Postludium

The video Postludium is an obituary for the former gasworks area in Augsburg/ Oberhausen. It shows a ghostlike dance in the empty rooms of the building especially of a historical disc-type gasometer, built in 1915, and another recent disc-type gasometer ("Gaskessel"). The piece "Echoes of Industry" was recorded in the "Gaskessel".

"Due to its non-visual nature, its ‘disembodied voice,’ radio presents itself as the perfect ‘hauntological’ medium for representing the disappearance, the fading of once visible things into a state where they are half present, half remembered. Echoes of Industry undertakes to reflect, in an acoustic form, the social and architectural shifts that happen in European cities as certain industries are abandoned, their former sites becoming museums, venues for cultural events, or simply ruins, while industry itself becomes increasingly digital." (Gerald Fiebig about "Echoes of Industry").

Dancer: Alessandra La Bella

  • Alessandra La Bella
    Key Cast
  • Gerald Fiebig
    Sound
  • Christian Z. Müller
    Sound
  • Eri Kassnel
    Director
  • Eri Kassnel
    Producer
  • Project Title (Original Language):
    Postludium
  • Film Type:
    Experimental, Short
  • Runtime:
    7 minutes 30 seconds
  • Completion Date:
    December 31, 2016
  • Country of Origin:
    Germany
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Eri Kassnel

Born 1973 in Timisoara/Romania. 1979 immigration to Germany. Study at the University of Arts in Bern/Switzerland and at the University of Applied Sciences in Augsburg/ Germany. Since 2010 working as a visual artist with focus on static and moving images, and sound. Participation in national and international exhibitions and festivals, such as. “X-Border-Biennial” Rovaniemi/ Finnland and the “International Video Art House Madrid” (IVAHM)/ Spain.

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Director Statement

I believe, that we - as humans - recognize ourselves by remembering. This is the evidence of existing in a chronological context, which forms identity. The loss of memory can lead to a serious identity crisis. But memory hasn’t to be true implicitly as scientific research taught us: to remember is a flexible process, which always adapts to an optimized learning for the future.

People collect proofs like photographs, documents and letters to verify their memories. I follow from this an existential doubt: Can I trust memory? Who am I really? If I don't leave any traces, have I ever existed?

In this area of conflict, I am interested in man’s subjective sensations and his capability to remember, to forget, to associate and to create - consciously or not - his own Utopia.