THE GARDEN OF ROBOTIC UNKRAUT (2022, 30 min, digital)
“It’s like a garden. It’s growing on its own. It’s like genetically modified organisms we’re working with.” –Pamelia Stickney

THE GARDEN OF ROBOTIC UNKRAUT charts the continuing adventures of Chris Janka and his collaborators. A musically and visually complex film, it documents Janka’s work designing, constructing, and orchestrating a series of robotic instruments, which are composed of motors, relays, electromagnets, and pneumatic components. THE GARDEN OF THE ROBOTIC UNKRAUT observes a recording session at the renowned ORF radio studios, in which Janka and his fellow Blueblut band members Pamelia Stickney and Mark Holub attempt to improvise alongside this mechanical, MIDI orchestra.




Monika Salzer (Initiatorin) und Susanne Scholl (Mitstreiterin der 1. Stunde) sprechen über OMAS GEGEN RECHTS – eine österreichweite Plattform für zivilgesellschaftlichen Protest.

Der Film endstand im Rahmen der Initiative #KlappeAuf

© 2018 Angela Christlieb / Daniela Praher



„IN AN ALIEN LAND” is a lyrical visual analogy, a poetic journey of a mysterious woman crossing seas. Abstract sequences are woven together revealing two parallel stories through a diptych. The split screen reveals two distinct places displayed side by side: a tropical serene landscape and an American metropolis which is eventually filled with political tension. With each segment of the film, we are shown different perspectives of place and time. Associations arise and dissipate over again.


The film is a collaboration between filmmaker and artist Angela Christlieb based in Vienna and the New York artist, filmmaker, cinematographer Maria Niro.


Angela Christlieb and Maria Niro, Directors, producers, editors and sound design

  • „Secretly sharing the landscape of the living“ by Martin A. Smith.
  • Hallicrafters (Eric Hubel, Algis Kysz),
  • „Industrial landscapes“ by Noisytowngroove






Exhibition Ausstellungsraum Vienna

WHITE ON WHITE (Eve Sussman/Rufus Coporation)

whiteonwhite:algorithmicnoir,“ directed by Eve Sussman and produced with Rufus Corporation, is edited by a custom-built computer program. The „Serendipity Machine“ assembles thousands of clips of footage, voiceovers, and scoring elements in an ever-changing succession, working from metadata tags. The trailer here is just one sample of the movie; since it changes every time the film is screened.
Directed by Eve Sussman
Mr.Holz: Jeff Wood
Edit: Kevin Messman
Algorithm: Jeff Garneau
Produced by Catherine Mahoney
Camera: Angela Christlieb, Sergei Franklin, Eve Sussman
Sound Supervisor: Algis Kizys
Still Photography: Simon Lee, Monia Lippi
Assistant Director: Misha Libman
Production Design: Ioannis Savvidis, Nicolas Locke
Production Coordinators: Olga Mustach, Vlad Rotmistroff
Cast: Marina Fedorenko, Olga Grislis, Claudia de Serpa Soares, Kenyen Akurpekov, Gyul Ziyatova, Meryambek Eralin
Voices: Alexandra Lerman, Valeriya Shondra, Jim White, Jeff Wood, Misha Libman, Konstantin Kudin,
Music/Sounds: Algis Kizys, Colleen Burke + Matthew Smith, Volkmar Klien, Bradford Reed + Lumendog

THE RAPE OF SABINE WOMEN (with Eve Sussmann/Rufus Corporation)


Director: Eve Sussman & The Rufus Corporation

The Rape of the Sabine Women is a reinterpretation of the Roman myth, updated and set in the idealistic 1960’s. Filmed on location in Athens and Hydra, Greece, and in Berlin, Germany, the 80 minute video was directed by Eve Sussman with an original score by Jonathan Bepler, choreography by Claudie De Serpa Soares, and costumes by Karen Young, camera by Sergy Franklin, Eve Sussman, Angela Christlieb.

The Rape Of The Sabine Women was conceived as allegory based loosely on the ancient myth that follows Romulus‘ founding of Rome. Re-envisioning the myth as a 1960’s period piece with the Romans cast as G-men, the Sabines as butchers‘ daughters, and the heyday of Rome allegorically implied in an affluent international style summer house, this version is a riff on the original story of abduction and intervention, in which Romulus devises a plan to ensure the future of the empire. While the Roman myth traces the birth of a society, this telling suggests the destruction of a utopia. The intervention of the women is fraught, and the chaos that ensues transforms the designed perfection into nothingness.

The Rape… is a video-musical conceived in an operatic five act structure that opens in Berlin’s Pergamon Museum, moves to the S-Bahn and Tempelhof Airport, Athens‘ Agora meat market, a classic modern 60’s dream house overlooking the Aegean, and finally, Athens‘ Herodion Theatre. Forgoing the compromise of the original, the Rufus Corporation’s re-imagining pits mid-twentieth century ideals against the eternal themes of power, longing, and desire. A modern process piece created in improvisation-a product of 180 hours of video footage and 6000 photographs-the video with 7.1 sound installation features compositions by Jonathan Bepler, recorded live on site , incorporating a bouzouki ensemble, a Pergamon coughing choir, and a chorus of 800 voices.


3 Channel Video, Haunch of Venison gallery

Winkleman Gallery
621 West 27th Street
New York, NY 10001

How to tell the future from the Past, v.2 (HtttFftPv.2), 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. HtttFftPv.2 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.

BLIND TRIP (Richard Schütz/Ioannis Savvidis)

Blind Trip  by Richard Schütz / Ioannis Savvidis

Editing: Angela Christlieb

Videotaping the landscape from passenger’s side window.
Recording the route from Marathon to the centre of Athens.
The scenery is dominated by general confusion (the demolition
and erection of new buildings).
Nothing looks complete, organized or well-planned.
There is no urban planning.
This famous route doesn’t fit with it’s image.
The landscape alone creates the feeling of a circumstantial montage,
A montage that is offered as an introduction to music.
The movie loses its significance, offering as an exchange
the rhythm of today’s reality.