Video artist and experimental filmmaker Angela Christlieb has collaborated on many independent original projects and created a personal production based on the exploration of video language and a deeply cinematographic aesthetic.

After studying at the Academy of Fine Arts of Berlin, she moved to New York with an Emerging Artist grant and began working as a research assistant for Anthology Film Archives and Filmmakers Coop New York. Close the experimental avant-garde material, she developed a unique style associating abstract footages, emotional light ambiance, meaningful superimpositions and a important weight given to face/body expressions.

In 1999 she received a DAAD Grant to study film production at the New School to write and produce her first feature documentary CINEMANIA.

 

Since 2001 she collaborated with Eve Sussman & the Rufus Corporation New York, for several art projects, including RAPE OF SABINE WOMEN and WHITE ON WHITE. Christlieb worked as writer and freelanced editor for several artists and filmmakers, including: Monika Treut, Heinz Emigholz, Andrew Horn. In 2012 she directed NAKED OPERA, living in Luxemburg, Vienna and Berlin. Since 2012 development and production of her feature artist documentary WHATEVER HAPPENED TO GELITIN. 2013 NAKED OPERA premiered at BERLINALE. 2014 Theatrical Release NAKED OPERA in Germany and Luxemburg. In 2014 she directed and produced WHATEVER HAPPENED TO GELITIN. 2015 NAKED OPERA theatrical release in Austria. WHATEVER HAPPENED TO GELITIN premiered at DIAGONALE 2016. Her new documentary UNDER THE UNDERGROUND will be premiered at DIAGONALE 2019.

 

How to tell the future from the Past, (HtttFftP), by Eve Sussman and Angela Christlieb – shot during a 72-hour train journey across the steppe – conceptualizes time with the manifestation of humanity as the constant, as daily life – history in the making – runs backwards and forwards simultaneously. HtttFftP elevates the characteristics of humanity that transcend time, exposing us, un-empowered against it. The piece acts as a visual ’captain’s log’, marking time, as if to build a dam of toothpicks against the deluge.