Linda Christanell

Double 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s [...] In the gesture of mutual filming, images are created in the eyes of the others. The gazes into the camera create a visual loop between the two women while at same time pointing at the beholder. These images constitute the two women as self-determined subjects saying: I see you seeing me - instead of being looked at as an object. (Christiana Perschon)

This is the theme of the film: The secret of objects in the huge space and time curve: the not-being-able-to-recognize, the not-being-able-to-grasp, the not-knowing. The curve is presented in the film as a miniature: 24 hours (morning, day, evening, night, morning) condensed into 40 minutes.

Every encounter with an image, every interaction searches for its own form. She is the other gaze is a collaboration with five female visual artists of an older generation who have been part of the Viennese art scene since the 1970s and engaged in the women's movement. In dialogue with the filmmaker Renate Bertlmann, Linda Christanell, Lore Heuermann, Karin Mack and Margot Pilz share their early works and artistic practices. They remember how their self-determination evolved between artistic ambitions, economic constraints, adaptation and resistance to the prevailing patriarchal social structures. In their role as feminist pioneers, the protagonists are a great influence on the contemporary art scene and the self-understanding of younger artists today. With their voices and narratives, they become collaborators passing on feminist thinking and artistic experiences.

Anna is a portrait of Anna Rheinsberg, and an attempt by Christanell to see herself in her friend: What do women of a certain age have in common, whatconstitutes femininity? One answer would be the objects in one’s life, and what one does with them.

Double 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s [...] In the gesture of mutual filming, images are created in the eyes of the others. The gazes into the camera create a visual loop between the two women while at same time pointing at the beholder. These images constitute the two women as self-determined subjects saying: I see you seeing me - instead of being looked at as an object. (Christiana Perschon)

A house facade as compressed memory, an ephemeral film between inside and out, between then and now. In Linda Christanell's newest film Moving Picture, the opulent presentation of fetishistically decorated tabeaus has made way for a material-transposing montage technique. The applied viewpoint (via Barbara Stanwyck) opens up multi-dimensional insights and varies thoses poetic aspects which have till now been indicative of Christanell's moving (in both senses of the word) images. The results are new cadenzas in sound and picture. (Ulrike Sladek)

A film about which there are no words - an action with the camera - objects tell a random story - objects are bearers of obsessions -issuing energy as fetishes. Symbols of femininity and masculinity that have become glitter and trinkets are arranged, contemplated, varied, animated, recoded if not affirmed in their meaning, power. In the centre of all these things a wedding photo: beaming bride with happy, uniformed groom.

Short experimental film by Austrian filmmaker Linda Christanell

2002 short experimental film by Linda Christanell

1982 short experimental film by Linda Christanell

1997 Linda Christanell experimental short

1992 Linda Christanell short experimental work

1978 Linda Christanell experimental short

1978 Linda Christanell experimental short

1984 Linda Christanell experimental short

Memories and wishes are giving some color to the non-sense.