Writer
A couple live an obsessively ordered life, together with a monkey and an anglerfish. They go through their daily rituals of together-life – like synchronised swimmers, but sleeping separately – until one of them decides it’s time to die, the other, remorseful and guilt-ridden, takes off on a journey of self-discovery to an unknown island. Rather than find solace in their odyssey, they gain a deeper understanding of what it means to be alive.
Director
A couple live an obsessively ordered life, together with a monkey and an anglerfish. They go through their daily rituals of together-life – like synchronised swimmers, but sleeping separately – until one of them decides it’s time to die, the other, remorseful and guilt-ridden, takes off on a journey of self-discovery to an unknown island. Rather than find solace in their odyssey, they gain a deeper understanding of what it means to be alive.
Director
Yves Netzhammer creates multifaceted, poetic cosmos of images. His drawings, room installations, murals, and computer-generated videos confront intercultural and deeply humane questions in the age of digital media. Netzhammer persistently checks the boundaries between perception of autonomy and heteronomy, thereby creating images that have a powerful presence and focus on the hierarchy between human-beings, animals, plants, and objects. He poses questions concerning our relationship with nature and to other cultures, concerning the fear of loss of self, facing a growing mediatization and technologization of the world, permeate the surreal images of the artist’s inventions. Simultaneously, by using increasingly theatrical installations, Yves Netzhammer transposes the imaginary world of artistic animated films and computer graphics into a new kind of space.
Director
Yves Netzhammer's usually language-free animations offer freaky in-a-nutshell versions of all the disturbing sights and events we (are forced to) witness every day. Befitting an age of indifference, these series of grotesque rituals and absurd cycles are presented in a glacial, uncaring aesthetic. Genuinely disturbing genius.
Producer
Yves Netzhammer creates his world entirely on the computer. In Furniture of Proportions he takes his viewers along for a story that is not easy to describe. He shows us how the hierarchy on which we have based our world view, where the human race has imposed its superiority on other plants and animals, is based on chance. Things could be different. He shows us how.
Production Design
Yves Netzhammer creates his world entirely on the computer. In Furniture of Proportions he takes his viewers along for a story that is not easy to describe. He shows us how the hierarchy on which we have based our world view, where the human race has imposed its superiority on other plants and animals, is based on chance. Things could be different. He shows us how.
Editor
Yves Netzhammer creates his world entirely on the computer. In Furniture of Proportions he takes his viewers along for a story that is not easy to describe. He shows us how the hierarchy on which we have based our world view, where the human race has imposed its superiority on other plants and animals, is based on chance. Things could be different. He shows us how.
Screenplay
Yves Netzhammer creates his world entirely on the computer. In Furniture of Proportions he takes his viewers along for a story that is not easy to describe. He shows us how the hierarchy on which we have based our world view, where the human race has imposed its superiority on other plants and animals, is based on chance. Things could be different. He shows us how.
Director
Yves Netzhammer creates his world entirely on the computer. In Furniture of Proportions he takes his viewers along for a story that is not easy to describe. He shows us how the hierarchy on which we have based our world view, where the human race has imposed its superiority on other plants and animals, is based on chance. Things could be different. He shows us how.
