Videos by Roman Pfeffer

Vienna contemporary, 2015, 2:46 min

“The Collector” Roman Pfeffer as he cuts Aldo Giannotti’s work out of the exhibition bunk unannounced at Vienna Contemporary 2015.

At the Vienna Contemporary art fair, Aldo Gianotti draws a chainsaw on the wall of the exhibition bunk and puts the words ‘This drawing can be taken for free if the collector comes with a chainsaw and saws the piece off the wall’ underneath.

Roman Pfeffer takes the instruction seriously and cuts until he is finally stopped….

Waiting, 2011, 3:18 min

The short video “Waiting” from 2011, looped without a recognisable beginning and end, shows the artist as a waiter. He holds two glasses in his hand, two off-screen water hoses continually fill them and cause them to overflow. The static camera demands running images, but the artist stands frozen and imprisoned in the corset of propriety; there is no plot development and no narrative depiction. In “Waiting”, Roman Pfeffer describes an attitude between concentration and compulsion, “the manifestation of a certain moment that results in a standstill – actually a state”. Expectations of art, artist and medium are not fulfilled here, the time-image becomes a governor of denial.

The Last Supper, 2009, 1:20 min

Cooperation project “The Last Supper” with Aldo Giannotti, 2009, he transforms well-known motifs from art and cultural history. With its change of state and reinterpretation, the work becomes a metaphor for questions about change, the passage of time and rhythm.

The motif is reminiscent of Leonardo da Vinci’s “Last Supper”, which is considered a milestone of Renaissance painting due to its depth of perspective. Roman Pfeffer gives a new twist to the seemingly familiar motif of the – still empty – table. After a moment of silence – a sequence of about 30 seconds – movement enters the picture in a flash for a second and at the same time the room is filled with a loud clattering.

13 white plates, 13 glasses, 13 sets of cutlery fall from above onto the table and shatter with a loud noise – then absolute silence returns. As soon as the rocking movement of the last shards has frozen, the image goes out and starts again. The video thematises the meal – suggested by the image of the table – as a ritual act, in which Jesus’ statement “One of you will betray me” symbolically introduces a new twist.

“The Last Supper” is a manifestation of a specific moment that changes the situation and documents a new state. The viewer is taken by surprise, the speed of the action leaves little time to reflect on what is seen, the familiar aspects come together like the shards to form a new image.

Brain Twister (Autogyrocopter), 2015, 2:25 min

In the work, Brain Twister (Autogyrocopter), Pfeffer works with a 17.5-metre-long wooden rowing boat, depriving it of its original function. In the middle of Vienna’s Prater, the artist stands on a pedestal and places the boat on his head. With the help of the wind, the rowing boat slowly turns around its own axis. Through this seemingly simple intervention, the boat is transformed into a propeller.

Even though Pfeffer’s interventions often make a sober and simple impression, the re-functioning of the boat involved a great deal of effort. The result is a whimsical and at the same time beautiful image that releases poetic associations in the viewer.

The Restricted Conference, 2011, 6 min

Cooperation project Roman Pfeffer/Markus Hofer

It was not foreseeable that the current situation of chronic restriction or even cancellation of meetings would give this work a surprising topicality. The first scene of the film shows an empty room. A functional conference table spreads out on a worn wooden floor: lacquered wooden top, two solid metal legs, four openings for cabling, a push-button telephone. That’s all, no chairs. In the back wall, however, a row of sockets: what was negotiated at this table was to be connectable, was to have an effect into the distance. No doubt, important decisions were made here. Finally, both artists step in, quickly changing close-ups accompany their practised hand movements and cast a spell. Calculatingly, they measure. As if it were a show trial or a ritualised execution, the destructive work takes its course. Nothing connects this form of dismantling with the blind aggression of the Viennese actionists Friedrich Achleitner and Gerhard Rühm, who smashed a piano on an open stage in April 1959 amid deafening noise. Roman Pfeffer and Markus Hofer are not concerned with vandalism, but with transformation. We watch this act from the distant proximity of a scientist. Via camera and without sound, the observer status is oriented towards purely visual experience. Sparks of white flames spray as the hacksaw starts. Glue dripping with teeth indicates the turn. At the end, the table has disappeared, but there is no shattered debris in front of us. Instead, we see two identical chairs and the telephone. Only the round openings in their backrests and some unadorned edges betray their genesis from second-hand material and remind us of the fictitious paper worlds of a Thomas Demand.

Untiteld, 2006, 4:18 min

A little story about the idea: He who digs himself a hole….



9. June to 18. August

GOLDT: Ready to Ride the Tiger

Videos 2005-2021 / 17 minutes

portrait of a young woman AT/DE/NZ 2005, Colour, Music: pumice, 3 min.

What is then consummated in harmony with an acoustic guitar is a kind of Doctrine of Affects for the female body, conveyed by means of colors and their vitally switching values to create an organic form. At some point red suddenly breaks out of the grid, threatening to overpower everything else. Remaining the same and changing at the same time. (Marc Ries)

i deeply regret DE/AT 2008, Colour, Voice: Maria Garcia Rojo, 2 min.

The videois about a failed chance of revenge and satisfaction. My video shows the attempt to liberate oneself from the victim’s role by a fantasy of self-empowerment. In other words: After a long, long time someone fights back, while humming the theme song from Rocky.

spot on – spot off: UGANDA DE/A T 2009, Colour, Voice: Maria Garcia Rojo, 5 min.

The world in the living room. One sees the projected freeze frame of a comfortable leather fauteauil next to a side table and newspapers, whilst a female voice talks about the political affairs of the Central African Republic. Coltan, the treasured resouce, which is needed to produce mobile phones and which leads to warlike conflicts in the area, is also discussed. „We can not watch it anymore“, says the voice. Karø Goldt’s work distinguishes itself through its absence of (war) images. (Diagonale 2011)

FEMICIDE DE/USA 2020, Colour, Music: Timothy Shearer, 6 min.

This video is on killing of women by men with close relationships to their victims. It is difficult to do an experimental film on this issue, but the circumstance of the many dead women in Germany is to be spread.

Ready to Ride the Tiger DE/USA 2021, Colour, Music: Timothy Shearer, 1 ½ min.

The show, the trailer was made for, is over. I liked the trailer, now useless. I wrote a little and ironic poem and did the video again….now called ” Riding the Tiger”, which means to lose the “Angst”.

Karø Goldt *1967 lives and works in Berlin.
Goldt has been working with the medium of artistic photography since 1993 and with the medium of experimental cinema since 2001. Goldt’s video works are animated from digital and analog photographs. In the videos she works in close exchange with different musicians.



Laura Engelhardt

BAUANGRIFF, 7‘20 min., 2015

The short essay documentary 突击建房 – Construction Assault examines the building and demolition cycles in Beijing’s periphery. It draws upon the phenomena of ‘tuji jianfang’ (construction assault), a local building practice in which houses get built just to be demolished. The film shifts between the vast and continuously changing outskirts of Beijing and the advertising screens of the city centre.


HOME ON DISPLAY, 14 min., 2014

in cooperation with Nina Gschlößl

Home on Display examines the construction of homes for China’s New Rich: a contemplation on the desire and search for an ideal home and the growing commercialisation of this process.



Over the course of 2 years, I film from the window of my flat in Berlin Alt-Treptow the view of our courtyard. I document the construction process of a new residential building and daily scenes amidst Berlin‘s urban development and displacement.

The documentary images are superimposed by a text collage which is inspired by the biography of my neighbour. She was born in the house from which I film in 1964, when Alt-Treptow still belonged to the former GDR.

A filmic narration of urban and bodily conditions.



Entrance and Exit of Mascha B. follows a young woman through a digital transformation process.

In the premises of a big architectural visualization company, delicate operations give rise to a promotional image: Mascha B. gets 3D-scanned, processed and retouched digitally. A virtual office room is furnished and inhabited by Mascha B. and digital colleagues. The final rendering process is accompanied by the aria from the 1881 fantastic opera „The Tales of Hoffmann“, in which the hero hopelessly falls in love with the mechanical puppet Olympia.

Laura Engelhardt (born 1988 in Bremen) studied Architecture and Fine Arts in London, Stuttgart and Berlin and is currently completing the postgraduate program in film at the Academy for Media Arts Cologne. Her films examine built and imagined architectures, urban spaces and the fragile relation between the human body and its environment. Her work is shown internationally in exhibitions and festivals, her short film Bauangriff has been awarded several prices. Laura lives and works as a filmmaker and artist in Cologne and Berlin.


Movie program ALLES III


Picture: Revenant, Michelle Alperin


Michelle Alperin, 3:51 min, 2013

Revenant is a surrealistic fantasy with strong references to absurd theatre and, in this sense, continues the exploration of a cinematic dream logic. Laura and Max, a married couple, spend a relaxed weekend afternoon at home. When Laura hears noises at the front door, she meets Max and a visitor there – a large, mysterious dog dressed in a black cardigan. Laura seems stunned, partly by the dog itself, partly by Max’s claim that the dog has come to see her. Laura is all the more surprised because Max insists that the dog definitely speaks English. We, the audience, are equally uncertain whether this is true, because we hear the dog both barking and speaking.

Revenant asks a series of questions: Is Max manipulating Laura by bringing this strange dog into her house to challenge her with mind games and unsolvable riddles? If so, why? Or can Laura understand the dog, just like Max and the audience, even though she denies it? If so, why does she deny her acquaintance with the dog? And who is the mysterious and wondrous figure who disturbs the household community on a sleepy afternoon? It’s about an almost equal emotional conflict of three characters and we can’t really understand any of the motives. Revenant works with the means of exaggeration, fantasy and the absurd to reveal the dynamics within the couple’s relationship, while their deeper motives remain in the dark.

“Minority in majority”

bankleer, 4:30 min, 2011

The song of the music video “Minority in Majority” is about the collective departure of the Roma community from the Predlice district of Usti nad Laben, which is completely left to its own decay by the state: The run-down building facades are an expression of poverty and lack of prospects. Life there is marked by the exclusion and ghettoisation of the Roma population. “Minority in majority” opposes a spreading culture of corruption and apathy with a collective departure from these living conditions. This clip was produced in cooperation with Ondřej Darvaš and Maruška Darvašová.


Patrick Borchers, 2:27 min, 2018


Andreas Drewer, 4:22 min, 2018

Light appears at the edge of a video image arranged in a circle four times. The light penetrates the image diffusely at first, then the working autofocus of the camera slowly forms the image of the moon, which wanders through the image section until it dissolves again. An abstract drawing becomes representational and abstract again.

In this video work, the work of the autofocus, the “seeing” of the camera, becomes a metaphorical image of a gradual process of understanding, in the centre a black square as a blind spot.

“debovary in Lichtenberg”

Debovary, 1 min, 2019

“The fragility of holding and letting go”

Dana Engfer, 4:23 min, 2019

Dana Engfer wants to invent mysterious, fragmentary visual worlds with her works of art. Engfer sees herself as a collector of various traces of time, memory and limbo. The video work “The fragility of holding and letting go” deals with the careful handling of strange yet familiar situations and actions. Engfer works with the tension between proximity and distance. The sound connects in a fragmentary way with the images and forces the tension between holding and letting go.

“The way up”

Anna Yermolaeva, 4:14 min, 2008

To the viewer of the video sculpture “The Way Up”, the tangle of rats in the glass cage of an animal market in Mexico City and their constant, futile striving for the top appears as a disturbing, metaphorical view of human behavior and its often seemingly animalistic “struggle for life” or “survival of the fittest”. The lovelessly pasted note Exportacion becomes a metaphorical warning sign. In the oppressive confrontation caused by the mass of animals and the hectic movement on the video, he recognizes his own behavior patterns. (Gaby Gappmayr)

“El Orgullo”

Verena Kyselka, 2:45 min, 2015

El Orgullo is the concept of the male ego in Mexico, externally recognizable by the gestures, facial expressions, clothing and especially shoes. In the forbidden cockfight the EL Orgullo comes to the fore with special expression. The fighting cocks have beside their own pride, the male pride of their owners in the fight. A hopeless, bloody fight in which usually no animal survives.


Maria-Leena Räihälä, 2:29 min, 2016

Experiment with drawing series and different sounds:

Dog Sadie (recordings Zionskirchplatz 2015) / Blackbird (recordings Wollinerstraße 2012)


Sophie Hamacher


Love Song on Liberty Crossing

2017, 11 minutes, 16:9, Color, Stereo

The Staten Island Ferry becomes a place of contemplation during my final three months of gestation. Reflecting on pregnancy and oncoming motherhood, my commute through the New York Bay becomes a personal topography of an in-between: between two continents, two cities, two languages, and two states of being – individual and mother. Love Song on Liberty Crossing is a letter to my unborn child that interweaves my own footage with archival material and found sound.

Night Bus

A film by Sophie Hamacher, Sarah Stein Kerr and Tessa Rex
2015, 13 minutes, 16:9, Color, Stereo

A lyrical assembly of sounds and images portrays the experiences of workers traversing New York City on the night bus. In their nocturnal journey, the concepts in Jonathan Crary’s 24/7: Late Capitalism and the Ends of Sleep, are invested with the immediacy of sensation as reflections slipping across dark windows, coins pouring in the till, moaning air brakes, squealing hinges, and the low hum of motors merge with apparitions emerging from the inky blackness of the city.

Appearing only as hazy reflections through weathered windows, the characters reflect, in voices heavy with fatigue, on the work behind or ahead of them. These meandering narratives of solitude and sleeplessness give voice to the lived experience of the 24-hour economy.

Debt Tide

2013, 7 minutes, 16:9, Super8 transferred to HD, Color, Stereo

Four young women explore a coastal landscape. Their carefree wanderings are intermittently interrupted by radio voices reiterating the realities of the financial crash. As a celebration of youth and friendship, this short film is also a fragmented meditation on debt and a playful reflection of innocent rebellion.

The soundtrack includes snippets from radio broadcasts, atmospheric recordings and excerpts from a reading of Joseph Conrad’s Karain: A Memory. 


Africa Shafted – Under one roof


 Bild: Africa Shafted – Under one roof, Ingrid Martens, 2011

Africa Shafted – Under one roof

Südafrika 2011, 54 min, OmeU, Dokumentarfilm
Regie/Produktion/Kamera/Schnitt: Ingrid Martens


The Weather Underground


The Weather Underground – USA 2002, 92 minutes Directed by Sam Green and Bill Siegel

In the 1960s and 1970s, the polarization of the political situation in the USA was acutely linked to the Vietnam War and the struggle for civil rights. In view of the seemingly ineffective methods of peaceful protest and resistance, militant groups formed within the protest movement, including the Weather Underground. The film illuminates the history and activities of the Weather Underground. Green and Siegel let activists talk about the past and show the illegal methods used by the FBI in the fight against the revolt. “The Weather Underground” was nominated for an Oscar in 2004 and is only the second film document on the US urban guerrilla.


ALLES! Videoprogramm


“Public owned city”


0:30 min, 2012


Helmut Dick

4:20 min, 2017

In vielen Religionen und Legenden spielen Vögel als fliegende Überbringer und Vermittler zwischen der unerreichbaren Welt der Götter und den erdgebundenen Menschen eine besondere Rolle. Auch in ON HUMAN ARROGANCE werden Vögel für einen Botengang eingespannt. Heraus kommt eine besondere aber auch zweifelhafte Aktion, in der die Beschränktheit und Unausweichlichkeit unserer anthropozentrischen Wahrheit spürbar wird.

Jumping City Teil 2

Birgit Dunkel

7:41 min, 2017

Hopsen – eine Bewegungsform wird wiederentdeckt, eine Form der Fortbewegung mit Erkenntnisgewinn und potentiellem Suchtfaktor. Die Hamburger Künstlerin Birgit Dunkel hat eine alte Form kindlicher Fortbewegung wiederentdeckt und sie konzeptuell für ihr Performance-Filmprojekt “Jumping City” eingesetzt.

Beim “Hopsen” (Jumping) wird die Endorphin-Produktion (sog. Glückshormon) angeregt, was sich positiv auf die Erkenntisfähigkeit auswirkt. Im Sprung verlässt der Körper den Boden und überwindet die Schwerkraft – der Traum vom Fliegen wird für Bruchteile von Sekunden realisiert. Dieser Zustand wird als gesteigertes Glücksempfinden wahrgenommen und erweitert die Kognitions- und Perzeptionsfähigkeit durch eine vermehrte Öffnung der Synapsen. So kann das durch Bücher erworbene Wissen eine kognitive Verbindung mit der sinnlich erlebten Gegenwart und der im Material verkapselten Geschichte des Ortes eingehen, an dem das ‘Jumping’ erlebt wird. Der springende/hopsende Mensch erlebt die ‘Joy of cognition’. (Keine esoterische Kunstaktion, sondern ein künstlerisch-wissenschaftlicher Feldversuch!)

Das Filmprojekt ‘Jumping City’: In 12 europäischen Städten entstehen Bausteine von ca. 5- 6 Minuten Länge. Bisherige Stationen: Stockholm, Oslo, Kopenhagen, Amsterdam, Venedig, Athen und Kassel.


Karin Glanz

7 min, 2013
Das Video entstand 2013 in Berlin-Mitte.

Vive la Solidarité – La Z.A.D. est partout!
Julia Lazarus

5:56 min, 2016
In ihrer künstlerischen, filmischen und kuratorischen Arbeit setzt sich Julia Lazarus mit politischen Architekturen, sozialen Landschaften und den subjektiven Lebenswirklichkeiten auseinander, die durch diese hergestellt werden. In Kooperation mit der türkischen Umweltaktivist*innengruppe Kuzey Ormanları Savunması arbeitet sie derzeit an einem Film, der die Auswirkung der Großbauprojekte auf die nördlich von Istanbul gelegenen Wälder beschreibt. Die kürzlich eröffnete dritte Bosporus-Brücke, der neue Autobahnring und das geplante Luftfahrt-Drehkreuz am Schwarzen Meer sind Teil eines Masterplans der türkischen Regierung für den Großraum Istanbul. Seit 2014 kämpfen die Aktivist*innen von K.O.S gemeinsam mit den Bewohner*innen der betroffenen ländlichen Gebiete gegen die kapitalgetriebene repressive politische Entwicklung, die den gemeinschaftlichen Lebensraum zerstört. Den zunehmenden Schwierigkeiten begegnen sie mit Mut und Humor. Vive la Solidarité – La Z.A.D. est partout! zeigt Aufnahmen einer solidarischen performativen Aktion der Gruppe für die französischen Aktivist*innen der Zone A Défendre, die Widerstand gegen ein ähnlich gigantisches Flughafenprojekt bei Nantes, Frankreich formulieren.

Headonism ˈhiːd(ə)nɪz(ə)m,ˈhɛːd(ə)nɪz(ə)m/ noun

India Roper-Evans

2:37min, 2018


the mind blowing school of thought, that exhilaration, intoxication, stimulation and invigoration are the most important pursuits of humankind, and the only thing that is good for an individual. 

tanz die parallaxe

Olivia W. Seiling

3:25 min, 2015

Ein schleifenförmiger Film über die Humantopologie von Selbstausbeutung, Kulturproduktion, Wirtschaft und Arbeitskraft in einer rastlosen, euphemistischen Gesellschaft. Eine Peep Show über neurotisch expressive Ipsationsmuster in Räumen die Labor, Studio, Geschäft und Zuhause sein können/müssen, sind oder waren.

Seilings Arbeiten bewegen sich auf einer Möbiusschleife zwischen schizoidem Selbstzweck, der Repräsentation von Intuition und Appropriation und dem vermeintlich freien Spiel mit den Dingen zur Spiegelung disparater Welten und Ideen. Gezeichnete Linien, die dem inneren Auge folgten und performanceartige Darbietungen vor einer einsamen Kamera, belegen die verschlungenen Wanderungen zwischen der Perzeption als Subjekt und der Eigenfunktionalisierung zum Objekt.


Seraphina Lenz


Filmpark, 2008, 34 min

Filmpark wurde im Sommer 2008 mit Anwohnern und Besuchern des Carl-Weder-Parks in Berlin-Neukölln gedreht. Verschiedene Kameras lagen bereit um eigene Sequenzen aufzunehmen. Man konnte zum Casting kommen und im Film eine Rolle spielen. Es gab ein Separee für konzentrierte Meinungsäußerungen vor der Kamera und Drehbuchbesprechungen.

Der Film ist mehr als eine Ortsbeschreibung. Er handelt von verborgenen Potenzialen des Parks, von der Möglichkeit ihn zu verwandeln, ihm neue Bedeutung zu geben.

Filmpark ist ein Projekt der Werkstatt für Veränderung.

Regie: Seraphina Lenz

Kamera und Schnitt: Daniel Kunle

Künstlerische Mitarbeit: Michael Bause

Musik: Jan Tilmann Schade

Finanziert durch das Bezirksamt Neukölln FB, Stadtplanung

Die Werkstatt weckt den weißen Riesen, 2011, 5:35 min

Zwischen 2011 und 2014 entwickelte Seraphina Lenz im Auftrag des Bezirksamts Neukölln ein Konzept für die Nutzung des umgebauten Bunkergeländes an der Rungiusstraße. Im Flächennutzungsplan ist er als Standort für Kinder und Jugendliche ausgewiesen. Der Name „weißer Riese“ ist die Erfindung einer Teilnehmerin und geht auf die weiße Zeltarchitektur zurück, die die Fläche beschirmt. Der Film zeigt, wie die Nachbarskinder im ersten Jahr den Ort entdecken und verwandeln.

Regie: Seraphina Lenz

Kamera und Schnitt: Anett Vietzke

Künstlerische Mitarbeit: Michael Bause

Musik: Willy Daum

Finanziert durch das Bezirksamt Neukölln, FB Stadtplanung

Glamourriese, 2014, 3:48 Minuten

Das Video ist die letzte von vier Produktionen, die zwischen 2011 und 2014 auf dem neu gestalteten Bunkergelände an der Neuköllner Rungiusstraße stattfanden. Der Ort erwies sich als ausgeprägter Hybrid zum Beispiel zwischen drinnen und draußen, Werkstatt und Theater, Varieté und Spielplatz. Diese Unbestimmtheit zeigte sich als perfekte Voraussetzung für immer neue Experimente und offene Prozesse, die in konkrete Vorhaben umschlagen: 2014 war das eine Varietéshow und die Produktion eines Musikklips.

Regie: Seraphina Lenz

Kamera und Schnitt: Daniel Kunle

Künstlerische Mitarbeit: Michael Bause

Musik: Westbam

Finanziert durch das Bezirksamt Neukölln, FB Stadtplanung

Anspiel – der Trailer, 2017, 4:16 min

Auf Einladung zum kuratierten Kunstverfahren der IGA recherchierte Seraphina Lenz von 2013 bis 2016 in Marzahn Hellersdorf zu der Frage wie das stadträumliche Großereignis sich für die Anwohner_innen darstellt. 2016 gründete sie das Anspiel-Ensemble mit 16 ortsansässigen Protagonisten. Ein knappes Jahr wurde wöchentlich geprobt und diskutiert. Mit der Schauspielerin und Regisseurin Anja Scheffer und dem Ensemble realisierte die Künstlerin eine Performance, die das städtische Umfeld mit historischen und aktuellen Aspekten in der Gartenausstellung aufführte. Das Ensemble bewegte sich über das Gelände, nahm Raum ein, stand im Weg, bildete Soundduschen und dialogische Chöre. Ein DDR-Museum auf Rollen begleitete das Stück.

Anspiel – der Trailer verweist auf die Performance, die in der Vergangenheit liegt und so nie wieder zu sehen ist.

Idee und Realisierung: Seraphina Lenz

Schauspielarbeit und Dramaturgie: Anja Scheffer

Kamera und Schnitt: Daniel Kunle

Musik: Ekki Maas

Finanziert durch die IGA Berlin 2017


India Roper-Evans


India Roper-Evans

‘Dancing to the Sounds of Lichtenberg’ is a project conceived while on the Lichtenberg Studios Residency this year, with 50% professional dancers and 50% un-trained dancers, dancing to the surrounding sounds of various locations in the borough of Lichtenberg in Berlin. The trained and un-trained movers and dancers are reacting to everyday sounds and interpreting these in different ways, in industrial, urban landscapes, at historical landmarks, abandoned buildings, tourist sites and empty parking lots. Where noise becomes a rhythm, traffic a beat, bird song a melody, wind a movement. A purely physical reaction to Lichtenberg, Berlin. (India Roper-Evans)