The Film Residency
Katrin Winkler

Katrin Winkler

VITA

Katrin Winkler (*1983) is an artist and filmmaker based in Berlin. She works in the fields of expanded cinema, critical research, photography and video installation. How history is in-/visible and entangled with the contempo­rary moment is a reocurring theme in her artistic practice. She holds a BFA in Photography from the University of Applied Sciences, Munich. She was a student assistant at the Katutura Community Art Center, Windhoek, Namibia and the City Varsity, Cape Town, South Africa. She studied Media Arts/ Mass Media Research and Art in Public Media Space with Günther Selichar and finished the Master Class Programme with Clemens von Wedemeyer at the Academy of Fine Arts, Leipzig. And she studied Photography&Media&Integrated Media (MFA) amongst others with Allan Sekula, Ashley Hunt, Michelle Dizon and Billy Woodberry in the MFA Programme at the California Institute of the Arts, Los Angeles. Her video-installation towards memory was shown at Berlinale Forum Expanded (67. Internationale Filmfestspiele Berlin). Her last film performing monuments was shown at n.b.k Berlin, Kassel DokFest and at the International Film Festival in Dhaka, Bangladesh and Oberhausen. Her works are shown in the context of international art exhibitions and at film festivals.

PROJECTINFO

„traces“ (working title) is a video and research project in Beirut grappling with ruptures, failures and gaps in histories using filmmaking as a place of encounter to reconsider what is visible or not. The starting point is archival research and the documentaion of personal narratives out of women’s perspectives in Lebanon in relation to traces of colonialism in the city in order to cinematically negotiate the field of tension between lived experiences and public narratives.
The division and (dis-) possession of land in the context of French colonialism (1923−1946) in Lebanon and recent wars are still visible in Beirut’s cityscape and its surrounding landscapes.
To find ways of activating monuments in collaboration and develop cinematic strategies that allow to reflect on the monumentalisation of history is an integral part of „traces“ (working title).