The avant-garde of the 1910s and 1920s were increasingly struck by the immobility of traditional easel paintings. As one of the so-called static arts, paintings no longer seemed to correspond to the dynamic reality of life. Progressive artists such as Léopold Survage, Viking Eggeling, and Len Lye set about teaching painting to find its feet. They relied on the achievements of the still new motion picture to extend the means of painting with the experimental animation film. The result is a synthesis of painting and film, something the artist Robert Bruce Rogers labeled «motion painting» or «cineplastics» in 1952. ‹Malerei als Film› [‹Painting as a Film›] focuses on works from the fields of film and painting that reflect the process of painting or go a step further by bringing together both media. In addition to works by contemporary artists such as Tala Madani, Radenko Milak, Thomas Scheibitz, and Amy Sillman, the Kunsthalle also presents a selection of classical examples of paintings-oriented experimental films, whose little-known story thus is retold.
Stan Brakhage (1933–2003), Sofia Duchovny (*1988), Viking Eggeling (1880–1925), Oskar Fischinger (1900–1967), Lauren Gregory (*1983), Edgar Honetschläger (*1967), Shen Jie (*1989), Maria Lassnig (1919–2014), Rachel Lowe (*1968), Len Lye (1901–1980), Tala Madani (*1981), Miodrag Manojlovic (*1979), Radenko Milak (*1980), Hans Namuth (1915–1990), Thomas Scheibitz (*1968), Monika Schwitte (1956–2015), Amy Sillman (*1955), Florian Süssmayr (*1963)
is supported by