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Artists' Association MUU » 52° 33′ NORTH – ARTISTS AND ART WORKS
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MUU Galleria
klo 18-20
Lönnrotinkatu 33, 00180 Helsinki

Jörg Hommer, Gabriele Stellbaum, Karen Koltermann, Matthias Mayer, Veronika Witte 
and Mr. Ira Schneider

Andreas Wolf

Video Screening
Time total: 56’45 min
Project Website: weddingfinland.de

Jörg Hommer


The Red Carpet
4’35 minutes Short documentary, experimental film 2007
direction/concept, camera, editing: Jörg Hommer
sound mixing: Holger Jung

The Red Carpet
Official G8 summit reception in Heiligendamm, Germany 2007. Jörg Hommer draws our gaze to the carpet where Chancellor Angela Merkel is playing the role of the hostess for the media as she follows a script planned to the last detail, following all the rules of protocol. The heads of the dramatis personae are not important. the red carpet is a satire on protocol during state receptions which take place daily all over the world, and as they are shown on TV: the famous ‘handshakes’, the expressions of politicians laughing in a ‘statesmanly’ fashion, symbolic gestures. However, the camera selects an unconventional viewpoint in the red carpet.

Jörg Hommer studied Experimental Media Design at Berlin University of the Arts between 2006 and 2010, and between 2012 and 2014 he was a master student in the class of Prof. Thomas Arslan.

In the past, Jörg Hommer has stood out as a film editor thanks to his work on several fairly major film and TV productions. The cinema documentary film Plug & Pray, which he created together with director Jens Schanze, won a Bavarian film award in January 2011 for ‘Best documentary film of 2010’.

Jörg Hommer lives in Berlin and works as an independent film editor and filmmaker.

Gabriele Stellbaum

Friday the 13th, 5’00 min

/In “Friday the Thirteenth” a uniformed female is guarding a deserted indoor city swimming pool. The telephones throughout the building keep ringing. The ongoing calls unfold a twisted psychodrama in a city of the near future. There seems to be a gated community supplying jobs, security and protection for its inhabitants. The surrounding neighborhood behind the fence appears to be dangerous and frightening. Soon it becomes unclear whether the communication is real or an internal monologue of mounting tension./


Blue Moon, 5’09 min

The expression “Once in a blue moon” refers to an event that almost never happens.The scientific term “Blue Moon” is used to describe to a rare occurrence in the lunar calendar when two full moons appear in the same month.

“Blue Moon” begins with the view of an autumn tree seen through an open kitchen window. Small birds flit here and there outside. In front of the window, a woman sits at a table with a cup of tea withdrawn and occupied by her thoughts. The sudden ringing of a telephone interrupts her solitude The film cuts to a shot of leaves tumbling onto an old, deserted, slow-moving children´s playground roundabout while we listen to an answerphone message left for a “Mrs. Griffin.”

Next we see the woman dressed in a winter coat walking along a path in a mysterious forest in autumn. She is carrying a strange-looking black bag over her shoulder and seems to be headed on a mission. She stops at a bench, unpacks the bag, assembles a leaf-blower and begins cleaning the forest path. She appears intent in her task of clearing the path of all its leaves. Her act appears absurdist in its physical impossibility.

Karen Koltermann


Maestro Ocean, 2’52 min

Maritime motifs play a central role in the works of Karen Koltermann, who grew up in the seaport of Bremerhaven.

She has concerned herself intensively with the history of one ship, which was docked in Bremerhaven for twenty-one years and then transported to a Lithuanian shipyard for breaking. What would be an exciting adventure story if it were a book is dramatically staged by Karen Koltermann through visual means. She draws us into her art, paints, photographs, films and stages expansive installations. The various physical qualities of the media and installations are also used to suggest various modes of experiencing the whole. Thus painted waves make the spray of water palpable, or a video projection allows us to perceive the side of a passing ship just as immediately as it would appear to refugees in rescue boats, who, in fear of their lives, hope in vain for rescue from every steamship that approaches.

The use of different media is no isolated incident in Karen Koltermann’s works. She enhances photographs by brushing in fine art elements, and photographic backgrounds are often composed of inserted collages from paintings. She does not practice the art of the pure, the good, the true and the beautiful, but is instead interested in that which is mixed-up, the indistinct and ambiguous and in processes of transition and decay.
Ludwig Seyfarth

Matthias Mayer

HU’ Made
2010, 3:05 min


Hendek Hendek Atladim
2010, 3:00 min

From road level with a focus partially directed up, the urban space is discovered in a high-speed journey. The protagonist is a remote-controlled car, little larger than a toy, which Matthias Mayer (aka Mo Magic) has created himself. The car is the hero, diving into the rough life of the big city and thanks to the chosen perspective not only surviving there, but confidently behaving as an ‘anarcho-vehicle’. The car intervenes in road traffic as a remote-controlled living sculpture and makes the urban space its own. The Speed of Cars series formulates a ‘visual rap’.

Matthias Mayer, born 1967 in Worms, Germany, is an artist, curator and exhibition organiser since the early 1990s. His artistic work includes painting, sculpture, installation, video, performance and photography. A frequent approach in his work is to question social rules and conditions in the context of popular culture. He has recently worked with a focus on the interaction of music and visual arts.

Veronika Witte


hors champ
video, 2014

First shown at Videofestival Loopingstar Saarbrücken, 2012
Awarded with Videokunst Preis, Vkunst Frankfurt, 2014
video | 06:57 min (loop) Master:  HDV | videobeamer | speakers | colour | sound

The video hors champ shows a simple and emblematic situation. A donkey runs alone on a lonely road in a wide southern landscape. He comes from the left out of nowhere, approaches, stands for a short time, runs close, gets bigger and bigger and moves past the camera in the right half of the picture and moves away in the endless expanse. Obviously and stoically, the donkey, pulling his load, is connected to the head and legs with a rope that controls the crotch. His gait is interrupted by short, blacks, which seem to interrupt and expand the process in a certain rhythm and different lengths. After every black the situation could change, but he simply returns to the field of vision after another “black”. We underline it from a soundtrack of scraping and scolding the birch branches on the coarse asphalt combined with other sound and music fragments.

Mr. Ira Schneider


A Selection of Excerpts and Ira Schneider’s Videos
1969–2017, 2507 minutes

1.“Wipe Cycle” in “TV as a Creative Medium” exhibition, NYC 1969
2.“Wipe Cycle” in ZKM exhibition, 2017
3.Bill Viola in “ECHO”, Syracuse, N.Y., 1975
4.“ECHO” in ZKM exhibition, 2017
5.Excerpt from “Lost in Cuddihy”, 1967
6.“Schneider marries his SONYa”, 1998
7.“Schneider to Marry”, 2015
8.Michael Rovner work at Venice Biennale, 2005
9.“Janis Joplin “Comin’ Home””, 1968
10.Excerpt from “Media Overload”, 1969
11.“Nam Jun Paik is Eating Sushi in South Beach”, 1998
12.Excerpt from “Lost in Cuddihy”, 1967
13.“WTC”, 1989
14.“Breaking News”, 2017
15.“Nose Flute Orchestra” from “-+ 2005”, 2004
Excerpt from Hendrix “Fire”, 1968

Mr. Ira Schneider has been doing film and video since the 1960s. His trilogy including The Ghost of Wittgenstein has received awards. Schneider took part in the first group artist video exhibition in New York in 1969. There with Frank Gillette Wipe Cycle was presented. Starting in June 2017, Wipe Cycle was re-presented at ZKM, Karlsruhe, where Schneider also presents his ECHO, a visual echo where participants see their movements displaced in time.

In 1998 Schneider decided to marry his television set, SONYa. Years later he divorced and sought to marry again.

Supported by Goethe Institut.