September 25 - October 24, 2020
Charlotte Eifler works at the interface of film, sound and technology. In her videos and multimedia installations she interrogates the politics of representation, abstraction and computation. With a focus on feminist approaches and elements of science fiction, Eifler explores processes of image production and imaginations of alternative futures. Her works were shown i.a. @ Folkwang Museum Essen, Grassi Museum Leipzig, Haus der Kulturen der Welt Berlin, Ann Arbor Film Festival, GfzK Leipzig, Museum of Literature Tbilisi, Etashi St. Petersburg, Siggraph Congress Los Angeles, Kunstraum Bethanien Berlin, Staatliche Kunsthalle Baden-Baden, ISCP New York City, IMPAKT Festival Utrecht, Gogbot Enschede, International Filmsymposium Bremen.
For FEMINISM IS A BROWSER, the fictional cyber entity Yeva returns to their roots. Raised on the internet, Yeva has their knowledge from an email archive of an international feminist network called FACES. It was founded online and in Vienna in 1996 with the purpose of connecting and supporting self-identified women working in the fields of digital technologies. The herstories of those media pioneers are what Yeva wants to amplify and relate to, while watching out for allies of their own generation. Where can the descendants of the cyberpunks and -feminists of the 1980s and 90s tie in today? Which old utopias inspire current realities? Yeva operates as an archive themselves, an archive that is read not as a place but as a collective figure. Within the exhibition setting at SCHOOL film recordings of Anahita Asadifar, Silvia Robin Ederer, Daniel Hüttler, Teo Klug, Eva Wohlgemuth & Janina Weissengruber were taken.
A SET OF NON COMPUTABLE THINGS part 1 creates a fictional and surreal setting. Two trainees practice exercises of non-computability within a training camp of a visual resistance group. They test their options for a fluid concept of identities and entities – against a static understanding of representation. An algorithm constantly scores their achievements. On their way, they encounter the genre of the road movie – a white and masculine narrative. Within its images and implications, the women try to restrict and reinterpret their own legibility by ambiguities, imitations and senses apart from visuality.
