Director, technician in the fields of filmmaking and new media. Fulfils occasional teaching mandates.
 
BIOGRAPHY:
In the 90s, as a sociology and ethnography student at the University of Basel, Ulrich Fischer’s interest for the world of images is ignited as he starts working with conventional photography.
It’s not long before he starts directing short fiction films and experimental clips in light video format (“Aujourd’hui, ma voiture est morte (- My car died today)”, a 7-minute fiction) and on film (“Es geht auch schneller” an experimental animated short shot on 16mm film). He also initiates a series of collaborations with directors from various backgrounds, and in the process he learns about the different techniques associated with filmmaking: equipment, camera, postproduction, film projection… He is active for over a decade in the Cinéma Spoutnik association.
In 1996 he becomes an active member of Perceuse Productions, an association of artists and technicians keen to achieve some autonomy and freedom in the production of their plays and films. The adventure is still very much alive today, under the name C-Side Productions SA.
 
Towards the end of the 90s, his work focuses more and more on interactive media (new media) – he designs an original device to show a film shot on 16mm “Au tour du train (de regarder les images) – The train’s turn (to look at the images)”, projected on three screens from a moving train.
During this period, he also creates several performances that associate music and images (Elephanten, Particules…), or the series of installations, “Passages”, which went on display in several European cities.
In 2000, he is awarded the first price of the Geneva University of Art and Design with his film “La ville de S. (-the city of S.)” a 15-minute fiction that was bought and broadcast more than ten times by ARTE (a Franco-German TV channel). Many of his films are shown in several cinemas in Switzerland or abroad, and at various festivals: Soleure, Utrecht (Impakt), Nyon (Visions du Réel), Locarno (léopards de demain), Viper, Lodz, Premiers Plans d’Angers, Festival du film de Paris, Media Art Osnabrück, Kurzfilmfestival Oberhausen, Backup Weimar, Bucarest, Clapstick Calcutta, Invex Tokyo…
 
From 2000 to 2002, he is a member of the selection jury of the Viper festival international competition in Basel, of which he becomes the coordinator in 2002. Since the beginning of 2000, he organises internships and workshops on the technical aspects of filmmaking (non-linear editing, postproduction). He also follows the diploma projects of ECAL students as an outside consultant, and occasionally acts as exam juror in various filmmaking schools. He was a member of the Migros commission for cinematographic promotion from 2003 to 2008. His work as a producer enables him to work on documentary films, such as “Nos Racines Silencieuses (- our silent roots)” by Ania Temler, “Nicolas Bouvier, 22 Hospital Street” by Christoph Kühn or “L’Image à Paroles (- talking image)” by Michel Favre.
 
From 2007 to 2009 he works as head of research for the project WALKING THE EDIT, launched in 2008 in the context of the Filmmaking Masters; the first results were shown in mid-2009. The project is still being pursued today and has become an art project in its own right. For further information, visit the project’s site.
 
Since 2011, he shares all the software and design work implemented for this creation under a new company called MemoWays.