Jung An Tagen
A Flock of Rotations
A Flock
of Rotations
of Rotations
2026
Continuously falling pitches – descending into infinity. Jung An Tagen’s A Flock of Rotations perfectly encapsulates these figurations of descent into deep layers of matter. First, there appear checkerboard-like grid arrangements whose rapidly changing individual elements reveal ever new vistas of what supposedly lies beyond. Horizontal movements of the entire image matrix, interspersed with vehement crisscrossing and transverse progressions or increasingly fine-grained signal resolutions, play out on a vector space that seems to penetrate into ever-finer particle spheres, but ultimately always ends up back at itself. At the same time, the insistent soundtrack follows the principle of the so-called Shepard tone, where one thinks one perceives a constantly falling (or rising) frequency, but which in reality is a pitch that remains unchanged – the result of the skillful blending of several sine waves, each one octave apart.
The crafty interconnection of the two sound and image registers makes you believe that you’ve been caught in an endless downward spiral, while in reality you are going around in circles. These recursive loops, which can only be discerned indirectly or retrospectively, are broken up by harsh, monochrome flickering sequences, to which the acoustics adopt an appropriately matching staccato. But the stuttering itself is merely a transitional phase, not an analytical counterpoint, and so the regressive storm picks up speed again, causing red-white-and-black grid structures to plunge into virtual abysses, vector columns to run into nothingness, and staircase patterns to collapse in on themselves. Towards the end, it becomes increasingly clear that there is no boundary here, no outside, no escape. You’re pleasantly trapped in endless, swarm-like nesting, so you’d better get used to it. (Christian Höller)
The crafty interconnection of the two sound and image registers makes you believe that you’ve been caught in an endless downward spiral, while in reality you are going around in circles. These recursive loops, which can only be discerned indirectly or retrospectively, are broken up by harsh, monochrome flickering sequences, to which the acoustics adopt an appropriately matching staccato. But the stuttering itself is merely a transitional phase, not an analytical counterpoint, and so the regressive storm picks up speed again, causing red-white-and-black grid structures to plunge into virtual abysses, vector columns to run into nothingness, and staircase patterns to collapse in on themselves. Towards the end, it becomes increasingly clear that there is no boundary here, no outside, no escape. You’re pleasantly trapped in endless, swarm-like nesting, so you’d better get used to it. (Christian Höller)
filmmaker
country
Year
Duration
PREMIERE
country
Year
Duration
PREMIERE
Filmmaker
Country
Year
Duration
PREMIERE
Country
Year
Duration
PREMIERE
Jung An Tagen
Austria
2026
11 min
Russian Premiere
Austria
2026
11 min
Russian Premiere
FROM PAST TO FUTURE, PASSING US LIKE
GHOSTS (2023)
DYAD (2019)
Clairvoyant (2015)
Current Shot 01 (2007)
GHOSTS (2023)
DYAD (2019)
Clairvoyant (2015)
Current Shot 01 (2007)
Filmography
Jung’s body of work as a filmmaker stands squarely in the tradition of abstract conceptual experimental film. Through the application of newest technologies, he succeeds in updating this tradition in a manner aesthetically suited to the 21st century. Testing strategies of physical disorientation and forceful sonic phenomena, encouraging minds and bodies to calculate and intuit their own place in spacetime.
As a composer he worked on film and theatre scores for directors like Lukas Marxt, Johann Lurf & Miloš Lolić. Since 2019 Jung An Tagen is collaborating with the filmmaker Rainer Kohlberger on audio-visual performances that conquer the observer’s perceptual apparatus and transports the audience into the presence of an immediate immensity, where boundaries of self and world become obscured.
Backed up by 2 decades of discographic activity under diverse pseudonyms and multiple collaborations on labels such as Editions Mego and Diagonal, Jung An Tagen performs tirelessly at Festivals like Unsound or Sonic Acts, researching the boundaries of techno and computer music. It’s addictive music. Music in constant explosion. In 2020 Jung founded the netlabel label ETAT.xyz. Setting aside any hint of expressionist gestures, one is left with form and abstract sound, emotional alienation: “dissociative, psychoacoustic, computer music”.
As a composer he worked on film and theatre scores for directors like Lukas Marxt, Johann Lurf & Miloš Lolić. Since 2019 Jung An Tagen is collaborating with the filmmaker Rainer Kohlberger on audio-visual performances that conquer the observer’s perceptual apparatus and transports the audience into the presence of an immediate immensity, where boundaries of self and world become obscured.
Backed up by 2 decades of discographic activity under diverse pseudonyms and multiple collaborations on labels such as Editions Mego and Diagonal, Jung An Tagen performs tirelessly at Festivals like Unsound or Sonic Acts, researching the boundaries of techno and computer music. It’s addictive music. Music in constant explosion. In 2020 Jung founded the netlabel label ETAT.xyz. Setting aside any hint of expressionist gestures, one is left with form and abstract sound, emotional alienation: “dissociative, psychoacoustic, computer music”.
Official Selection#1
