14: Luke Fowler, Ute Aurand

7 April, 2019 - 14:00
Paddenhoek

 

Two intimate films, both shot on 16mm, by former Artists in Focus Luke Fowler (2016) and Ute Aurand (2017). Whereas Fowler’s is a portrait of an unseen subject, his mother, multiple friends and family members populate Aurand’s feature-length film, shot over a 19-year period, which spontaneously responds to life’s lived moments. On a more modest timescale, Fowler’s short film is a complex and layered work that transcends the portrait form in order to address issues around class and gender in academia in Britain as well as philosophical questions around the organization of knowledge. 

 

In the presence of Luke Fowler & Ute Aurand

Mum’s Cards

Luke Fowler
,
UK
,
2018
,
HD
,
colour
,
9'

“My mother is a Sociologist — she came to Glasgow from the south of England in the 60s to work within the Politics Department of Glasgow University. After a few years the Sociologists broke away and formed their own department, where she taught until she retired. Although the university advocated and furnished her with her own personal computer — she still used index cards to make notes on the books and articles that she read. Now that she no longer has an office her house is filled with shoeboxes and filing cabinets containing these cards. My mother was absent on the day that I shot this film; the interview and sounds were recorded at a later date.” (LF)

Rasendes Grün mit Pferden (Rushing Green with Horses)

Ute Aurand
,
DE
,
2019
,
16mm
,
colour
,
82'

Rushing Green with Horses is a collection of brief moments, filmed between 1999 and 2018 on journeys, at home, with friends and alone. They are private gestures that attract my attention, spontaneously filmed beyond narration or documentary: Anton in his apartment in Lichtenberg, Lilian and Nanouk 10 days old, Jón’s 94th birthday, Sofia dancing, James and Robert transport the 16mm projector, snow at Cape Cod, Detel in her atelier, Franz and Sabrina get married, a trip to Detroit, a stormy sea in black-and-white, Alma and Ernie at the Brandenburger Gate. We see the same people at various ages, as a child, as a teenager, as a young woman... We sometimes hear someone speaking, hear music, or silence. Somewhere in the middle of the film there is a handwritten sentence that appears upside down before it gets turned around: A child asleep in its own life.” (UA)