Spaces, reminiscent of abandoned underground bunkers or industrial warehouses, that do not have an obvious use, non-places of an utilitarian architecture. EMPTY ROOMS creates an uncanny mood, going beyond the mere representation of the strange emptiness by breathing life into these spaces and making the walls dance. Like other previous works of CLAUDIA LARCHER, the film makes us think of the memories stored in rooms and their emotionally evocative qualities, and maybe believe the idea that objects are living beings, which serves as a reminder of history’s aftereffects that cannot be suppressed.
CONSTANTIN POPP (b. 1980, Berlin) studied electroacoustic composition at the HochschulefürMusik Franz Liszt in Weimar with Robin Minard. He collaborated, among others, with Andreas Bick, Jan Wagner, Johannes Mayr, Robin Minard and Markus Wintersberger, doing works for dance, film, radio and stage. In 2010 he received a DAAD scholarship to study at University of Manchester.
CLAUDIA LARCHER (b. 1979, Austria) studied sculpture, multimedia and intermedia arts at the University of Applied Arts, Vienna. Since 2005, she participated in exhibitions in Austria and abroad in the fields of video animation, installation and LiveVideoPerformance. Her other short film, HEIM, is a video animation which presents, in the form of photos and moving images assembled into a seemingly endless pan, a walk through a house open for viewing.
Graz–Diagonale, Festival Of Austrian Films 2012 / Vilinius – Tindirindis International Animated Film Festival 2012
“The camera eats into nothingness, it glides along an empty surface whose rough grain resembles minimalistic interplay of shapes and forms and material analyses that refer the spectators back to themselves. After a while the white wall which represented the initial focus is joined by a long hallway with doors, and after that high, spacious empty rooms enter the picture. The scene is reminiscent of abandoned underground bunkers or spaces in an industrial warehouse or workshop, spaces that do not have an obvious use, non-places whose utilitarian architecture CLAUDIA LARCHER examines.With the aid of the finely structured, at times whooshing soundtrack by CONSTANTIN POPP, LARCHER creates an uncanny mood, though at the same time she goes beyond representation of the weirdly whooshing emptiness and breathes life into these spaces, isolating certain elements and making the walls dance. (…) In EMPTY ROOMS, LARCHER propels the impressive game which emerges in her other works by means of memories stored in rooms and their emotionally evocative qualities. This tends to make us believe the idea that objects are living beings, which has received an increasing amount of consideration, and serves as a reminder of history’s aftereffects that cannot be suppressed. “ (Sandro Droschl)