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Festivaltrailer

Three teams of filmmakers and graphic artists have produced festival trailers for subvision. Alex Hatchl implemented the print graphic stemming from the team of Prof. Ingo Offermanns in a “graphic trailer”. Gonzalo Barahona and Propravda Zolot are studying film in the HFBK class of Prof. Udo Engels. Matthias Persch from Design Büro Persch recruited Christian Rudolph, Frank Frame and the design office Kindermann + Kleinert to develop an “architecture trailer”. Olaf Bargheer spoke on behalf of subvision with the filmmakers and their highly different approaches.
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subvision
How freely does one develop a cinematic picture language when faced with the task of producing a trailer for an art festival?

Gonzalo Barahona
The “film trailer” is actually an art film project used as a trailer for subvision. For this reason, we had no aesthetic guidelines or obligations. We were able to plan everything according to our own artistic criteria. The whole thing wasn’t that easy, yet I do find that an artistic film is the best form to advertise for art – precisely because it’s not advertising but art. The connection to subvision is only revealed at the end of the film, where we included information and logos on the festival so that the viewer can relate to it.

Alex Hatchl
It was a bit different in my case: In general, and particularly in my work on this “graphic trailer”, I do limit myself. I take a very classical approach: First I do detailed research on what it’s all about, a kind of “who-how-what mind storming”, then I try to work out the essence. And once the theme has become clear to me, I usually conceive different artistic approaches until the client, in this case the subvision graphic team, and I are satisfied. So selections are made to the very core. For subvision, the theme for me was “Kunst in den Sand setzen (Running art into the ground)”. The fact that so much money had been spent on a twelve-day festival on the Strandkai is something that was criticized prior to the festival by parts of the Hamburg art scene. I found this thought quite apt: For it is all about a certain complex: “Hamburg, HafenCity, constructing, piling up, shaping”. The ironic approach, “Kunst in den Sand setzen”, was not to be that evident, however. The second restriction is the picture language: I exclusively used the subvision design for the trailer, i.e., dots as well as black and golden colour elements, which finally led to the creation of this work.

subvision
How does one set the graphic corporate identity presented in the print materials and the architecture on the Strandkai in relation to each other when developing a picture language for an architecture trailer?

Matthias Persch
In order to gain a high recognition value, we wanted to integrate the festival’s corporate design, as far as it could be implemented graphically, as strongly as possible in the film. The corporate identity of subvision is very rewarding for a film like the one we conceived, because it’s highly conceptual. We were able to include it one-to-one and in full length in the film. By means of the dot matrix mapped on the architectural structure of the festival, which with its halftoning corresponds with the print materials, an exciting graphical basic element was created, allowing the viewer to orient himself directly at the site of events. Yet room is also left for various interpretations and free thought – an aspect that should be a fundamental theme in any art project. The typographic elements that the viewer encounters when flying through the grounds additionally communicate contents making one curious, while at the same time pointing to the temporary character of the event through their fleetingness.

subvision
How did the idea to contribute a trailer to the subvision festival come about? Is such a request a rewarding and exciting project in which there is scope for artistic action?

Alex Hatchl
I was addressed by the subvision graphic artists at the HFBK. So the idea emerged at the university, within the overall graphic planning of Ingo Offermanns’ study project. In regard to the thematic restrictions, they do not limit my artistic scope but instead support my efforts.

Matthias Persch
We did a real pitching. The subvision communication, together with Svenja Holst-Runge from Hamburg Marketing and Stefan Klein from Hamburg@work, planned a virtual architecture itinerary to make the grounds on Strandkai experienceable already a month before subvision was to be set up and open. Requests were made to three agencies from the field of 3D and motion design to submit corresponding offers. In the end, we received the commission. We found that great and exciting, because the briefing was quite free and the project stemmed from the area of culture. Later, we were able to win over Tobias Schmid and Niko Tzoukmanis from “audision” as well as Benjamin Brunn to contribute an electronic sound file for the soundtrack. All three will also be on the turntables during subvision tunes.

subvision
The film trailer is extremely narrative and full of art-historical and literary allusions. Where do all these references come from, how were they connected?

Gonzalo Barahona
“Ich wollte nicht, dass die Kraft meiner Liebe Penelope abschreckt. Deswegen spielte ich die Gleichgültigkeit,” is a line from a poem by the English author Dan Roth. The poem marked the start of the film project. We wanted to find a visual form for it: a heart, a hummingbird, but also a lot of material that was later edited out. My background is painting, and I work and think in a very visual way, that’s why the film is a bit like an image-text-sound equation, in which one tries to bring together matching and non-matching pictures and to generate sound and rhythm to accompany them. An anatomical heart in front of a Dutch landscape which is only a painting that falls down and reveals a naked wall which, in turn, is another staging. I believe we have created a painterly illusion here that is very fragile.

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