Timo Novotny

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Timo Novotny labels his new project an experimental music documentary film, in a remix of the celebrated film Megacities (1997), a visually refined essay on the hidden faces of several world "megacities" by leading Austrian documentarist Michael Glawogger. Novotny complements 30 % of material taken straight from the film (and re-edited) with 70 % as yet unseen footage in which he blends original shots unused by Glawogger with his own sequences (shot by Megacities cameraman Wolfgang Thaler) from Tokyo. Alongside the Japanese metropolis, Life in Loops takes us right into the atmosphere of Mexico City, New York, Moscow and Bombay. This electrifying combination of fascinating film images and an equally compelling soundtrack from Sofa Surfers sets us off on a stunning audiovisual adventure across the continents. The film also makes an original contribution to the discussion on new trends in documentary filmmaking.

An audio-visual essay, which reflects upon & compares metro systems around the world. It is an exploration of a world inside the world as well as feelings, fascination, obsession, fear and themes - of survival, control & silence.

In our vision of the future, everyone has received a neuronal interface, also called a brainchip. This chip enables direct mental interaction with external computers. A legal pathway into cyberspace is paralleled by illicit forms of virtual reality. The main character in this film is a "terminal addict", a cyber junkie in the grip of this electronic drug. In the course of the story, the borders between the real and the virtual are obliterated.

An ode to the Semper Depot in Vienna, which was built in the late 19th century as a storage space for backdrops used at the court opera and theatre. Timo Novotny attempts to capture and render this imposing building in a single shot by means of reflections and loops. His intention is to create spatial confusion through optical illusion reminiscent of M.C. Escher’s games with visual perception.

A timelapsed camerashot (24 hours timecircle compressed to 4 minutes) shows the daily life in Europe's smallest bar, the Loosbar in Vienna. The main figure is a female barkeeper screaming for a witness of love confession.

Each beat has its own speed, each tempo suggests certain images: Timo Novotny's video for Richard Dorfmeisters Sofa Surfers remix, which was shot in Japan on Super-8 film, begins with an aerial view of a construction site and a crane. As the bass begins softly, the images start to move up along a vertical line, apparently reflecting the path of an elevator. Everything is transparent, everything is structured: The scaffolding is echoed in the pictures frame, which rolls across the screen in a way similar to a poor film projection, offsetting the illusion of movement. Or the images accentuate the music through superimpositions, short zooms and shots through cloudy glass. (Dominik Kamalzadeh)

The unpretentiousness of this video’s title equals the simplicity of its underlying structure. Nik Thoenen, a graphic artist by trade, constructed an installation consisting of fluorescent tubes mounted in a horizontal row especially for this video, his first. The arrangement of tubes was then “scanned“ with a mounted Super-8 film camera.