Please Welcome: Julia Feyrer

With a selection of over 200 short films not everyone is able to attend IFFR. To include them as much as possible we welcome filmmakers through pre-screening Q&A's about their selected work.

When we watch Escape Scenes, the sounds of the car and the sculptures breaking apart are left to our imagination. Why did you make it a silent film?
"Originally this film was part of an installation (of the same name) and included a 6 channel sound sculpture of 'tactile transducers' - basically speakers that resonated against 6 mirrors. Each sound emanated from a different mirror, but totally unsynced to the moving images of the film. This 6 channel soundtrack was a kind of deconstructed representation of three aspects of a Hollywood film soundtrack: the dialogue, music, and sound effects. I chose not to alter the film in order to present it in a new context, so the film stands on its own. But I think the real soundtrack to the film is actually the sound of the film projector as a kind of surrogate for the truck's motor whirring in the background. Never truly silent."

Could you describe the relationship between these sculptures, the exhibition and the film?
"I never showed the exact sculptures from the film. Those remained as props and have been discarded after I filmed them. However I like playing with the idea of a 'prop', as a way to reveal an art object's status as very fragile and tenuous. The origin of the word prop comes from properties, but I guess it's also a proposal, where is the work? Inside or outside the film?"

Consider the Belvedere also has a relationship with sculpture and exhibition space. Your exhibition with artist Tamara Henderson at The Banff Center became the setting for the film. Was the exhibition always planned as the setting?
Yes again, making an art installation as an excuse for a film set, or a film set as an excuse for an art installation. They are both present, a little unstable, and then in the end the film wins out because it is the final say, the document of an assimilation of both perspectives.

You have worked with Tamara Henderson before on a number of films. How did you meet and what is it that brings the two of you together to collaborate?
Tamara and I met at the Stadelschule in Frankfurt in 2007. We were both in the class of Simon Starling. Slowly we began to collaborate making films, and now that energy has snowballed into installations, books, sculptures, bottles, but still more films are on the way. We have 3 exhibitions this year in St Johns Newfoundland, Vancouver, and Stockholm. Expanding upon our now almost 7 year old conversation, a collaboration of communicating vessels.

Escape Scenes is part of the combined programme Couleur locale and will be screened two times:

  • Friday 29 Jan 14:30 LV 2
  • Saturday 30 Jan 19:45 LV 2

More information about the film