Patricia Reinhart works across film, photography, and performance. Her films construct cinematic constellations through fragmentation and self-staging.
Ciné Collage is Patricia Reinhart’s cinematic method, transferring collage principles into moving images through fragmented stills, staged performance, and montage. Working exclusively with her own photographic and film archive, Patricia Reinhart constructs her films through layered sequences developed from visual sketches and collected material.
Rooted in her painting practice, the work approaches film through layering, rhythm, and spatial construction. Each film emerges without a fixed script, unfolding through iterative processes between image, memory, and composition. Working with tripod and self-timer, Patricia Reinhart positions her own body as both subject and instrument, often appearing multiple times within a single frame.
Patricia Reinhart’s practice examines how images construct female identity through representation, staging, and repetition. Her films develop from improvisation, archival material, and visual sequencing, producing fragmented cinematic structures between stillness and movement.
Working as a “One Woman Production,” Patricia Reinhart is author, actress, cinematographer, director, and editor of her films. Her practice moves between abstraction and narration, constructing cinematic spaces in which gesture, pose, and self-representation become structural elements of the image.
Over more than a decade, Reinhart has developed an ongoing apocalyptic cycle addressing collapse, survival, and post-catastrophic conditions. The works translate existential tension into structured cinematic imagery.
Anoir and the Woman in the Garden (2015–2017)
Die ihr Brot mit Tränen aß (2013–2014)
Ein Nachtstück (2011–2012)
13 Poèmes visibles (Ophélia & Avant de mourir) (2011)
Kirkirerland (2008)
Anoir and the Woman in the Garden (2015–2017) constructs a mythological and political image field in which figures of femininity, power, and destruction intersect. A woman in a white dress, a peacock, and an apocalyptic inferno structure a visual system of transformation and collapse.
The work draws on Greek mythology, particularly the story of Europa and Zeus, as a transition from patriarchal narratives toward imagined alternative orders. These references unfold through female figures and environments: warrior-like statues, a Frida Kahlo–referencing figure within a burning garden of phallus-like cacti, and scenes filmed in Monet’s garden in Giverny, where pastoral imagery is disrupted by traces of collapse. Myth, history, and feminist iconography intersect within a dense cinematic image system.
Film Still: 2017 Anoir and the Woman in the Garden / Ciné Collage, HD Video, sound / 9’47’’, 3 + 1 AP, ES/FR
2018 Public screening / Nuit Blanche / curated by Gaël Charbau, Constellation de l‘Île Saint-Louis / Paris, FR
© Patricia Reinhart / Bildrecht
2018 AD France, Marina Hemonet, FR // Nuit Blanche : notre parcours à suivre // Solo Screening
This film was screened:
2026 The Cover / curated by Anne Avramut / Vienna, AT
2022 Ursula Blickle Kino / curated by Claudia Slanar, Belvedere 21 / Vienna, AT
2019 In Bloom / curated by Gabriela Anco, Galerie Mansart / Paris, FR
2018 UNTITLED. Art Miami / Solo Booth, re.riddle / Miami Beach, US
2018 Nuit Blanche / curated by Gaël Charbau, Constellation de l‘Île Saint-Louis / Paris, FR
2018 Nuit Blanche / Constellation des Invalides / FICEP / Paris, FR
2017 Berlin Art Week / Kanya Berlin Project Space / Berlin, DE
2017 Sommer.Frische.Kunst / Festival of Contemporary Art / Kraftwerk & Galerie, Bad Gastein, AT
2016 Collective (WIP Screening) / curated by Bau Institute, Five Myles / Brooklyn, NY, US
2016 My Castle is your Home (WIP Screening) / curated by Helga Schmidhuber, Nassauischer Kunstverein / Wiesbaden, DE
2016 Leucadian Leap (WIP Screening) / Rinomina / Paris, FR
2015 Synchronicity IV (WIP Screening) / The Camargo Foundation / Cassis, FR
Ein Nachtstück (2011–2012) onstructs a multi-channel installation of fragmented sequences and parallel temporal structures. Shot in Paris, the work produces layered spatial constellations in which past and present coexist.
2012 Exhibition view Predicting Memories / Vienna Art Week, curated by Ursula Maria Probst and Robert Punkenhofer / K. K. Telegrafenamt, Vienna, AT © Patricia Reinhart / Bildrecht
2014 Film Still Ein Nachtstück / Ghosts, Rencontres Internationales Paris/Berlin/Madrid, curated by Nathalie Hénon and Jean-Francois Rettig / HKW – Haus der Kulturen der Welt, DE; Gaité Lyrique, FR © Patricia Reinhart / Bildrecht
2014 HKW – Haus der Kulturen der Welt // Ghosts, Rencontres Internationales, Berlin, DE // Screening
This film was screened:
2020 In Kepler’s Gardens / re.riddle / Ars Electronica / Linz, AT
2014 Rencontres Internationales / Haus der Kulturen der Welt / Berlin, DE
2014 Rencontres Internationales / Gaité Lyrique and Palais de Tokyo / Paris, FR
2012 Predicting Memories / Vienna Art Week / curated by Ursula Maria Probst and Robert Punkenhofer / K. K. Telegrafenamt / Vienna, AT
2012 Human Frames / curated by Silke Schmickl / Werkstatt der Kulturen / Berlin, DE
2011 Human Frames / curated by Silke Schmickl / KIT – Kunst im Tunnel / Düsseldorf, DE
2011 Human Frames / curated by Silke Schmickl / The Substitution, Singapore, SG
In 13 Poèmes visibles (Ophélia & Avant de mourir) (2011), thirteen synchronized Super-8 loops generate repetition, duration, and female subjectivity. The work translates references from silent cinema and literary history into a fragmented structure based on simultaneity and montage.
2011 Exhibition View Avant de mourir / Galerie Lisa Ruyter, Vienna, AT
© Patricia Reinhart / Bildrecht
2011 Film Still 13 Poèmes visibles (Ophélia & Avant de mourir) / Ciné Collage and Super-8 film, no sound / 0’08’’–0’35’’, 5 + 2 AP, HU/AT
Kirkirerland (2008) is an early work within Patricia Reinhart’s apocalyptic cycle, exploring isolation, instability, and psychological displacement through staged cinematic sequences.
Film Still: 2008 Kirkirerland / Ciné Collage and Super-8 film, no sound / 1’10’’, 5 + 2 AP, AT
Filmography:
2017 Anoir and the Woman in the Garden / Ciné Collage, HD Video, sound / 9’47’’, 3 + 1 AP, ES/FR
2014 Die ihr Brot mit Tränen aß (Requiem for an Unendurable Paradise) / single-channel video installation, vinyl and record player / Ciné Collage, sound / 5’45’’, 3 + 1 AP, ES/FR
2014 Le Radeau de la Méduse / Ciné Collage, no sound / 0’24’’, 3 + 1 AP, FR
2012 Ein Nachtstück / three-channel video installation / Ciné Collage, no sound / 5’00’’, 3 + 1 AP, FR/AT
2011 13 Poèmes visibles (Ophélia & Avant de mourir) / Ciné Collage and Super-8 film, no sound / 0’08’’–0’35’’, 5 + 2 AP, HU/AT
2008 Nocturne in Black / Ciné Collage, sound / 3’22’’, 3 + 1 AP, AT / courtesy: the artist and Albertina, Vienna, AT
2008 Kirkirerland / Ciné Collage and Super-8 film, no sound / 1’10’’, 5 + 2 AP, AT / courtesy: the artist, Bibliothèque nationale de France, Paris, FR, and Ursula Blickle Video Archiv – Belvedere, Vienna, AT
2007 4. Akt Lyda’s Death / Ciné Collage, sound / 3’50’’, 3 + 1 AP, AT
2006 Untitled / Silentmovie / Ciné Collage, sound / 3’00’’, 3 + 1 AP, AT
2006 Der bittere Beigeschmack / Ciné Collage, sound / 3’00’’, 3 + 1 AP, AT
2005 Heroes & Loser / Ciné Collage, sound / 3’00’’, 3 + 1 AP, AT
2004 The Adventures of Rick Castle and Santa Fee / Ciné Collage, sound / 2’30’’, 3 + 1 AP, AT
2004 Paris mon amour / Ciné Collage, sound / 3’00’’, 3 + 1 AP, AT
2004 Die Sonne meines Lebens / Ciné Collage, sound / 3’12’’, 3 + 1 AP, AT
2004 Zug / Ciné Collage, sound / 1’30’’, 3 + 1 AP, AT
2004 Barbara & Paul / Ciné Collage, sound / 2’30’’, 3 + 1 AP, AT
2004 Blindness / DV, sound / 3’00’’, 3 + 1 AP, AT
2004 Triple Tak / Ciné Collage, sound / 4’30’’, 3 + 1 AP, AT
2004 Fight / DV, sound / 1’00’’, 3 + 1 AP, AT
2004 Something’s Stilling / DV, sound / 3’30’’, 3 + 1 AP, AT
2004 Depeche Mode Dancer / DV, sound / 2’30’’, 3 + 1 AP, AT
2003 Kanikula / DV, sound / 7’00’’, 3 + 1 AP, HU/AT
2003 Chercher le destin / DV, sound / 7’00’’, 3 + 1 AP, FR/AT
2002 A.M. / Super-8 film and DV, sound, 8’00’’, 1 + 1 AP, AT
2001 Pont Neuf / Super-8 film, no sound, 3’20’’, 1 AP, FR
2001 Pigalle / Super-8 film, no sound, 3’20’’, 1 AP, FR
2001 Métro / Super-8 film, no sound, 3’20’’, 1 AP, FR