Pièce touchée

A 12-hour installation piece comprising slowed-down footage of Renée Jeanne Falconetti in Carl Theodor Dreyer's 1928 film La Passion de Jeanne d'Arc.

Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.

In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama.

An avant-garde sonic and visual re-editing of a short clip from the classic 1962 film "To Kill a Mockingbird".

Parts of Mickey Mouse floating in a Haunted House

color, sound, 2:14 loop, 2020

Body parts of a cartoon character.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Martin Arnold's remake of the shower scene from Psycho. Made as a spot for the Viennale.

Parts of a comic strip are animated.

In a later group of short film loops such as Soft Palate (2010) and Whistle Stop (2014), Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them Mickey's Delayed Date), Tom And Jerry, Daffy Duck (Draftee Daffy) and Goofy (How To Play Golf).

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Recomposing teeth gestures.

color, sound, 3:00 loop, 2016

"It had to be me."

In a later group of short film loops such as Soft Palate (2010) and Whistle Stop (2014),[5] Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them Mickey's Delayed Date), Tom And Jerry, Daffy Duck (Draftee Daffy) and Goofy (How To Play Golf).