letzten Jahre und damit vornehmlich städtische Räume und Erzählungen, die in ihnen eingebettet sind. Ein Programmteil liegt auf Musikvideos, die in der (Re-)Präsentation von Stadträumen oftmals eine wichtige Rolle spielen. Aneignung, Umeignung und Adaption werden als Strategie eingesetzt, um eigenen Erinnerungen und Assoziationen Raum zu geben.

In den letzten Jahren verlagerte sich der Schwerpunkt hin zu stärker narrativen Animationen, wobei fiktive Charaktere respektive die Weiterentwicklung realer Begebenheiten in eine Fiktion im Mittelpunkt standen. Auch existierende Orte wurden zu Schauplätzen animierter Dokumentationen, die wiederum in konstruierte Geschichten eingebaut wurden.

Zuletzt sind auch fragmentarische Arbeiten aus der Serie 'Choreographies' dazwischengestreut, sehr kurze Stücke, deren Inhalt auf knappe Handlungen oder Bewegungen fokussiert. Die meisten Filme sind in einem installativen Setting präsentiert worden und nehmen so auch Bezug zum Raum, in dem sie gezeigt werden.

Im Gespräch wird Jirkuff Einblicke in ihre Arbeitsprozesse geben.

Keine Voranmeldung notwendig, Tickets sind bei der Kassa im Stadtkino erhältlich.


01. Fifty & Gromit, 28 sec, 2006

The first of a series of snapshots of magic moments in the history of pop music

02. How We Do, 3.57 min, Video(remix), 2005

Music: The Game, This is How We Do, 2005

A reference to Rap music. Since I heard that most Rap music is bought by a white male youth I wonder to which amount all gangsta gestures are just swallowed by a white audience. The video highlights the relation of artists and their vice versa, or tackles - in other words - the difficulties of translation.

03. Siggi, 2.06 min, 2005

Buying action figures doesn’t always mean that your taking action, too.

04. Things Done Changed, The notorious B.I.G., 2006

A ride through Los Angeles and a love for palmtrees melt together to a sentimental journey.

05. Eugenio, 54 sec, 2005, videoanimation

A friend of Cuba tells the story of his birth which happened in an American Car.

06. Mother, 1.35 min, 2005, videoanimation

A new beginning means also leaving something behind.

07. The Walkman Effect (I Wouldn't normally do), 3.45 sec, 2007

'The Walkman Effect' is playing with the imaginary self-staging that can be created with pop-music in your mind. It's a transition into/through urban space, starting from a shy dance to conquering the city.

08. Leon, 2005, 1.05 min, videoanimation

Two Guys from Ivory Coast wondering about dog shit in Vienna

09. Hong Jon, 3.19 min, 2005

The Birthday Present, or: lost memories arising on the peak of an Austrian mountain

10. Small Parts isolated and destroyed, 3.19 min, 2011

Small Parts Isolated and Destroyed is a punk song by the Canadian punk band No Means No from the 1980ies. At my request the two Upper Austrian musicians Wolfgang Bründlinger and Marco Palewicz (guitar / keyboards) did an interpretation of the song and produced a danceable version to be used as a fitness and dance soundtrack. The video plays an ironic game with the capitalization of creative and rebellious attitudes.

11. Zappa, 1min 3 sec, 2009

The second magic moment: Frank Zappa about his view on media as a creator of false images.

12. The Reality Check, 3.34 min, 2012

Mr. C., a young curator with high-flying plans is forced to watch the bleak slide-show of Mr. A, the Artist.

13. The Bitch, 3.34 min, 2012

'The Bitch', Mrs. B, loves 'B & B' ('The Bold and The Beautiful') and is completely immersed in the show. In the film she slips into the different characters to tell her story of the encounter with her neighbor, Mr. A.

14. The Elusive Life of Mr. A, 2010

An artist shows his art works and gets more and more aggressive as his viewer doesn't want to look at it anymore.  This film is the first of a trilogy that shows the encounter of three characters that have nothing to do with each other. Everyone live in his/her very own space – finally they are all a big disappointment for each other.

15. Heine, 2007

A fragment of a radio show is becoming a short comment about a broken love.

16. People Who Like Bonnie Tyler, 2009, 6 min 05 sec

Emotions are transferred into feelings, into a sentimental consumable print of psychic experiences. We learn to act and stage instead of giving an authentic emotional expression.

The transfer of real feelings into acting as if and back to real feelings is the consideration behind ‘People Who Like Bonnie Tyler’. The followers of a ‘People Who Like Bonnie Tyler’ website are becoming the stars of a music video that is an homage to Bonnie Tyler. Their comments to the song ‘Total Eclipse of the Heart’ are put between their performance and some ghostlike apparitions of Bonnie Tyler herself.

17. Ginny, 2015

Ginny is a reference to a real story that I read in a newspaper. Four teenager, the youngest about 14 years old, threw a cat out of the window of a towerblock, four times in a row.

The film tries to tell the story in a spatial context and transfers the narrative into a fictive dialogue between a 14-year old girl and a psychologist-

18. Run/ Smash, 2017

During a research I found a YouTube-video about a rioting crown in Manchester in 2011. With the soundtrack I made a short clip that is capturing a moment of rebellion.

19. Endless City, 2021

Endless City refers to the utopias ‘No stop city’ and the linear city of the 1960ies. It shows a stop motion animated wide spread city that strings together an endless variation of highrises and towerblocks.

20. A Concrete Vision, 2021

A Concrete Vision is part of a larger project that deals with the narrative of Franz Kafka’s ‚Das Schloss’ from 1922.

‚Das Schloss’ is translated into a series of architectural studies that try to picture the inpregnable castle in the form of surreal concrete buildings. In the video they are collected

and presented as a gated resort and appear in a promotion film that mirrors not only the common real estate advertisements but also the twisted ambivalence of neoliberal virtues.

21. The Bow Quarter, 2015

The Bow Quarter is a historic site in the East of London. The former match factory became one of the first gated residencies in the 1980ies. The film follows the site in the form of a docufiction or animated documentary. 

22. Vinyl, 1.13 min, 2007

A short poem about the end of a love affair.


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