
Starting with an excerpt from an Albanian feature film from the communist era in which a boy dreams of the construction of a modern city, EVERY EPOCH DREAMS THE NEXT reflects on how a cityscape changes as power structures shift and how these power structures can override the common good and the general public.
EVERY EPOCH DREAMS THE NEXT positions itself in-between sleeping and dreaming, or in-between material archives and 3D renderings, creating a bridge between the utopia of the past and the abstract branches of the present. Gierlinger takes images from The Newest City in the World (1974, dir. Xhanfise Keko), a hidden gem of Albanian cinema, and bathes them into a digital concoction. The lullaby carried over throughout the film, a melodious kaleidoscope of unconsciousness, enhances the highly textured images of constructions from the past and clashes with the aseptic but vividly coloured surfaces of today’s immaterial. If the victorious austerity of bygone times allowed for dreaming, the present, so preoccupied with immersion, no longer makes room for this amnesiac luxury. (Emil Vasilache)

Johannes Gierlinger‘s work deals with forms of memory and remembrance as well as perspectives of resistance and the future. He examines visual forms of representation, constellations and connections between different epochs and political systems and asks to what extent their structures and effects are interwoven, visible and perceptible in today’s societies and systems. His work has been shown at national as well as international film festivals & institutions, among which Visions Du Réel, CPH: DOX, Museum der Moderne Salzburg, Edinburgh IFF, Antimatter [Media Art], Diagonale Graz etc. Lives and works in Vienna.