Museo Lázaro Galdiano / Viva Off exhibit

It is a pleasure to inform and invited you to:

23 – 25 may / Viva Off / Museo Lázaro Galdiano exhibit:

Fontaine de Vaucluse
Film by Wolfgang Lehmann & Florian Krautkrämer

Directed, photographed, edited and produced by Wolfgang Lehmann & Florian Krautkrämer
Music by Thomas Gerwin
Made and distributed with the financial support of MFG Baden-Württemberg
62 Minutes, color, optical sound, 16mm
Germany 2001

Museo Lázaro Galdiano
Calle Serrano 122
28006 Madrid
Spain

With my kindest regards

Wolfgang Lehmann

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“Fontaine de Vaucluse” is a small village in the Provence, in the South of France, near Avignon. There are only a few hundred permanent residents; millions of tourists come every year to view the “fontaine”, considered to be one of the most majestic springs in the world. Water emerges from a grotto beneath a more than 100 metre high stone cliff. From there, the water usually flows underground, flowing into the riverbed several metres further on. When the snow thaws, however, more than 200 square metres of water pour out of the spring in a second. The grotto is no longer visible, and the otherwise dry stones at the entry are covered by a waterfall.

The making of this film involved taking approximately 270,000 single frame images with two 16 mm cameras and c.84,000 of these images were used to construct the final version of the film.
The compelling landscape of varied elements and the play and changes of light on the scene moved us to attempt to capture how the seasons radically alter the view. We subjectively shot what we found on location so that an abstract impression, reflecting nature, can appeal to the viewers’ visual, spatial and temporal imagination, as opposed to representing reality. Images became notes, and thus the film, through montage, became a visual composition. No statements are made, neither the residents nor the tourists are interviewed. People are treated like the flowing water, roaring past as a mass.

Thomas Gerwin composed a “musique concrète” especially for the film using exclusively sounds recorded on location. These were then digitally manipulated: edited, looped, filtered, layered, comprimised, stretched, reversed and triggered. The effest is sometimes akin to tiny sound particles arranged in a variety of ways in a sampler and mixed to full advantage. The rhythm is based directly on that of the water, the wind and the sounds of human voices.

The acoustical composition does not accompany the images; it interacts with the visuals, gives them rhythm, comments on and interprets them. This enables the music to allow to hidden structures to come to the surface, and yet, simultaneously, adds new accents, or in some instances, weaves a thread connecting visual patterns with a musical construction and thereby binding these elements into a self-contained composition.

„The extreme emotionality of it has a strong impact, causing the viewer to physically feel the film when confronted with this overwhelming tapestry of images. It is like taking a hike, when the spirit can roam free and one forgets time and just lets oneself drop into images and sound.“ Torsten Alisch, Duisburger Filmwoche, 2001

„The images pulse, taking on a rhythmic structure reminiscent of a musical score.“ Johannes C. Tritschler, ZUS 27. März 2001

Wolfgang Lehmann

 

 

10/05/2013