Bill Morrison's Hypnotic Pictures

The program is a collaboration with VIDEOEX (Patrick Huber).


The screening includes a lottery for the Festival bag 

The images that Bill Morrison gives a second aesthetic life in his works can never be too old. Often, the celluloid strips, which he discovers in the archives with the instinct of an archaeologist, barely reveal what they once were, or what story they once told. In the eyes of Morrison, film is an undertow of material, montage and music. It is poetry. And it is decay. His works reflect an intimate preoccupation with nitrocellulose film, which produces images of breath-taking beauty: the trained painter exploits the natural decomposition of original silent films, where heat, moisture or mould have left their mark. He creates slow motion and repetition and often stages his works in parallel to the music on the soundtrack, which at times is the film's starting point, at times its protagonist, and often both. What's more: through Morrison's virtuoso imagery, the hypnotic pieces by composers such as Yo La Tengo, Bill Frisell or Lambchop become initiators of a cinematic narration that is chafed by friction, searches for synergies and finds its sensual and surreal power in contrasts and collisions.


Bildrausch is showing a cross-section of this remarkable oeuvre: alongside early works such as Death Train (1994) or The Film of Her (1996) about seeing and decaying are gentle romances such as Light is Calling (2004) and The Ring (2021), which always bear within them a deep love of cinema itself. In addition, the forces of nature, history and evolution find their way into the works. The films that Morrison creates from the disused images always exhibit both an archaic vehemence and a strong modern element at the same time. (pj)