feature Greece
Naoussa
Thessaloniki
Patras
Lamia
Naoussa
On occasion of Naoussa International Film Festival 2009 (7-12 May) and 2008 (8-11 May) taking place both in May, the article is complementing Wilfried’s activities in Greence focussing on Northern Greece (region of Thessaloniki) between 2006 and 2010. Yesterday’s article was already pointing to the fact that Wilfried had already arrived in Naoussa on 7 May 2008, when he was informed about a family desaster, making it necessary for Wilfried to return immediately to Germany, before the festival started. Even if Wilfried is invited to attend the festival in Naoussa in 2009, as well, he is lying in an artificial coma and is not able to travel for a while. But Wilfried was also not able to attend any of the other listed festivals, which is a pity of course, because he would have had the chance to learn more about beautiful Greece. Wilfried will participate in the Naoussa based festival also in 2010, but afterwards the festival had financial problems causing it to discontinue after 2015. Such a pity!
Bareback – serial DIScharge, 2007, 6:00
The experimental film tells the story of a homeless person, who lost its identity in all the traumatic experiences it was undergoing. Again, Agricola de Cologne uses the form of the allegorical representation for pointing to essential questions of human existence. All people are homeless in on or the other way, most however, suffer from it without being aware of it. The film is a mirror of our time which has lost its roots.
Burning Phantom, 2009, 1:00
Love is a burning phantom – it appears unexpectedly and is vanishing without any warning.
Silent Cry, 2016, 3:40
Silent Cry is the visualization of an internal cry happening all the time, when society does not allow to show deep emotional affection. The silent cry is always present caused by never ending traumatizations during decades hidden behind the facade people wants to see. And even if the cry would be be seen or heard, people would refuse to face it. The work release is giving sound a particular relevance.
Thessaloniki
House of tomorrow , 2005, 3:L40
[Dis]tortion_Projected, 2005, 4:40
Truth – Paradise Found, 2005, 4:40
Inability of Being Nude, 2004, 2:0
The moving picture takes the classical theme of the “nude” in a contemporary interpretation as a psychological condition.
The viewer is confronted with different levels of movements of baring/exposing.
He becomes very quickly aware, that he did not enter a peep-show, but is disturbing intimacy, the process of emptiness. Emptiness in the sense of meditating.
The nude is a metaphor. The Inability of Being Nude becomes the inability of exposing one’s entire internal to other people, including those who are most intimate and this could be the viewer himself. This inability is in the same way protecting as separating.
House of Tomorrow, 2005: 3:40
Inability of Being Nude, 2004, 2:00
Truth – Paradise Found, 2005, 3:40
Message from Behind a Wall, 2005, 10:00
The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. Meanwhile, the construction of the wall in Bethlehem is since long time completed, and the area around the wall does not motivate children to use it further as a playground.
International Panorama of Independent Film and Video Patras/Greece – 23 – 30 September 2006
PixelDance II – Video :: Art :: Festival – Film:
In 1998, Agricola de Cologne became a victim of a terror attack. The video is the attempt to make the traumatic experiences perceivable via metaphoric images on an emotional level .
The artist’s voice performing one of his musical compositions uses sound instead of words in order to symbolize the speechlessness and inability of the people surrounding him to react properly.
2nd AZA Digital Cinema Festival Thessaloniki/GR – 25-27 September 2008
Digital video inspired by a visit of Thessaloniki.
The work describes the principle of “code” or “coding” in form of an allegory, a metaphoric story as a ritual of meeting, dominating and resigning. The code is identified as a state of the static, dogmatic and conservative, which asks for obedience, but gives no chance to escape.
2nd THERMAIKOS INTERNATIONAL 2min FILM FESTIVAL 2009 Thessaloniki/Gr – 7 November 2009 – Hairdryer & Burning Phantom
The hairdryer becomes a symbol for desire.
3rd THERMAIKOS INTERNATIONAL 2min FILM FESTIVAL 2010 Thessaloniki/Gr – 30 October 2010 – Passion
Maria knows what passion is.
Lamia
Belle.ArteLamia 2006 – Lamia (Greece) videoart – 7-16 April
The house of tomorrow is the house of one’s identity, it does not need to be a concrete house or building, but represents a secure and protected place where people can stand for what they are and represent, a human being. And this human may have many identities in different fields, the sexual identity represents only one among many others.
Belle Arte Lamia Video Art – Lamia/Greece – 9 November – 2 December 2007
Bareback – serialDIScharge
The experimental film tells the story of a homeless person, who lost its identity in all the traumatic experiences it was undergoing. Again, Agricola de Cologne uses the form of the allegorical representation for pointing to essential questions of human existence. All people are homeless in on or the other way, most however, suffer from it without being aware of it. The film is a mirror of our time which has lost its roots.
