Аватар персоны Ann Oren

Ann Oren

DirectorWriter
Ann Oren is a visual artist and filmmaker. Her films and video installations explore performative qualities and fantasy in everyday life. The characters in her films exist in the liminal space between performers and audience as she investigates collective desire and legends from the history of literature, theater and cinema. Her work's institutional presentations include The Moscow Biennial for Young Art, The Hammer Museum, The Tel-Aviv museum, Anthology film archives, Apexart and Kindl - Zentrum für zeitgenössische Kunst. Festival screenings include Rotterdam, BFI London, Slamdance, Oberhausen Kurzfilmtage, Dok Leipzig, Locarno and Ann Arbor. Born in Tel-Aviv (1979), Ann studied Film (BA) and Fine Arts (MA) at the school of visual arts, NY. She lives/works in Berlin.

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Total Films

Also known as (female)

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actor

0 Works

producer

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director

13 Works

writer

2 Works

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2 Works

Objet A

Objet A

Ingeborg and Adam live and work together as hand surgeons. Ingeborg is a kleptomaniac. During a fit, she hurts her ankle and gets a walking aid. As she becomes attached to her new sensitive body part, envious Adam finds his own object of desire. While exploring their objectophilias, the mysterious Melanie begins working for them. She has unusually wild armpit hair, and she uses dried mushrooms to soak up her sweat with. Gradually, she lures the couple into a surreal dialogue with nature.
0.0

Year:

2024

Objet A

Objet A

Ingeborg and Adam live and work together as hand surgeons. Ingeborg is a kleptomaniac. During a fit, she hurts her ankle and gets a walking aid. As she becomes attached to her new sensitive body part, envious Adam finds his own object of desire. While exploring their objectophilias, the mysterious Melanie begins working for them. She has unusually wild armpit hair, and she uses dried mushrooms to soak up her sweat with. Gradually, she lures the couple into a surreal dialogue with nature.
0.0

Year:

2024

Pirouette

Pirouette

Pirouette, a dreamlike journey, a dissolving into a flowing human-animal-plant-machine consciousness, follows a sound artist who records horse sounds with her own body while a cellist on the street invades her imagination. This is the psychedelic conclusion of a trilogy about horse sounds: Passage - Piaffe - Pirouette.
5.0

Year:

2024

Piaffe

Piaffe

When her sibling Zara suffers a nervous breakdown, the introvert Eva is forced to take on Zara’s job as a Foley artist. She struggles to create sounds for a commercial featuring a horse, and then a horsetail starts growing out of her body. Empowered by her tail, she lures a botanist into an affair, through a game of submission. Piaffe is a visceral journey into control, gender, and artifice.
4.9

Year:

2023

Piaffe

Piaffe

When her sibling Zara suffers a nervous breakdown, the introvert Eva is forced to take on Zara’s job as a Foley artist. She struggles to create sounds for a commercial featuring a horse, and then a horsetail starts growing out of her body. Empowered by her tail, she lures a botanist into an affair, through a game of submission. Piaffe is a visceral journey into control, gender, and artifice.
4.9

Year:

2023

Piaffe

Piaffe

When her sibling Zara suffers a nervous breakdown, the introvert Eva is forced to take on Zara’s job as a Foley artist. She struggles to create sounds for a commercial featuring a horse, and then a horsetail starts growing out of her body. Empowered by her tail, she lures a botanist into an affair, through a game of submission. Piaffe is a visceral journey into control, gender, and artifice.
4.9

Year:

2023

Resolution

Resolution

Referencingthe death scene of Sol Roth, played by Edward G. Robinson, in the 1973 movie Soylent Green, and old man on a hospital bed moves through an endless hallway and reflects in a monologue on the 11years of his life and how husmands were able to avoid their own extinciton.
0.0

Year:

2023

Zoological Society

Zoological Society

Weaving audio-visual recordings of zoo-animals into a fine web comprising of actions and reactions, this video finally spirals into a collective animalistic concert. Relating the different animals to each other through audio-visual montage creates fictional relations amongst the animals; a society of animals. Zoologische Gesellschaft (Zoological society) thus comments on human communities, who created zoos as mirror images. There is an otherness there, and at the same time a disturbing proximity, which we’d like to dismiss.
0.0

Year:

2021

Passage

Passage

A foley artist creates sounds for a film starring a dressage horse, with a thrilling performance from queer artist and performer Simon(e) Jaikiriuma Paetau.
0.0

Year:

2020

Blue

Blue

In our 'freelancer' age, many who reside in a city find themselves confined to their apartment and use a computer screen mostly to branch out. This film brings nature, lunacy, emotion and humanity into the apartment, using the colour blue as the main protagonist. It is the third instalment in an ongoing series of diaristic films.
6.0

Year:

2019

The World Is Ours

The World Is Ours

Hatsune Miku is the cute personification of a synthesizer software, all her content is fan-created. This project explores the merger of fantasy into reality through Miku cosplay performed by the artist, along sampled fan-made music and animation.
0.0

Year:

2018

The World Is Mine

The World Is Mine

A western Cosplayer (costume player) of the popular cyber diva Hatsune Miku moves to Tokyo and gets to know the otaku community - obsessive manga fans. Her journey explores identity through cosplay and the fandom of the cyber diva Hatsune Miku, epitomizing collective fantasy as she is fan created. The film demonstrate the relevance of this behavior globally in terms of collective fantasy, with voice overs woven of lyrics fans wrote for Hatsune Miku.
0.0

Year:

2017

Deux femmes (for Man Ray)

Deux femmes (for Man Ray)

Using images from online amateur porn videos, Deux Femmes recreates pornographic footage shot by Man Ray and found in the artist's atelier after his death. Closely following the compositions of Ray's original film, director Ann Oren presents printed frames from online videos in a stack directly below the camera—adding a single frame to the stack every few seconds. The unhurried process of stacking the images by hand slows the otherwise speedy consumption of pornographic media in a nod to Ray's preoccupation with the female body as sculpture.
0.0

Year:

2017