Sonia Leimer Series of successive instants, 2010 Tiles, marble, tar, steel, rubble, gravel, pressboard Courtesy Galerie nächst St. Stephan, Rosemarie Schwarzwälder, Wien

July 15, 2010 – August 25, 2010 – BAWAG Contemporary – BAWAG Foundation
“A lost film is a feature film or short film that is no longer known to exist in studio archives, private collections or public archives…The phrase lost film is also used in a literal sense for instance where footage of deleted scenes, unedited and alternative versions of feature films are known to have been created but can no longer be accounted for” (Wikipedia, the free encyclopedia)

“Lost Film” is a cinematic term for a missing or lost film footage. Celluloid is a sensitive and dangerous material that destroys itself in poor storage conditions, and moreover is highly inflammable. It is suspected that 80 percent of all silent films are untraceable, disappeared and probably lost for all time.

But also films from the postwar-period are known only from stories, from oral tradition. Rainer Werner Fassbinder’s “This Night” from 1966 for example, is such a Lost Film. About the content is nothing known. Handed down is that it was financed by the actor Christopher Roser and shot on 8mm. Fassbinder himself was director, screenplay author and cameraman. In his debut feature he also acts in front of the camera.

Sonia Leimer deals in her exhibition “Neither in motion nor at rest” with unstable material. With the fragile and the instability that is coming between the seemingly firmly established, strong and durable. With the concrete, physical space and its relation to artistic production. With the relations between today’s society, individual stories and the classic canon of images. Her works demonstrates a clear awareness of current issues of today and combines in the genres of film, architecture and space, the basic questions of materials, media and display.

The new rooms of the BAWAG Contemporary with its differentiation between light and darkness, the level jumps and the spacious gallery view, complies with the artist’s project, not to detect a coherent whole, but rather a fragile constructions of space along borders. It is about simulated rooms, about rooms made of materials that pretend to be something else. About architectures that give themselves transparent. About imagined, told and remembered spaces.

In five works from the year 2010 Sonia Leimer treats the film as a separate room. She explores the constructions of space and time, the models and hierarchies that lie behind these constructions. And she asks about the role played by the imagination here.

Brigitte Huck, Excerpt from the catalog-text Lost Film