[a cultural memory]

The classical portrait, which represents the initial point of [ARTist]s, a portrait series of contemporary artists, spans a wide range of artwork from portraits and panels of the "old masters" to portraits of Expressionist and Surrealist artists and finally to photography.

Portraits of the "old masters" depicted the artists themselves, their profession - resources required for their work - and their private environment. This concept inevitably leads to the stylistic device of the [Multimedia Portrait]s.

By using today's prevailing techniques, video, audio, photography and print, a piece of multimedia art has been created which had not existed before - the panel transforms into a multimedia space.
The portrait is divided in its single components and enriched with the factor of time and space. The central element is the video-triptych - three films of the individual parts of the classical portrait are presented - while communicating with one another at the same time. Surrounded by photographs, printed statements and audio-islands, the viewer finds himself inside, and not outside the portrait.

The private person, the artist as individual, takes centre stage in this portrait series, which conveys direct insight into the living and working world of the prominent contemporaries. These portraits focus entirely on here and now.

Since the "staging" is primarily entrusted to the performers, barely any instructions are given during the process of directing the film. The performers steer the direction and pace of the narration in the conversation, they perform works of art in front of a fixed positioned camera in their studio, and allow the viewer to take part in the various day-to-day activities. Only the artists can be seen and heard, who subjectively seem to relate to the audience.

During the entire shooting, Gerald Y Plattner, takes black and white photos of the location which show the artist and his self-portrayal from the participating observer's angle. These snap-shots, which appear in the film as inserts, accent the flow of relation and mark the manifold cuts between the three different narrative strands, conversation, work and every day life.

Conversations and statements outside the filmic works are recorded - as far as possible. These recordings form the basis for the printed statements and the audio-islands of the [Multimedia Portrait]s.