Tobias Zielony
ALLES 2002/2017
ALLES 2002/2017, 2017
Auf Grund der Ästhetik von Tobias Zielony’s (*1973) Filmen, entsteht zunächst der Eindruck, er sei Dokumentarfilmer. Stattdessen
arbeitet er zwischen Realität und Fiktion, gibt seinen Sujets eine nichtlineare Erzählform und überträgt sie auf eine fiktionalisierte Umgebung. Seine Themen kreisen um den ständigen sozialen Wandel in der Gesellschaft sowie Migration, Drogenmissbrauch, Subkultur und Sexarbeit. Soziale Marginalisierung ist eines der wichtigsten Themen von Zielony. In ALLES (2002/2017) konzentriert er sich auf Menschen, die alle Rechte sowie ihren sozialen Raum verloren haben. Dabei ist es Zielony wichtig, den Akteuren ihr
Anonymität zu lassen, um sich von voyeuristischen Assoziationen zu distanzieren. Diese Mischung aus Nähe und Distanz versetzt den Betrachter jedoch in eine konspirative Rolle: scheinbar an den Taten teilzunehmen und dabei immer auf Distanz gehalten zu werden.
Tobias Zielony (*1973) might seem like a documentary filmmaker, but that presumption is based only on his aesthetics. He instead works between reality and fiction, giving the topics he treats a non-linear narrative form, thus transferring them to a fictionalized setting. The themes Zielony focuses on are linked to structural change within a society, as well as migration, drug abuse and sex work. These subjects are seen through a distinguishing lens, observing urban youth subculture, all the while taking note of the
social specificities of the places in which the material was shot. Social marginalization is an important theme running through Zielony’s oeuvre. In ALLES (2002/2017), he focuses on the disenfranchised and their environments. However, by keeping his subjects anonymous, Zielony seeks to distance himself from voyeuristic associations easily connected to his inspiration. This astonishing concurrence of intimacy and distance, however, transposes the viewer into a conspiratorial role: seemingly taking part
in the goings-on, while still being kept at a distance.
Dusko Ruljevic
When searching his old storage space in Leipzig, Zielony rediscovered about 100 pieces of Super-8 material that he had cut briefly after shooting the film in Chemnitz in order to scan individual frames. The pieces were randomly glued together and the resulting film digitalized. It turned out that its short sequences run backwards and apparently without intentional order or narrative. Showing young people hanging out in the East Germany city of Chemnitz, formerly known as Karl-Marx-Stadt, the film cube regarded as a predecessor to his later animations and video work in general.
KOW Berlin