Over the past six years, Philipp FleischmannPhilipp Fleischmann has quietly forged one of the most unique projects in contemporary cinema. Beginning with his 2013 film Main Hall, the Austrian filmmaker has taken as his primary subject institutional spaces of a certain cultural-historical significance. But rather than merely record or reflect on these spaces—which have thus far ranged from Vienna’s Secession Building (Main Hall, 2013) to a theater at the Austrian Filmmuseum modeled after Peter Kubelka’s Invisible Cinema (The Invisible Cinema 3, 2018)—Fleischmann instead utilizes his films as ideological tools to mediate and comment on the finer points of each institution’s art historical legacy. His highly unique process, in which the light and spatial coordinates of a given location are inscribed on strips of 35mm film through the direct exposure of hand-built, site-specific cameras, turns the cinematic apparatus itself into a kind of critical-conceptual conduit. (Jordan Cronk, Filmkritiker/film critic)

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