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Alles (Chemnitz), 2002/2017

Transferred Super 8 film

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 German 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.

Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP
Tobias Zielony, Alles (Chemnitz), 2002/2017, transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP

Transferred Super 8 film, 3:2, color, silent, 5:31 min, 8 + 2AP

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Tobias Zielony

Tobias Zielony is known for his photographic depictions of young people living on the fringes of affluent societies and social acceptance. For the past 20 years, Zielony has focused on suburban milieus that, from Canada to England, Ukraine, Israel, and Japan, have in common that they have fallen out of the promises of modernity's progress and are establishing a temporary life in their own cultural niches. What goes hand in hand with melancholy at the same time reveals a great human tenderness in the cohesion of precarious communities, which Zielony approaches and gives the space to stage themselves. In the process, Zielony's critical approach to documentary manifests itself in a specific aesthetic and relationship to fiction. His numerous institutional exhibitions include the German Pavilion in Venice 2015. Tobias Zielony is a professor in Hamburg since 2022.

Zielony´s work has been shown in many solo and group exhibitions recently such as Watching TV in Narva (KOW Berlin 2023), Dark Data (Marta Herford 2022) and Touch. Politiken der Berührung (EMOP Berlin, c/o Amtsalon 2023), Nach August Sander Menschen des 21. Jahrhunderts (Museum für Gegenwartskunst Siegen 2022).



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