© Videonale e.V.

The development of the VideonaleOnlineArchive was supported by

Contact us

Videonale e.V. Phone +49 (0)228 69 28 18
im Kunstmuseum Bonn archive@videonale.org
Helmut-Kohl-Allee 2  
53113 Bonn  

Eric Fleischauer [Videonale.12]

*1977 in Buffalo, New York USA, lives in Chicago USA
Studied at University of Illinois, Chicago USA


Exhibitions [selection]:


2012 Society of the Spectacular  Co-Prosperity Sphere, Chicago USA
        Harper College Art Gallery, Chicago USA [S]

2011 Archival Impulse  Gallery 400, Chicago USA
        BYOB CHICAGO  Museum of Contemporary Art, Chicago USA

2010 POST-CURSOR  Threewalls, Chicago USA [S]

2009 The Yield  Heaven Gallery, Chicago USA

2008 Drive By: D R I F T  Jackman Goldwasser Catwalk Gallery, Hyde Park Art Center, Chicago USA [S]
        Urban Research on Film, Directors Lounge, Berlin GER
        Hyde Park Art Center, Chicago USA

2007 I Will Never Make It   D21, Leipzig GER

2006 In To My Self, SPACE Gallery, Pittsburgh PA USA [S]

2005 Santiago Biennial of Video and New Media, Santiago de Chile CHI


Eric Fleischauer [Videonale.12] x

25 secrets, 2008, 10:00 min., no Sound, black and white [Videonale.12]

Young Chicagoan Eric Fleischauer loves his parents and has betrayed all of his girlfriends. These are two of the twenty-five handwritten secrets that the artist has photographed, turned into a brief sequence of images, and then included in his otherwise abstract animated film, 25 Secrets. Security patterns, which protect the content of and secrets contained in the letters from prying eyes, form the hypnotizing environment for his secrets. Distracted by the patterns, which are constantly in motion - sometimes quickly, sometimes slowly - the viewer can barely make out the cross-faded messages, since they are attached in sequences of twenty-five frames per second instead of the usual twenty-four. Along with the folded and torn papers that keep popping up between the patterns, they produce an abstract visual collage that turns the recipient into an unsatisfied voyeur. With the abstract structures of the envelopes, the artist reflects on early twentieth-century films or Op Art from the sixties. In the process, he guides the eye away from the inside of the envelope toward the external conditions of modern society. By allowing his credit card numbers to be seen, Fleischauer tosses the viewer back to his or her own secrets, raising the question of security in the omnipresent local, national, and global stream of data. In this way, the artist participates in the current debate over "transparent people". 

Dennis Hochköppeler

Eric Fleischauer