Videography Felice Hapetzeder
Rely (M), Digital Video, 2:30 minutes, 2007.
Trying out shoes. Documentary real life facts told in a fashion reminiscent of silent movie. , Music: April Kisses written and performed by Eddie Lang.
Rely (J) Digital Video, 12:30 minutes, 2007.
Dancers slide in and out of focus., About a woman in control of her romantic encounters. Music Kevin MacLeod.
Man’s World, Digital Video, 9 minutes, 2006.
About approaches in male sexuality; sexual normativity and homophobia. Three men speak of intimate details in their sexual experience. There is a definite male perspective, which almost gives the impression that there are no women. This, of course is not true and a possible twist in the story.
Never Sleep, Digital Video, 22 minutes, 2005.
The visual playback is from a teleprompter, normally used in newscasts. Never sleep means that the entire text document is automatically rolled to the end. It is set to a very high, unreadable speed. The text stream on the prompter is the entire Koran and it takes twenty-two minutes to scroll thru. In my work the text is supported by music inspired from the song Enter Sandman by Metallica, it is reinterpreted and composed by musician Dusan Milosevic. The intensity of the visuals corresponds to the music and creates a strange dynamic. Enter Sandman has repeatedly been reported as a component in the torture in prisoners' accounts from the U.S. military base of Guantanamo, Cuba.
Stockholm 1970, Digital Video, 10 minutes, 2004.
A paradoxical video piece about prejudice working both ways. , The Italian man telling the story had a dream about Sweden as an ideal country of freedom: politically, intellectually and sexually. As he went to Stockholm in 1970 his dream was destroyed. Here he tells why, and also why Italians, especially those from the south, get mad by living in Sweden!
mi sento a casa., Digital Video, 1:35 minutes loop, 2003.
At Milan international airport a pigeon is chased around by two men. There doesn’t seem to be any strategy to their hunt and it is performed without vigour. Just two employees with a big black plastic bag doing their job worrying the life out of a dove.
Vanitas, Digital Video, 2 minutes loop, 2003.
Vanitas is a still life rather than a film. A group of men and women play together in the water at the beach of Positano, Italy. They dive into the middle of the image, a black void, just to reappear in a continuous cycle. The music, the distorted sound of a sack pipe, bring to mind folk music, maybe from a wedding. Are we witnessing a ritual, an act of seduction? Vanitas is a tribute to existence as both creation and destruction. In the manifestation of life lies also death.
Three Austrian Sisters, Digital Video, 7:30 minutes 2001.
The story of a family told in the style of a cooking program. Three sisters from an Austrian village travel into the world. They each meet a man. One in Italy, one in Germany and one in Monaco. They all get pregnant and subsequently leave their respective men to settle down in Sweden and give birth to one child each. Why? The Glitch between the accessibility of the cooking program and the inaccessibility of the story itself tends to the absurd.
We Lost One, Digital Video, 3:40 minutes, 2001.
Members of the Havana hip-hop crew Grandes Ligas – meaning major league. They spoke and dressed differently than other people in Cuba. Socially emarginated they dreamt of the North American lifestyle and mourned over dead gang leader. Lyrics by Piti.
Mirror, Digital Video, 4 minutes, 2001.
Mirror is a way to use the memory of my father. He tells stories from his life, making him an object of desire for women. I choose these stories because they are different from his usual ones of conquest and make him show vulnerability. It’s about longing, youth and time.
Live Sound, Digital Video, 2:30 minutes, 2001.
Moisé is living at the street level. He is a sound engineer and has just built a new sound system, which he is testing. The neighbour on the top floor balcony is playing classical music on her oboe because the family is living in very confined quarters. The music from Moisé is too loud for her to concentrate on her practicing so she starts to improvise. Live Sound, 2001 is a tribute to the city. In the best case scenario the city creates something new out of two already existing things, a new music, live on the street.