open and accessible
As a result of the 2020/21 pandemic the use of public space has changed; the coronavirus realigned city life and highlighted some long-standing urban problems but also prompted a push for improvement. Some developments, such as the space a single person needs due to distance rules seem to be necessities following new rules of human behavior. In other cases the pandemic can be seen as an amplifier for developments that were already going on for a longer time.
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Claus ProkopDirector
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Jonathan PodwilDirector
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Claus ProkopProducer
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Jonathan PodwilProducer
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Project Type:Documentary, Experimental
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Runtime:5 minutes 41 seconds
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Completion Date:February 24, 2021
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Production Budget:50 USD
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Country of Origin:Austria
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Country of Filming:Austria, United States
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Language:English
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
Distribution Information
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Claus ProkopCountry: Austria
Jonathan Podwil (US), living in Brooklyn, NY and Claus Prokop (A), living in Vienna are two artists working in a wide field of media with a deep background in painting. Both born the same year, they bring a rich and varied experience in such fields as public art, visual effects, and animation to their work. They were both trained in architecture, history and political science prior to beginning a studio practice as artists, and they continue to nurture their obsessions with these fields and incorporate that into their work.
FILMOGRAPHY – Jonathan Podwil and Claus Prokop
open and accessible
Video, 5 min 41 sec., 2021
<<Einer Nach Dem Anderen/One At A Time>>
Video, partly based on Super 8, 13 min 20 sec., 2003–2005
collection of the Ursula Blickle Videoarchiv
2015 Kunstwerkstatt Tulln (A) – Claus Prokop | Jonathan Podwil.
2005 Dumbo Arts Center, New York (USA) – Video_Dumbo festival of experimental film and video
FILMOGRAPHY – Jonathan Podwil
112263 (Altered History)
digitally manipulated historical 8mm film footage
2018 at the solo exhibition “Pax Americana” >RAUMSTATION Vienna (A)
State of the Union
digitally manipulated super 8 film, scanned and looped.
2008 Incident Report Viewing Station, Hudson, NY (USA)
Schmerz
digitally manipulated super 8 film, scanned and looped.
2006 as part of the group exhibition Blip Flip Quip (Four Videos) Plane Space, New York (USA)
Various digitally manipulated super 8 films, scanned and looped as part of a group exhibition
Pineapple Video Bar curated by Torbjörn Limé
2005–2006 Kunstlerhaus Bethanien, Berlin DE; Malmö Konsthall, Malmö SE & Galleri ID:I, Stockholm (SE)
Various digitally manipulated super 8 films, scanned and looped as part of a group exhibition Aerial
2004 Raid Projects, Los Angeles (USA)
Various digitally manipulated super 8 films, scanned and looped as part of a group exhibition Up
2003 White Box, New York (USA)
Various digitally manipulated super 8 films, scanned and looped.
alongside paintings as part of a solo exhibition (Untitled)
2002 Plane Space, New York (USA)
Crashtest
digitally manipulated super 8 film, scanned and looped as part of a group exhibition
You’re Lucky to Even Know Me curated by Hannah Stippl
2002 IG Bildende Kunst Vienna (A)
Various digitally manipulated super 8 films, scanned and looped as part of a group exhibition
Popular Mechanics curated by Kathleen Gilrain
2001 Smack Mellon, Brooklyn NY (USA)
Various digitally manipulated super 8 films, scanned and looped.
alongside paintings as part of a solo exhibition Reisen Sie in Eine Neue Welt
2000 T19, Vienna (A)
FILMOGRAPHY – Claus Prokop
BWPK
video based on Super 8, Loop, 38 sec., 2006
2008 Tatranská Galéria, Poprad (SK) – pictorial space
Napóleon-Ház, Györ (H) – pictorial space
Heritage house, Beograd (SRB) – pictorial space
Raumgitter
video based on Super 8, Sound, Loop, 1 min 24 sec, 2006
2006 Spazio Thetis, Venezia (I) – MODUS MODULI Claus Prokop, Esther Stocke
All_Alone
video, sound, Loop, 10 sec., 2004
2019 Kunstraum Walker, Klagenfurt (A)
2008 MMKK (Museum of Modern Art Carinthia), Klagenfurt (A) – k08 Kunst aus Kärnten von 1945 bis heute
Kunstverein Kärnten, Klagenfurt (A) – Kunst.Volksbank.Kärnten
2004 O’artoteca, Centro Culturale Svizzero, Mailand (I) – NA/NT.06.04
rotationloop
video, sound, loop, 3 sec, 2002
2008 Kunstraum Walker, Klagenfurt (A)
Künstlerverein Malkasten, Düsseldorf (G) – „ … da war mir seltsam zumute.“
2006 Künstlervereinigung MAERZ, Linz (A) – neu im MAERZ
2003 HMH Kunstereignisse, Linz (A)– winterwhite landscapes
VH
video, sound, loop, 10 sec., 2008
2008 MMKK (Museum of Modern Art Carinthia), Klagenfurt (A) – k08 Kunst aus Kärnten von 1945 bis heute
Litze
video based on Super 8, sound, 1 min 18 sec, 2002
"dadurch, dass sich das dahinter in welcher geschwindigkeit auch immer bewegt entsteht ein sich stets veränderndes bild"
video based on Super 8, 1 min. 9 sec., 2001, Musik: Jens Hurtig
2003 HMH Kunstereignisse, Linz (A) – winterwhite landscapes
2002 Bellevuesaal, Wiesbaden (G) – Medienkunstpreis/Geschwindigkeit – Terrain der Zeit
bubble eyes
video based on Super 8 projections on a painting, 2 min 32 sec, 2001, Musik: Jens Hurtig
2001 Galerie T19, Vienna (A)
schauen, ob....,
(schauen, was noch geht, schauen, ob es noch zappelt)
video based on Super 8, sound, 3 min 55 sec, 2002
2001 Galerie T19, Vienna (A)
Super 8 Projektionen
Video based on Super 8 projections on paintings, sound, 2 min 32 sec, 2001
Same, Same But Different
in collaboration with Nico Serda
video, sound, 20 sequences of 60 sec, 2003
funded by .kunst Bundeskanzleramt (Federal Ministry for Arts Austria)
open and accessible
As a result of the 2020/21 pandemic the use of public space has changed; the coronavirus realigned city life and highlighted some long-standing urban problems but also prompted a push for improvement. Some developments, such as the space a single person needs due to distance rules seem to be necessities following new rules of human behavior. In other cases the pandemic can be seen as an amplifier for developments that were already going on for a longer time
As flats get “smart“ (i.e. smaller) but have to fulfill the increased demands of functioning as a home office, coffee house and sports club in addition to their intended function of living and the access to normal city infrastructure is limited, the corresponding demands on public space are multiplied and intensified. Public space has to provide enough space for leisure activities, transport, an extended living room, commuting, political protest, manifold forms of art including street-art, sports, dining and partying, to name just a few. Some of those are contradictory requirements, but a growing number of people now claim and occupy their seat at the table of public space as it is defined as a place that is generally open and accessible to all.
The decline of the age of the automobile and the idea of the 15-minute city is creating new possibilities. The construction of temporary bike lanes, widening pedestrian zones, the expansion of shared space as well as the promotion of new forms of shared mobility are necessary and valuable measures. Nevertheless cities must address the question of how public space is distributed, how it is designed and who is deciding on the rules of usage and taking care of maintenance.
The film addresses those issues without claiming to be at all scientific or complete. It is a film without a manuscript, without a plot. Short clips about current developments and the things that surround us were shot in New York and Vienna highlighting differences and similarities. All together they make up a film — a movie produced in a painterly and poetic way — with no real beginning, no end.