Six Easy Pieces is the last part of the Secrets Trilogy; a three-part cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life, 2008 and Secret Machine, 2009.
The work is based on the book
“Six Easy Pieces: Essentials of physics explained by its most brilliant teacher”.
by Richard P. Feynman
"Film is the Seventh Art, a superb conciliation of the Rhythms of Space (the Plastic Arts) and the Rhythms of Time (music, poetry and dance), a synthesis of the ancient arts: architecture, sculpture, painting, music, poetry and dance." -Ricciotto Canudo
Produced by- Saskia Lutter, Pierre Düsing
Cinematography by- Carlos Vasquez
Production manager - Julia Mari Bernaus
Director Assistant - Moritz Uebele
Art director - Merle Vorwald
Lighting and additional cinematography - Ben Mergelsberg
Costume designer - Janne Kummer
Assistants art director - Max Krutz, Susanne Steckel, Henrieke Naumann
Interns - Isa Saðlam, Rebecca Gomes-Ferenczi, Ewa Kniaziak Gazeta
Sound director and design - Martin Backes (Aconica)
Music- Peer Neumann, Martin Backes, Didio Pestana
Foley- Martin Backes
Arduino programming - Rodrigo Frenk, Michael van Rosmalen
Documentation - Robin Thomson
Helga Wretman, Juliette Bonneviot, Francesca Pellanda, Sanela Hasanovic,
Pirnes Steante, Ana Bellido, Dave Krepfle, Agnes Lindström Bolmgren,
Charlotte Miller, Jo Siska, Stephan Rumphorst
produced in cooperation with Museum of Old and New Art (MONA), Tasmania, Australia, Impakt - Utrecht - The Netherlands, and Medienboard Berlin-Brandenburg, Germany
Secret Machine is the second of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life (2008) and followed by Six Easy Pieces (2010)
In Secret Machine a woman is subjected to Muybridge’s motion studies. She is treated in the same fashion as in the original Muybridge photography: with Greek aesthetic in a Cartesian grid. A short time after Mybridge’s studies, Duchamp painted Nude Descending a Staircase, No. 2 (1912) attempting to show time on a flat surface. He is expanding cubism and painting into another dimension: time. Time is about movement and change, like our experience of reality. Without change life does not exist. Photography does not capture this experience. In Secret Machine different filming techniques are compared to the motion of the body. The film camera becomes another measurement tool in a way a video camera cannot. The intention was to make an art piece from the point of view of a machine, specifically a camera.
Protagonist Helga Wretman
Antagonist Ana Bellido
Stand in for Antagonist Nana Bahlmann
Cinematography by Carlos Vasquez
Art Direction, Production Design: Maria Schöpe
Motion Programming: Daniel Urria
Assistant to Carlos Vasquez: Juan Manuel Ortiz
Set Construction: Thomas Maurer
Driver: Daniele Fermani
Drawings: Clement Page
Intern: Dylan Walsh
Intern: Laura Speicher
Math and Philosophy Consultant: Erik Douglas
Director Visual Effects: Carlos Vasquez
Music, Additional Foley: Hannes Strobl
Film to Video Transfer: Philipp Orgassa at "PICTORION Das Werk"
Special Thanks to
Secret Life is the first of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is followed by Secret Machine (2009) and Six Easy Pieces (2010)
Secret Life portrays a woman trapped in an apartment with a life of its own. Transcending the narrative horizons of human desire, the film visits upon us a glimpse of a shared and sacred reality. A work that defies the ultimate metaphysical taboos of temporality by combining novel technique with intrepid philosophical vision; and daring to present that which is seldom, if ever, portrayed in any artistic medium.
Impossibilities are made possible through Reynolds’ signature aesthetic, a lens that can fill one with reverence for the mundane.
Have you ever wondered what time sees, experiences? Without mortal assumptions about time, the occupant of the apartment is no longer limited even to unique location, but here, seen through the eye of time, space itself is now become alive. Without the context of space and time, the woman’s mind collapses and neglects the organization of her experience, leaving her only with sensations. The viewer may ask: Is it her mind or is it time itself that creates the uncontrolled and uncontrollable environment? The work suggests that all living things are endowed with consciousness, meaning all living things have awareness. While the space increases in its activity, the woman becomes an ever more passive element in her world. She moves at a mechanical speed and her mind is like a clock whose hands pin the events of her life to the tapestry of time, all the while, the truth is transcendentally reflected in the mechanical eye of the camera. Her thoughts escape her and come to life, growing like the plants that inhabit the space around her: living, searching, feeling, breathing and dying.
Woman- Helga Wretman
Cinematography- Carlos Vasquez
Produced by Anamarie Michnevich
Production Design: Daniele Fermani
Art Department: Michelle Letelier
Set Construction: Thomas Maurer, Charles Green
Director Visual Effects: Carlos Vasquez
Additional Cinematography: Daniele Fermani
Music: Hannes Strobl
Film to Video Transfer: Philipp Orgassa at "PICTORION WERKSTATT"
Special Thanks to
For Jane Williams
Produced in cooperation with:
European Media Art Festival
49074 Osnabrück / Germany
63002 Clermont Ferrand, Cedex 1 / France
Six Apartments is a poetic document of decline and deterioration -both physical and conceptual. Six isolated residents of six different apartments live their lives unaware of each other. They eat their food, wander between rooms, bathe, watch television, and sleep. For them, this is life.
Yet while it may appear that nothing is happening here, the apartment building and its inhabitants’ bodies are aging, giving way to bacteria, larva, and finally transformation. Televisions and radios tell them about the destruction of the planet but it does not seem to affect their lives. Everything is in a state of resolute conversion. Immense drama does exist: chaos overcomes order and rot supersedes life. The residents’ lives are moving slowly towards death following the deliberate and methodical rhythms of their uniform days. This continuous erosion of bodies, buildings, and the planet, reveals the ever-active potential of death and its material processes.
In their passivity and isolation, the inhabitants emerge as the true form of death, while the rooms they inhabit maintain the ongoing transformation of life. The potential of life, then, exists only in the process of death.
Eventually all forms of life are consumed by new life.
Clean Woman- Cornelia Brelowski
Biker- Wolfram Von Staufenberg
Sick Girl- Johanna Kunig
Woman- Edith Hermann
TV Man- Norbert Decker
Messy- Michael Arndt Gastaud
Produced by Pierre Düsing, Lina Schuller, Marcela H. Polgar
Cinematography- Kenzo Guzman
Camera and Electrical- Carlos A. Lopez
Production Design- Daniele Fermani
Set Dresser- Andreas Böttger
Set Construction- Mark Preuss, Yves Boczek
Art Department for Clean Woman and Biker
Visual Effects Supervisor -Carlos Vasquez
Digital Artist- Cristóbal León
3D Digital Artist- Joulia Strauss
Photo Artist- Matilda Mester
Management- Susen Hermann
Music, J.G. Thirlwell;
Sound designers, Bruce Odland, Sam Auinger.
Actress: Samara Golden
A young woman descends into madness in a gripping one-hour looped film by Reynold Reynolds and Patrick Jolley. That's what seems to happen, anyway, as the film's nonlinear narrative and mix of grainy black-and-white and lucid color tend to confuse what is real and what is hallucinated or dreamed.
By turns funny, sad, mysterious and scary, the film's events take place in a squalid studio apartment. A young woman played by Samara Golden arrives carrying a suitcase and begins cleaning up. At one point, she extracts a corpse resembling her from behind a radiator screen and tends to it as though preparing it for a funeral. In other scenes the room violently shakes and water starts to flood it. Light bulbs pop and overloaded electrical connections crackle and buzz. Finally, she transfers her doppelganger's body from the refrigerator to the suitcase she came in with and departs.
Film students will detect references to famous movies -- Roman Polanski's ''Repulsion'' most conspicuously. But because Ms. Golden plays her role with such understated earnestness, the film isn't just an arch exercise in appropriation. It immerses you in a harrowing dark night of the soul.
-KEN JOHNSON (New York Times- December 23, 2005)