Supported Artist
With this grant program Werkleitz aims to intensively support outstandingly talented young artists.
The Supported Artist Grant assists the artists in areas such as production, distribution and public relations. It is not limited to a certain amount of time but focussed on long-term facilitation of contacts to festivals, curators, exhibition opportunities, galleries and producers.
An application is not possible. Candidates are researched and nominated by Werkleitz.
Werkleitz has supported the following artists so far:
- Der Tag des Spatzen@Philip Scheffner 2010
Philip Scheffner
Supported Artist from 2008
Revision (DE 2012, 106 min)
- Fritz-Gerlich-Award of the catholic academy
- 1. prize in the documentary film competition at GoEast Filmfestival Wiesbaden.
Der Tag des Spatzen (DE 2010, 100 min)
- German Dokumentary Film Award 2011
- Klaus-Wildenhahn-Award (7. Hamburg Dokumentary Film Week)
The Halfmoon Files (DE 2006, 87 min)
- dokumentary film award of the Goethe Institut 2007, awarded at the 31. Duisburg Film Week 2007
- sponsorship award of the city of Duisburg, awarded at the 31. Duisburg Film Week 2007
- best dokumentary film, awarded at Int. Independent Filmfestival of Mar des Plata 2007 (Argentinien)
- Prix des mediatheques, awarded at the Festival International du Documentaire Marseille 2007
- qaul.net
Mathias Jud und Christoph Wachter
Supported Artist from 2007
Christoph Wachter & Mathias Jud have been working together since 2000 on partizipatory community projects.
Their works have won awards at Ars Electronica, Transmediale, cultural ministery of the state of Saxony, state-recognized culture departement, Migros Kulturprozent, Kanton Zürich, Cynetart, EMARE, Werkleitz Gesellschaft. The works were internationally presented at museums such as: NCCA (Moskau, Russland), Willhelm-Hack Museum (Ludwigshafen), Shedhalle Zürich (Zürich), NGBK (Berlin), Batiment d’Art contemporaine (Genf, Schweiz), Kunsthaus Dresden (Dresden), Weisman Art Museum (Minneapolis, MN, USA), Manchester Art Gallery (Manchester, UK), Young Artist Biennale (Bukarest, Rumänien).
Presentations at media art festivals such as: ARS Electronica, Transmediale Berlin, FILE Sao Paulo & Rio de Janeiro, Cynetart Dresden, Videonale Osnabrück and Monitoring Kassel.
Choosen projects:
Zone*Interdite (2000–ongoing)
- Ars Electronica (honorary mention)
- Golden Cube (honorary mention)
- EMARE – European Media Artists in Residency Exchange (Werkleitz)
[o] picidae – Break through the Chinese Firewall (2007–ongoing)
- honorary mention (transmediale08, Berlin)
- sponsorship award of the cultural ministery of the state of Saxony (Cynet Art Festival, Dresden)
New Nations (2009–2012)
HOTEL GELEM - Embedded Tourism - participating in precarious living condition (2011–2012, Community Projekt)
qaul.net (2012)
- Prix Ars electronica [the next idea] grant
- grant by the Edith-Russ-Haus for media art
- Amazons
- Civil Status
Alina Rudniskaya
Supported Artist from 2005
Born in 1976 in Murmansk (north of the arctic circle), Alina Rudnitskaya initially completed a degree engineering as an aeronautics designer in Saint Petersburg, a course mainly involving advanced mathematics. She subsequently completed a course in scriptwriting at the University of Culture and Arts in St. Petersburg.
Her first commissions were the result of successful student films. For the TV documentary seriesPetersburg 300 she made two short films, Driving Mad und Communal Residence. She has since worked for the venerable St. Petersburg Documentary Film Studio at which such legends of Soviet documentary film as Alexander Sokurov and Pavel Kogan worked.
Her short documentaries, usually between 20 and 30 minutes in length, are situated partly in the classical Soviet tradition (hers is referred to in Russia as the ninth generation, counting from Eisenstein, Vertov et al). Rudnitskaya however broadens the scope of the traditional form through an intimacy unprecedented in the Russian school. Her camera seems glued to the protagonists, she seems so much an accepted part of the life around her that viewers often have difficulty believing that what she is depicting is real.
Yet the quality of her work has been much overlooked. Her first 35mm film Amazons (2003) is a portrait of young girls earning a living by keeping and renting out horses in the middle of St. Petersburg and shows them riding unperturbed through the dense traffic of the broad avenues. The film was rejected by all the festivals, even in Saint Petersburg, before premiering at the Werkleitz Biennale Common Property in 2004. In 2005, Rudnitskaya was awarded the EMARE grant by Werkleitz and was provided continual support through its Supported Artist Programme up to 2007. Her film Civil Status launched her on to the international scene, winning 14 festival prizes.
Filmographie:DRIVING MAD - NAVAZHOLENIJE, 2002, DV, col, sound, 13 minCOMMUNAL RESIDENCE – SOVMESTNOYE PROZHIVANIYE, 2002, DV, col, sound, 13 min *AMAZONS – NAEZDNIZY, 2003, 35mm, col, sound, 20 min *RURAL LESSONS – SJELSKIJE UROKI, 2004, 35mm, col, sound, 26 minCIVIL STATUS – GRAJDANSKOE SOSTOIANIE, 2005, 35mm, bw, sound, 29 min *THE SOUND OF MALINES – MALINOVY ZVON, 2006, DV, col, sound, 30 minBESAME MUCHO – ZELNJ MENJE KREPTSHE, 2006, 35mm, col&bw, sound, 28 minKAK STAT STERVOI – BITCH ACADEMY, 2008, 35mm, col, sound, 30 min* In der Distribution von Werkleitz (für nicht kommerzielle Screenings. Distributionsformat: Video).