Film & Media Art in Berlin

WENDY WHITE & HENNING STRASSBURGER

2012-01-26T09:00:00.000+01:00

WENDY WHITE & HENNING STRASSBURGER

Live Performances from 8 pm to midnight at L40 (Linienstrasse 40):

COOL RANJID (Berlin Teens go crazy)
GOLDEN EARS (Wind Music Entertainment by Tobias Haussig)
HENNING STRASSBURGER (including the new Schlager Video release)
TOBI H. (Turntables)

“So athletic” is a two-person collaboration and a night of events and musical performances. It is a show about team participation—the dorkdom, the graphics, the groupings, the coaching, the herd mentality, and expansive mass-market advertisements. The personal goals of the athlete relate to that of the artist in a number of ways: the singular focus and internal needs, the ritual of training vs. going to the studio, the drive to create, personal victories, rallying, pride, gear, and the outward trappings of an active lifestyle—and how advertisements sell it all to a fat guy in a track suit. There is the notion that we all dream about athletic prowess. There is the artistic stereotype vs. the athletic stereotype—the misconception that artists aren’t tough enough for sports, and that jocks have no artistic vision—yet the impetus is the same. Band geeks are up against the clumsiest kids on the team. Violin prodigy vs. sports bar denizen. Every child is taught to be an artist, then discouraged as an adult. Every adult is sold the idea of an athletic lifestyle, as if anybody can run a marathon. My kid could do that. I can do that. I’ll do it tomorrow. Great play.
hosted by Susanne Prinz

Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V.
Hirtenstraße 7
10718 Berlin
Telefon: +49 (0)30 308 759 88
Telefax*: +49 (0)30 308 759 88
E-Mail: info@rosa-luxemburg-platz.net
Internet*: www.rosa-luxemburg-platz.net

Kunstfenster im BDI: Astrid Nippoldt

2012-01-23T08:59:00.000+01:00

Astrid Nippoldt CAPE CORAL
Kunstfenster im BDI
Januar bis Dezember 2012

Eröffnung: Freitag,13. Jan 2012, 18 Uhr.
Einführung: Prof. Dr. Wulf Herzogenrath, Berlin

Videodokumentation auf art-in-berlin.de

Haus der Deutschen Wirtschaft
Breite Straße 29, 2. OG, 10178 Berlin

www.kulturkreis.eu

Öffnungszeiten: Wochentags nach telefonischer Vereinbarung

Cape Coral
Inmitten einer unwirtlichen Sumpflandschaft entstand in den 50er-Jahren der Inbegriff des kleinbürgerlichen Paradieses im Südwesten Floridas: 640km künstlich angelegte Wasserkanäle
versprachen die Erfüllung des Traums vom eigenen Haus am Wasser.

In einer mehrteiligen, multimedialen Installation im Kunstfenster hinterfragt Astrid Nippoldt in einer teils dokumentarischen, teils spielerischen Auseinandersetzung die scheinbare Idylle dieses Ortes, vor dem auch die weltweite Immobilienkrise nicht Halt machte.

Astrid Nippoldt (geb. 1973)
Die in Berlin lebende Videokünstlerin erhielt 2007 den ars viva-Preis des Kulturkreises der deutschen Wirtschaft im BDI e.V. Sie studierte Visuelle Kommunikation und Bildende
Kunst in Münster und Bremen und war zuletzt Gast am Institut für Raumexperimente bei Olafur Eliasson an der UdK Berlin.

Nach dem Studium folgten Studienaufenthalte u.a. in New York, Marseille und Paris sowie verschiedene Preise und Stipendien, darunter 2006 das Stipendium der Villa Massimo in Rom.
Die Künstlerin ist auf zahlreichen internationalen Einzelund Gruppenausstellungen vertreten.

ICI's PROJECT 35

2012-01-19T08:55:00.001+01:00

SCREENING:
ICI's PROJECT 35 presented by
Berlin Art Link and ICI at Node Center
as part of transmediale & CTM's pre-festival weekend Vorspiel 2012

Saturday, January 28, 2012: 4:00pm VIDEO 1 | 6:00pm VIDEO 2
Sunday, January 29, 2012: 4:00pm VIDEO 3 | 6:30pm VIDEO 4

Berlin Art Link and Independent Curators International (ICI) proudly invite you to a screening of Project 35, a 4-part series of video artworks curated by 35 international curators, each invited to select one artist’s video that they think vital for contemporary art audiences across the globe. The resulting compilation, arranged by such renowned curators as Hans Ulrich Obrist, Lars Bang Larsen, and Chus Martinez, will be screened in a four-part series. The screenings will be hosted at Node Curatorial Residency Center on January 28 & 29, 2012 and will feature video works from Manon de Boer, Andrea Buttner, Stephen Sutcliffe, Kota Ezawa and Phu Nam Thuc Ha.

The 25 year anniversary of the transmediale and CTM's Vorspiel reminds us of why it was founded: to be a platform for experimental media and video art. Since then, video art has evolved into a substantial part of contemporary art. While the works sometimes lack accessibility, the position of video art is again in discussion with the dynamics of off- and online DIY culture. Showcasing a new exhibition concept for ICI, this eclectic compilation of works reveals the global reach that video has achieved as a contemporary art medium today.

transmediale and CTM's Vorspiel is a pre-festival programme where over 20 partner venues will present a series of exhibition openings, performances, artist talks and special events outside the main venues of either festival. Vorspiel will take place on the weekend prior to both festivals, from Thursday 26 – Sunday 29 January 2012, at independent organisations, galleries, project spaces and other venues across Berlin.

Project 35 is a traveling exhibition produced by Independent Curators International (ICI), New York. The exhibition is made possible, in part, by grants from The Andy Warhol Foundation for the Visual Arts, The Cowles Charitable Trust, Foundation for Contemporary Art, The Horace W. Goldsmith Foundation, and the Robert Sterling Clark Foundation; the ICI Board of Trustees; and donors to ICI's Access Fund.

INDEPENDENT CURATORS INTERNATIONAL (ICI) - http://curatorsintl.org/

BERLIN ART LINK - http://www.berlinartlink.com/

NODE RESIDENCY CENTER - http://www.nodecenter.org/

transmediale 2k + 12 - http://www.transmediale.de/de

EVENT CONTACT

Monica Salazar
Editor-In-Chief/Director
Berlin Art Link
info@berlinartlink.com
www.berlinartlink.com

Videoart at Midnight #30: Niklas Goldbach

2012-01-09T09:33:00.002+01:00

Friday, January 13th, 2011, 24:00 | 12 p.m.
BABYLON, Rosa-Luxemburg-Platz, Berlin, big cinema hall
(Eintritt frei | admission free)

gemeinsam mit Niklas Goldbach zeigt Videoart at Midnight eine Auswahl der Videoarbeiten des Künstlers, darunter auch das neuste Werk: BEL AIR, in der der mit dem Deutschen Fernsehpreis 2010 ausgezeichnete Schauspieler Christoph Bach in die Rolle des "Stellvertreters" schlüpft:

Niklas Goldbach:
MY BARRIO, 2005, 19:14 min
HABITAT C3B, 2008, 7:37 min
TEN, 2010, 12:10 min
BEL AIR, 2011, 8:04 min

Man muss nur nehmen, was da ist. In den Orten, die Niklas Goldbach für seine Video- und Printarbeiten auswählt, verdichten sich dystopische Aspekte zivilisierter postmoderner Lebenswelten, und selbst die scheinbar unberührte Natur ist vom Menschen domestiziert. Spuren von Gesellschaftsentwürfen, sozialen Hierarchien, Kontroll- und Machtsystemen finden sich allenthalben.

In vielen seiner Videos besetzt Goldbach die vorgefundenen Kulissen mit Protagonisten, die er als »Stellvertreter« bezeichnet: Klone ein und derselben Person, gekleidet in die Uniform des modernen Stadtbewohners – weißes Hemd mit schwarzer Hose. Die Szenarien, die Goldbach entwirft, ergeben sich aus den Schauplätzen selbst; sie spiegeln die Wirklichkeit des Vorhandenen und sind auf diese Weise fiktiv und real zugleich.

Niklas Goldbach ergänzt in seinen Videoarbeiten kongenial die Resonanzräume des Gegebenen mit metaphorischen Einschüben. Alles bleibt sinnfällige Andeutung, kein Zeigefinger erhebt sich. Seine Bilder sind hochästhetisch, detailversessen, schön – und dabei vollkommen unspektakulär. Sie sind das Ergebnis distanzierter und nüchterner Beobachtung, angereicherte Bestandsaufnahmen dessen, was da ist.

Niklas Goldbach wurde in Witten geboren. Er studierte Fotografie an der Universität Bielefeld und "Experimentelle Mediengestaltung" an der Universität der Künste Berlin, wo er sein Studium mit Auszeichnung abschloss. Am Hunter College, University of New York studierte er im MFA Programm "Integrated Media Arts" und erhielt im Anschluss seinen Meisterschüler an der Universität der Künste Berlin. Seit 2001 werden seine Arbeiten international in Gruppen- und Einzelausstellungen ausgestellt.
Katrin Sauerländer

http://www.videoart-at-midnight.info/
https://www.facebook.com/events/332803870078018/

MOVES #26: Jeremy Shaw

2011-12-06T16:41:00.002+01:00

MOVES #26: Jeremy Shaw – Number One Songs In Heaven

Image Movement
Tuesday, Dec 13, 2011, 20:30 - 22:30
Oranienburger Strasse 18, 10178 Berlin, Germany

Jeremy Shaw explores altered states and the cultural and scientific practices that aspire to, or attempt to map transcendental experience. Using strategies of conceptual art, documentary film, music video and scientific research, he addresses topics ranging from psychedelic drug use and brain imaging to straight edge hardcore, and time travel. His multi-faceted practice often plays with the grey area between scientific and populist representations of the profound, considering each domain with equal validity.

Jeremy Shaw (b. 1977, Canada; lives in Berlin) will present an »abstract artist talk« including examples of his own work as well as various inspirations and influences.

(Image: Jeremy Shaw, DMT (Detail - Sara), 2004, 8 channel video installation, courtesy the artist)

http://www.imagemovement.de

Marco Poloni THE ANALOGUE ISLAND

2011-11-30T17:37:00.003+01:00

Campagne Première
29 OCTOBER - 10 DECEMBER 2011
Chausseestrasse 116 , D-10115 Berlin

The work of Marco Poloni spans cinema, photography and installation. Over the past several, the artist has been building an index of plots and problems of the Mediterranean Sea. This archive documents and reformulates a number of geopolitical scripts and narratives of this area, focusing on relations between social invisibility and power, subjectivity and ideology.
In the two films presented here, the artist investigates power configurations in Sicily and their effects on its topography. Poloni reads this island – the geographical epicentre of the entire Mediterranean Sea – as a symptom and prototype of nation-wide malgovernance. This analysis also provides insights into the emergence of parasitic power networks at a larger scale.
“Scomparsa delle lucciole,” 2011 (“Disappearance of the Fireflies,” S-16mm film on HD video, 19min), is an experimental narrative about power relations and entanglements between State and Mafia, set in a devastated region of the island. The film takes its title and its cue from a stark image proposed in 1975 by Pasolini, in an article that analysed power transformations in Italy and anticipated the spectacularization of politics. The film attempts to expand Pasolini's poetic image by incorporating the Mafia, the obscure historical companion to State's power. It articulates a number of concepts and narrative threads: the Mafia as faceless power, its impact on the urban landscape – in particular through unfinished architecture – and Sicily's relationship to time and expenditure.
“The Analogue Dam,” 2010 (S-16mm film on HD video, 8min30, non synchronous voice-over, 21min), explores the ghostly Sicilian dam of Blufi, one of the most impressive of a series of unfinished works of public architecture in the Italian south. Mismanaged and infiltrated by the Mafia, these uncompleted projects epitomize the difficulties of a certain “South” to take hold of its future, and call into question Robert Smithson’s concept of “ruins in reverse.” The filmic sequence loosely intersects with a voice-over that shifts from one angle to the next: descriptive, historical, political, aesthetic.

www.campagne-premiere.com

Lynne Marsh - The Philharmonie Project

2011-11-30T17:07:00.004+01:00

Lynne Marsh
The Philharmonie Project (Nielsen: Symphony No. 5)
architecture by June14 Meyer-Grohbrügge & Chermayeff
October 27 – December 17, 2011

installation shots by Trevor Good

Comprised of two movements, rather than the traditional three, Carl Nielsen’s Symphony No. 5 is a touchstone of contrast, variance and opposition in the 20th century symphonic canon. Composed in 1921, the piece, its performance and subsequent filming serve as organizing frameworks for Lynne Marsh’s Philharmonie Project (Nielsen: Symphony No. 5). In January of 2011, Marsh filmed the video production team at the Hans Scharoun designed Berlin Philharmonie as they film a live performance of the Nielsen symphony. For each of the Berlin Philharmonic’s concert, the team coordinates the movement of each camera, choreographing it to the musical score. Presented at PROGRAM are two videos, one showing the team as they conduct the cameras’ movements back stage, the other of the empty stage, recorded as a dry-run before the concert, as determined by the shots designed for Nielsen’s symphony. In close collaboration with Marsh, architects Johanna Meyer-Grohbrügge and Sam Chermayeff of June14 have designed a structure that serves as seating while dramatically separating the space in two contrasting parts. Ultimately, the Philharmonie Project is a study on the staging of power systems, the cultural expression of mass consumption and the support structures that enable it to happen.

PROGRAM e.V.
Invalidenstrasse 115, 10115 Berlin
http://www.programonline.de/

Bibliothekswohnung: Art Word Lovers

2011-10-28T18:33:00.003+02:00

Vera Tollmann
China. Der deutschen Presse Märchenland 2, 2011

Dorothee Albrecht
Farewell to Post-Colonialism – The Third Guangzhou Triennial, Catalogue and Reader 1 & 2, 2008
Printed Project: Issue 11, 'Farewell to Post-Colonialism' Querying the Guangzhou Triennial, 2009
Other Possible Worlds - Entwürfe diesseits von Utopia, 2011
Pandemonium - Art in a Time of Creativity Fever (Göteborg Biennial), 2011

29. Oktober 2011, 16:00–18:00 Uhr

Anna-Catharina Gebbers | Bibliothekswohnung
Ziegelstr. 2, 6. Stock, 10117 Berlin
www.bibliothekswohnung.com

Am 29. Oktober 2011 präsentieren wir als Veranstaltung des Art Word Lovers-Archivs von 16:00 bis 18:00 Uhr Publikationen, die um das Selbst- und Fremdverständnis von China kreisen:

In der Publikation China. Der deutschen Presse Märchenland 2 von Vera Tollmann und in dem Ausstellungskatalog der 3. Guangzhou Triennale, an der Dorothee Albrecht als Research Curator teilnahm werden verschiedene Formen von Definitionsmacht und Identitätspolitik verhandelt.

Die bildende Kunst ist heute kaum mehr in der Lage subversiv zu sein oder zu provozieren. Bestimmender sind Managementfragen geworden sowie Fragen der sozialen Distinktion und die zielgruppenorientierte Marktproduktion. Das dahinter stehende Machtgefüge mit seinen sprachlichen Ausdrücken und Kommunikationsstrategien wird häufig einfach als selbstverständlich genommen oder mit einem Schulterzucken toleriert.

Die Künstlerin und Kuratorin Dorothee Albrecht untersucht in ihrer Arbeit die konventionell gewordenen Rahmenbedingungen und Hierarchien. Ihr besonderes Interesse gilt den Beziehungen zwischen verschiedenen kulturellen Perspektiven und ihren gemeinsamen Abhängigkeiten. Am 29. Oktober präsentiert sie unter anderem den Katalog zur 3. Guangzhou Triennale, an der sie als Research Curator und mit dem Projekt „Tea Pavillon“ teilnahm. Die 3. Guangzhou Triennale (2008) untersuchte unter dem Titel Farewell to Postcolonialism vor allem wie Kunst, Kultur und Welt unter globalen Bedingungen neu gedacht werden können sowie den mittlerweile institutionalisierten Diskurs des Postkolonialismus unter den Aspekten des Subversiven, Gegenläufigen, Verneinenden und der politischen Korrektheit.
Link: www.dorotheealbrecht.net

Die Autorin Vera Tollmann forscht über Formen urbaner und digitaler Öffentlichkeiten und technologischer Medialität, die Praxis und Theorie des Internet, den Diskurs des Klimawandels und die westliche Rezeption von China. Für ihre aktuelle Publikation China. Der deutschen Presse Märchenland 2 montierte sie deutsche Zeitungsberichte zu einem radikal verdichteten Pressespiegel über die Festnahme und spätere Freilassung des chinesischen Künstlers Ai Weiwei zusammen: Das durch Medien geprägte westliche Verständnis von China und der forciert einseitig positive Blick auf Ai Weiwei werden so überdeutlich. Die Publikation ist zugleich eine Hommage an den jüngst verstorbenen Hamburger Sozialwissenschaftler Günter Amendt und seine 1968 erschienene Flugschrift China. Der deutschen Presse Märchenland.
Link: www.veratollmann.net

Dorothee Albrecht:
Farewell to Post-Colonialism – The Third Guangzhou Triennial, Catalogue and Reader 1 & 2. Ed. by Guangzhou Triennal, Guangzhou 2007.
Printed Project: Issue 11, 'Farewell to Post-Colonialism'. Querying the Guangzhou Triennial. Ed. by Sarat Maharaj, Dublin 2009.
Other Possible Worlds (Proposal on this Side of Utopia / Entwürfe diesseits von Utopia). Hrsg. v. ngbk mit Dorothee Albrecht, Berit Fischer, Franziska Lesák, Hubert Lobnig, Moira Zoitl, Berlin 2011.
Pandemonium - Art in a Time of Creativity Fever. Ed. by Göteborg Biennial. Göteborg 2011.

Vera Tollmann:
China. Der deutschen Presse Märchenland 2. Hrsg. v. Vera Tollmann
m. e. Nachwort v. Christian Y. Schmidt; Gestaltung: Till Sperrle, ITF Grafik Design (basierend auf der Gesamtausstattung für Amendts Flugschrift von Christian Chruxin); 40 Seiten, broschiert, 5 Euro. Eigenverlag Oktober 2011.

Art Word Lovers – Archive of writings by Artists, Curators and Art Writers from Berlin
Autorenliste u.a. / List of writers include:

Dorothee Albrecht, Anonymous, Marius Babias, Martin Beck, Conny Becker, Kathrin Becker, Katja Blomberg, Lisa Bosse, Nicole Büsing & Heiko Klaas, Thomas Demand, Heinrich Dubel, Andreas von Dühren, Knut Ebeling, Dominic Eichler, Thomas Eller, Jörg Franzbecker, Axel Gerber, Mark Gisbourne, Isabelle Graw, Thomas Groetz, Sascha Hahn, Jörg Heiser, Thea Herold, Tom Holert, Bethan Huws, Peter Jap Lim, Lisa Junghanß, Stefanie Kleefeld, Mahret Kupka, April E. Lamm, Christy Lange, Hanne Loreck, Christiane Meixner, Doreen Mende, Karolin Meunier, Aaron Moulton, Henrikke Nielsen, Susanne Pfeffer, Christian Posthofen, Petra Reichensperger, Maria Santos, Thomas Scheibitz, Norbert Schwontkowski, Ludwig Seyfarth, Andreas Slominski, Raimar Stange, Wolf Guenter Thiel, Marcus Steinweg, Mirjam Thomann, Vera Tollmann, Vlado Velkov, Axel Wieder, Thomas Winkler, Thomas Wulffen, Lena Ziese ...

° ° ° ° °
Anna-Catharina Gebbers | Bibliothekswohnung
Ziegelstr. 2, 6. Stock/6th floor, 10117 Berlin Mitte
www.bibliothekswohnung.com

Bibliothekswohnung

2011-09-10T11:41:00.004+02:00

mnemonics

Yorgos Sapountzis, Forgotten Tactic, 2006

Olivia Berckemeyer, Jeremiah Day, Sascha Hahn, Jennis Li Cheng Tien, Alex Martinis Roe, Michaela Melián, Irina Novarese, Yorgos Sapountzis, Madeline Stillwell, Milica Tomić

10 September 2010 • 14:00–18:00 Uhr

Anna-Catharina Gebbers | Bibliothekswohnung
Ziegelstr. 2, 6. Stock/6th floor, 10117 Berlin-Mitte
www.bibliothekswohnung.com

I would enshrine the spirit of the past / For future restoration
(William Wordsworth, Prelude 1805)

There‘s no memory you can wrap in camphor / But the moths will get in.
(T.S. Eliot, The Cocktail Party, 1949)

Ten artists show works which are revolving around policies of memory, collective memory and memorials.

Exhibition presented by Anna-Catharina Gebbers.
Supported by Olaf Stüber and Zum goldenen Hirschen Berlin.

Berlin Video Lounges

2011-09-02T18:58:00.005+02:00

Haus der Kulturen der Welt - LABOR BERLIN

Pia Lindmann OXID BUNGALOW

Landesmuseum für Moderne
Kunst, Fotografie und Architektur

„The exhibition series Labor Berlin which started in 2010, is dedicated to the creativity and potential of international artists who have chosen Berlin as their new home“ Haus der Kulturen der Welt.

already shown: Dan Milhaltianu, Erick Meyenberg, Züli Aladag, Reynold Reynolds, Filipa César.
current: Pia Lindman
http://www.hkw.de/en/programm/2011/labor_berlin_2011/veranstaltungen_53773/AlleVeranstaltungen.php

N.B.K. - Video Of The Month

„In 2010, the series The Video Of The Month, curated by Kathrin Becker, presented international artists from outside the collection. In 2011, selected works of the n.b.k. collection can be seen online here. The emphasis is placed on young video art from Berlin that reflects the international art scene, and thematically underscores the emphases of the collection. Parallel to the presentation on the website, The Video Of The Month will also be screened in the space of Video-Forum." Neuer Berliner Kunstverein.

already shown: Prilla Tania, Barbad Golshiri, Nira Pereg, Reem Al-Ghazzi, Wael Shawky, Annika Eriksson, Marina Naprushkina, Marc Aschenbrenner, Nevin Aladağ , Gabriele Stellbaum, Niklas Goldbach.
current: Ina Wudtke, A Portrait of the Artist as a Worker (RMX.), 2006
http://www.nbk.org/video-forum/video-of-the-month/aktuell.html

THE IBB-VIDEOLOUNGE IN THE BERLINISCHE GALERIE

Sven Johne TEARS OF EYEWITNESS

"Over the course of one year, the IBB video lounge will present 12 artists who have drawn attention to themselves with innovative use of the media film and video in recent years. Documentary approaches will appear alongside strategies which reflect on and question the medium itself. Visual aesthetic experiments are also crucial to the works of those artists invited to participate.
The intention is to convey the diversity of the medium in the new programme format. That is why the selected artists are not only young talents who have scarcely made their mark on Berlin’s active art scene but also established representatives of contemporary video art, who will show both early and current work. A new, changing programme of different works will be compiled each month." Berlinische Galerie Landesmuseum für Moderne Kunst, Fotografie und Architektur.

Upcoming: Marcellvs L., Frédéric Moser and Philippe Schwinger, Sven Johne, Christian Jankowski
http://www.berlinischegalerie.de/ausstellungen/vorschau/12-x-12.html

Ulf Aminde- learning from big mistakes

2011-09-01T14:06:00.001+02:00

Ulf Aminde- learning from big mistakes
September 9 - October 29, 2011
opening: 9. September 2011, 6 – 9 pm

GALERIE TANJA WAGNER
Pohlstrasse 64 10785 Berlin

Encounters are precondition and starting point for Ulf Aminde’s works. For his performances, videos, installations, and photographs Aminde is seeking out people who are living on the street, in social facilities, are clients in big furnishing stores, are in prison or in their own home. For them and with them he is scetching out settings, that function as the base for success or failure of further events. It is uncertain what exactly will happen and the agreement is that everybody is equally opening up to the unexpected.

Aminde’s new video piece Judith shows a woman confronted with two dramatic scenes of her own life. They are staged in collaboration with her, based on her own biographical writings. Young actors are acting the scenes while she is watching, noticing, intervening and comenting. The camera focuses on her and opens up a dialogue between the viewer, the actors, and her, the protagonist, which creates a possible confrontation with the traumatas of our lifes.

Bildet Banden (Form Gangs) is a performative happening which evolved out of a collaboration with the artist group Wilderers from the Diakonie Himmelsthür in Hildesheim. Extensive, colourfull banners were made and carried through the city by the artist group while Aminde was filming. The video projection is embedded in images, films stills of people and protagonists from other works by Aminde. The procession becomes a gesture of his process of working:
The works only evolve when the encounter of artist and protagonist are mutually hitting a desire. They are documenting the expectations and wishes towards the other with an intrinsical radicality. This dynamic is not yet finished with each work, it is passed onto the viewer and awakes equally an ambivilant oscillation between voyeurism and empathy. Thus, forms of social life are made visible in which questions of the group and identity arise. Aminde is not taken himself out of the process, but examines his position self-critically.

Parallel to the exhibition Ulf Aminde’s artist book miserere is published by argobooks.
Judith was kindly supported by Hebbel am Ufer HAU / X. Wohnungen, Bildet Banden with the kind support of Diakonie Himmelsthür, Hildesheim.

Ulf Aminde, born 1969 in Stuttgart, lives and works in Berlin.
His works was presented in the following solo exhibitions and theatre productions:
the hidden chapters of my lost insistence, Kunstverein Arnsberg (2010); Sehstück Volksbühne, Berlin, Softskill Nationaltheater Mannheim (2009), Ruhe und Ordnung Jet, Berlin (2008); Strasse ist Strasse und keine Konzeptkunst Gesellschaft für aktuelle Kunst, Bremen (2007); Survival of the Fittest, Kunstverein Wolfsburg (2005).
Selected group exhibitions: Selected Artists NGBK, Berlin (2011), Urbi et Orbi Museum Paço des Artes, São Paolo, Un/Mögliche Gemeinschaft Shedhalle, Zurich, Playing the City Schirn Kunsthalle, Frankfurt; 89/09 Berlinische Galerie, Berlin (2009); Under Influence Kunsthaus Dresden, zwischen zwei Toden ZKM Karlsruhe, Gehen/Bleiben Kunstmuseum Bonn, Wege aus der Kunst Lothringer13, Munich (2007). Von Mäusen und Menschen 4. Berlin Biennale (2006). Scènes de vie Centre Culturel de Suisse, Paris (2005).

For further information, please contact the gallery at info@tanjawagner.com or +49-30-86430120.

Arsenal Summer School

2011-06-27T11:37:00.004+02:00

Cut! Interventionen des Dokumentarischen
Aug 25-27, 2011

UNTER KONTROLLE (Volker Sattel, D 2011) © credofilm/Sattel/Stefanescu

Vom 25. bis zum 27. August findet zum dritten Mal die Arsenal Summer School statt. Unter dem Titel "Cut! Interventionen des Dokumentarischen" beschäftigen sich acht Veranstaltungen – Werkstattgespräche, Diskussionen, Filmgespräche und Screenings – sowie ReferentInnen aus Theorie und Praxis mit dem Verhältnis von Dokumentarischem und Politischem, von Inhalt und Form sowie mit den Produktionsbedingungen für dokumentarisches Arbeiten.

Mit Beiträgen von: Karin Jurschick, Stephan Krumbiegel, Brigitta Kuster, Claus Löser, Avi Mograbi, Irit Neidhardt, Philip Scheffner, Stefan Stefanescu, Florian Wüst

Moderiert von: Milena Gregor, Birgit Kohler, Stefanie Schulte Strathaus

Veranstaltungsort
Arsenal – Institut für Film und Videokunst
im Filmhaus am Potsdamer Platz

Teilnahme
Die Teilnehmerzahl ist begrenzt (30 Personen). Plätze werden nach Eingang der Anmeldungen vergeben. Teilnahmegebühren: 110 Euro / 90 Euro (Mitglieder, Studierende, Berlin-Pass) / 70 Euro (Mitglieder im arsenal freundeskreis)

Anmeldeschluss ist am 30. Juli 2011.
Bei Fragen wenden Sie sich bitte an:
Angelika Ramlow | Projektkoordination
summerschool@arsenal-berlin.de

Kino Arsenal 1 & 2 | Potsdamer Straße 2 | 10785 Berlin | www.arsenal-berlin.de

Katrin Lock & Tim Brotherton – The After Gertrude Stein Trilogy

2011-06-22T09:32:00.002+02:00

Opening Wednesday, June 22, 2011, 7 pm
Duration June 24 – July 23, 2011

The exhibition The After Gertrude Stein Trilogy presents photographs and video works by the artist duo Katrin Lock and Tim Brotherton in the neighbouring project spaces uqbar and Kronenboden at Schwedenstrasse 16. The artists reinterpreted Gertrude Stein’s Dr. Faustus Lights the Lights through a participartory process in collaboration with young actors from Johannesburg, South Africa (Bag Factory, 2008), in Berlin (P14 youth theatre of Volksbühne, 2009) and in Brussels (art and performance centre Beursschouwburg, 2010). The results are three very different versions of the material, and are shown as film adaptations.

In Stein’s version Dr. Faustus promises his soul to the devil, if he in exchange could make Dr. Faustus the inventor of electrical light. The fulfilment Dr. Faustus was hoping for does not come about, leaving him disillusioned and disheartened. In the manner of Dadaist writing the play is open-structured. Stein creates multiple identities for her main characters, who express themselves through fragmented and disembodied voices and endless repetitions. The characters are trapped in the same frustrating inability to understand and act in a world, which is increasingly dehumanised by modernism and progressing technology.

The play with its vital questions about morality, identity, values, providence, and betrayal in modern societies was a starting point for discussions in each group. Through a particapatory process the artists and actors developed the narratives, scenes and setting in response to the following questions: How do members of a generation, who have grown up in an already globalised world position themselves within it? How are they affected by the all-present ideologies to invent and prove themselves as subjects in a neo-liberal age? How do they position themselves in a world in which the danger of unemployment on the one hand, and the ever-growing materialism, are all present and possibly shape the lives of the majority of people? The project tried to motivate the participants to express their aspirations and formulate their personal visions of the future without using the framework of commodities to signify success and wealth.

The exhibition also shows photographs of the series Smokes and Mirrors that was made in South Africa. The streets of Johannesburg are lined with posters of tabloid newspapers and their sensationalist headlines. All present they are part of everyday cityscape. In bloodthirsty headlines they mark the remaining social and racial apartheid within the South African society. In this series the posters were made into costumes and clothing. In the tradition of “tableaux vivantes” the actors from After Gertrude Stein pose in the deserted inner-city goldmines. Smokes and Mirrors refers to John Heartfield’s photomontage, Those who read bourgeois newspapers will become blind and deaf. Away with these blinders!

In addition to the presentations at uqbar and Kronenboden the artist duo shows art works titled Consumed Spirits at Gallery September , Charlottenstrasse 1, 10969 Berlin, from June 25 to August 13, 2011.

A cooperation with www.kronenboden.de

uqbar
a project by | ein Projekt von Dorothee Bienert, Dortje Drechsel, Marina Sorbello, Antje Weitzel
Schwedenstrasse 16 | D - 13357 Berlin | T + 49 (0)30 460 69 107
projectspace [at] uqbar-ev.de | http://projectspace.uqbar-ev.de
U8/U9/M13 Osloer Strasse
Fr.-Sa., Sunday Wedding, 2-7 p.m. and by appointment

Videoart at Midnight #25: Chicks on Speed

2011-06-21T10:30:00.003+02:00

Friday, June 24th, 2011, 24:00 | 12 p.m.

BABYLON, Rosa-Luxemburgplatz, Berlin, big cinema hall
(Eintritt frei | admission free)

#25: Chicks on Speed, Butt Smack Bungo at Midnight

Friday, June 24th, 2011, 24:00 | 12 p.m. BABYLON, Rosa-Luxemburg-Platz, Berlin, big cinema hall
(Eintritt frei | admission free)

The Chicks studios are the stages, institutes, streets, theaters, shacks & palaces around the world.
The High Art has seldom gone so messy & the Low is always high, dressed up or without dress at all, mixed into a Audio with Visual triggering of the loops & cut up performances one could ask " where are the shackles?"

The extended Chicks on Speed group: Kathi Glass (Designer & Performer), Anat Ben-David (Performer/PHD researcher for music), Krõõt Juurak (No-Choreographer), Merche Blasco (High tech intervener), Faustine Kopiejwski (Journalist and performer) A.L. Steiner ( Artivist N.Y.), Deborah Schamoni ( Film), Douglas Gordon (Art Star Berlin/N.Y.), Chie Ito (artistic director, Strange Kinoko Dance Company), Karl Lagerfeld (The King of Fashion) and Yves Klein (somehow part of it).

Chicks on Speed are Alex Murray-Leslie and Melissa Logan.

In 1997 Melissa Logan & Alex Murray-Leslie founded Chicks on Speed behind the art Academy in Munich. Their first collaborative pieces were large scale drawings & collages but the work soon became installations & performances, Seppi Bar, a Caberet Voltair inspired illegal, underground, drinking hole with performances & installations was an important early project which soon lead to making music with Kiki Moorse.

Chicks on Speed have gone through various formations, starting around 2004 the collaborative work with artists, friends, groupies took on a collective structure, rather then the typical practice of employing video editors, photographers, musicians & fashion designers formed a flexible and changing clan, pioneering a artistic output disregarding traditional genres and working in the fields of design, installation, pop music, performance and
developing what are called Objekt Instruments.

Exhibitions & Performances include: Palais de Tokyo, MOMA, BOZAR, CAC Vilnius, MOMAK, Dundee Contemporary Arts, Tate Britain, Pompidou.

UPCOMING EXHIBITIONS of CHICKS on SPEED:

- Contour 2011 - 5th Biennial of Moving Image
  27 Aug - 30 Oct 2011, Mechelen (Belgium)

- Victoria and Albert Museum
   6 Sep 2011 - 2 Jan, 2012, London (UK)

- Kunstraum Kreuzberg
  10 Sep - 23 Oct 2011, Berlin (Germany)

Herzliche Grüße | best regards Ivo Wessel, Olaf Stüber

http://www.videoart-at-midnight.info
http://www.facebook.com/videoartatmidnight | http://www.twitter.com/videoart_am

#6 // THE CONSTRUCTED NATURE OF THE DOCUMENTARY

2011-06-17T14:31:00.002+02:00

Showing: June 11 – July 9, 2011 // Wed – Sat, 2 – 7 p.m

Sunday, June 19, 2011, 8 p.m.
Filmscreening
Raphael Grisey presents

New Kahnawake
Documentary, France 2010, 42'
Direction: Patrick Bernier and Olive Martin

Incorporating poker, challenges to the law, a struggle for the control of a new territory where the stakes are high, the film "La Nouvelle Kahnawake", between fiction and documentary, pushes these analogies with the Western to explore both our relationship to the figure of the "Indian" and the confusion of our perception of space that new information technology has brought about.
Original version with english subtitle

Story told by Jean Dougnac
Documentary, France 2010, 40'
Direction: Noëlle Pujol
In the confined space of a bedroom, an old man lying on his bed has been waiting for me for thirty years. He has a secret and is dying to reveal it. I set my camera at the foot of the bed. It is not an interview, but a polyphonic monologue in one long static shot. Juggling with two tongues, French and Occitan, Jean Dougnac tells me the story of my parents, from whom I was separated at birth. A family tragedy is about to be exposed. But it is only the background to other cinematographic and political stories, other lives in motion, explored through words.
Original version with english subtitle

STEDEFREUND
Dorotheenst. 30 [im Hof // backyard]
10117 Berlin
fon + fax +49 (0)30 76214239
kontakt@stedefreund-berlin.de
http://www.stedefreund-berlin.de
Mi – Sa, 14 – 19 Uhr // Wed – Sat, 2 – 7 p.m.

Alive She Cried

2011-05-28T13:48:00.002+02:00

Alive She Cried
A Film & Video Exhibition
curated by Reynold Reynolds
Galerie Zink, Linienstraße 23 in Berlin.

with Mark Aschenbrenner, Rui Calçada Bastos, Marco Brambilla, Cecily Brennan, Sean Dack, Christoph Draeger, Rainer Ganahl, Moritz Hirsch, Patrick Jolley, Cristóbal León & Joaquín Cociña, Eva Marisaldi, Bjørn Melhus, Johannes Nyholm, Jean-Gabriel Périot, Elodie Pong, Julian Rosefeldt, Iepe B.T. Rubingh, Sienna Shields, Pola Sieverding, Elisa Sighicelli and Stacey Steers.

Exhibition: May 31st - July 2nd, 2011
Opening today : Saturday, May 28th, 2011, 6-9 pm

www.galeriezink.de

Four Days of Jodorowsky

2011-05-03T11:44:00.001+02:00

Day One | Wednesday, 11.05.2011
8 pm: Talk with Alejandro Jodorowksy
9 pm: El Topo (MEX 1970, color, 125 min.)

Day Two | Thursday, 12.05.2011
9 pm: The Holy Mountain – Montana Sacra (MEX/USA 1974, color, 114 min.)

Day Three | Friday, 13.05.2011
9 pm: Santa Sangre (MEX/IT 1989, color, 123 min.)

Day Four | Saturday, 14.05.2011
9 pm: Fando y Lis (MEX 1967, b/w, 96 min.)

A sea of red, yellow, blue and orange paint flows out of the bodies of the dead. Deep red currents pour out of the mouths of those dying, white flour rises from the stomach of a withered young man, a turquoise dove escapes from the bowel of a woman. The brutality of the violent deaths charge through the beauty of being. (The Holy Mountain – Montana Sacra)

The films by Chilean filmmaker Alejandro Jodorowsky (born 1929) have accomplished a unique world of imagery, allowing the thought process and habits of the viewer to be jarred until this day. The influence Jodorowsky’s films have had on contemporary art is apparent, although still not completely recognized. In his films a fantastic aesthetic collides with a drastic social criticism, the shameless with the holy.

In the film screening program “Four Days of Jodorowsky” KW Institute for Contemporary Art is showing Jodorowsky’s films, El Topo (1970), The Holy Mountain – Montana Sacra (1974), Santa Sangre (1989) and Fando y Lis (1967), one each evening, four evenings in a row.

With kind support of the Friends of KW.

By courtesy of ABKCO Music and Records, Inc.

KW Institute for Contemporary Art
Auguststr. 69
D-10117 Berlin

www.kw-berlin.de

Poor Man’s Expression

2011-04-07T11:53:00.002+02:00

Book presentation with 16mm film projections
Sunday, April 10th 2011, 7-11 pm
at MD72, Mehringdamm 72, 10961 Berlin

Poor Man’s Expression
Technology, Experimental Film, Conceptual Art
Edited by Martin Ebner and Florian Zeyfang

Stephanie Taylor, Sebestyén Kodolányi, Sebastian Lütgert, Henrik Olesen, Mathias Poledna, Sean Snyder, Daria Martin, Kirsten Pieroth, Martin Ebner, Florian Zeyfang.

With essays by Sabeth Buchmann, Anselm Franke, Ariane Müller, Branden W. Joseph, Stefanie Schulte Strathaus, Ian White and Axel John Wieder.

Sternberg Press, Berlin/New York, 2011
240 pages, 24x30 cm, color, English/German, 28 €
ISBN 978-1-934105-01-6

... we postulated that there was at a certain point a close relatonship between forms that
now exist quite separately from one another, that is, the realms of fine art, experimental film,
literature, poetry, music, and technological development as well. What is it supposed to mean
that 16mm projectors have soon found their last luxurious performance site in art institutions,
while YouTube represents a contemporary way to watch an interview with Hollis Frampton?
Conversely, the gradual absorption of the genre of experimental film into the realm of media art
of the 1980s and 90s can also be seen as a transformation analogous to general social and media
development, going hand in hand with the development of individualization and the consumer society.
__
In collaboration with Arsenal Institute for Film and Video Art.
Supported by Kunstfonds Bonn and Umeå Academy of Fine Arts.
stereo@poormansexpression.com
__
MD72
Mehringdamm 72, 10961 Berlin
+49(0)30 746 840 21
mail@mehringdamm72.de
www.md72.com

Figge von Rosen Gallery in Berlin

2011-03-31T18:41:00.003+02:00

Figge von Rosen Gallery opens a new exibition space in Berlin, Potsdamer Strasse 98, Berlin-Tiergarten.
The inaugural exhibition opens on April 2, 2011 at 7 pm and will present the video installation »A Crime must be Committed« by Rebecca Ann Tess.

Figge von Rosen Gallery

KITAJ 31/1 by Alexej Tchernyi and Wu Zhi

2011-02-23T14:09:00.001+01:00

Raum für Projektion zeigt
KITAJ 31/1 by Alexej Tchernyi and Wu Zhi

// Date: Saturday, 26 February 2011
// Time: 21.00
// Venue: General Public, Schoenhauser Allee 167c, 10435 Berlin
Alexej Tchernyi, filmmaker/animator (USSR 1976) & Wu Zhi, painter (P.R.China, 1972) are an artists couple, living and working in Berlin.

One night last year, they wake up to a terrible news: Wu's Father (Dr. Rao) suffered a cardiac infarction and went into a coma. He only had few days left to live. The couple and their 1½ year old son immediately took a flight to China in order to reach Dr. Rao alive. Dr. Rao has three children, six brothers and sisters. Each one of them has their own children. This big family came together from different parts of the world to pay their last respects to the eldest family member. Dr. Rao died on 29th of September 2010. The funeral ceremony in Sichuan, Southwest China, lasted two days and two nights and was recorded in a rather unconventional way: 5.957 single photo shots, combined to a 7 minutes short film. It shows the funeral of an ordinary Chinese man, surrounded by his family. One witnesses the enshrined body, the cremation of the deceased and the immediate handing over afterwards of his remains to the family members. The film provides a very intimate perspective on contemporary Chinese culture, where Taoist burial rites are blended with modern secular customs. The process brings to mind a theatre performance with stage, acting and scenery, embodying the transition from the living to the death.
Alexej Tchernyi and Wu Zhi present an extended version, that covers their entire journey to China. They produced from over 70.000 photos a stop motion home video entitled Kitaj 31/1.
Wu Zhi: www.wuzhi.de

Open Archives - 40 Jahre Video-Forum und Arsenal

2011-02-15T15:58:00.005+01:00

»Open Archives - 40 Years of n.b.k. Video-Forum and Arsenal–Institute for Film and Video Art

Saturday, February 19th, 2011, 12:30 Uhr

Arsenal 1, Potsdamer Str. 2, 10785 Berlin

Screening and round table with Kathrin Becker (Head of n.b.k. Video-Forum, Berlin), Contanze Ruhm (artist, Prof. for New Media, Vienna/Berlin), Stefanie Schulte Strathaus (Co-director of Arsenal–Institute for Film and Video Art, Berlin), Mathilde ter Heijne (artist, Berlin), moderated by Anselm Franke (curator, Berlin)

The collections of the n.b.k. Video Forum and Arsenal – Institute for Film and Video Art work at the borders between art / film, collecting, and the public. Since their inception in the 1970s, both archives have been a valuable component of the Berlin art and film scene and beyond. The challenges of preservation and providing access to the history of the medium have certainly been great, but so have the challenges created by practices of archival investigation among contemporary artists and curators. What terms and discourses can be used in mediating a (film) archive? How can the potentialities of the medium of film and the archive be emphasized in the digital age while avoiding fixed assumptions? The current state of these collecting practices and their mediation in public will be discussed at this event.

In German with simultaneous English translation

Forum Expanded der 61. Berlinale (10.– - 20. Februar 2011)
Forum Expanded

Berlinale Empfang der Filmhochschulstudenten

2011-02-15T12:07:00.001+01:00

Im vierten Jahr in Folge findet auch dieses Jahr wieder der Berlinale Empfang der Filmhochschulstudenten statt. Wieder werden sich die Studenten der sieben Filmhochschulen gemeinsam präsentieren. So kann sich die deutsche Filmlandschaft ein Bild von dem Nachwuchs machen. Aus jeder Hochschule werden Projekte in Pitchings und Screenings von den Studenten persönlich vorgestellt.

Der Empfang findet am 18. Februar 2011 in den Räumlichkeiten der Landesvertretung NRW statt (Hiroshimastraße 12, 10785 Berlin).

Nur mit Einladung!
www.berlinale-empfang.de

Videoart at Midnight #21: Benjamin Heisenberg

2011-02-13T22:14:00.001+01:00

Friday, February 18th, 2011, 24:00 | 12 p.m.
BABYLON, Rosa-Luxemburgplatz, Berlin,
big cinema hall
(Eintritt frei | admission free)

Benjamin Heisenberg * 1974
(Regisseur, Autor, bildender Künstler)

Heisenberg zeigt und kommentiert eine Auswahl seiner Videoarbeiten aus den Jahren 1995 bis 2010, die miteinander im spürbaren Verhältnis stehen. Nicht nur die Spannungsfelder seiner Spielfilme tauchen mit neuen Gesichtern wieder auf, sondern vor allem eine weniger bekannte, humoristisch- und romantisch-, kindliche Seite seiner Arbeiten im Kunstkontext. Die Arbeiten reichen zurück bis in die frühen Jahre seines Kunststudiums. So wird sichtbar, wie vielschichtig und nachhaltig sich Heisenberg mit den großen Themenfeldern der Moral, der Aggression, der Sehnsucht, der Erzählung und der Menschlichen Kommunikation auseinandergesetzt hat.

Heisenberg studierte Bildhauerei an der Kunstakademie München und anschliessend Spielfilmregie an der HFF München. Er arbeitete als Assistent von Prof. Dr. Grasskamp, am Lehrstuhl für Kunstgeschichte der Akademie und ist Mitgründer und bis heute Mitherausgeber der Filmzeitschrift Revolver. Seit seinem Studium hat er an zahlreichen Ausstellungen und Festivals in nationalen und internationalen Kontexten teilgenommen. 2005 stellte er seinen ersten Spielfilm "Schläfer" in Cannes vor und erhielt 2010 für seinen aktuellen Spielfilm "Der Räuber“ eine Einladung in den Wettbewerb der 60. Filmfestspiele von Berlin. Mit seinen Spielfilmen und Arbeiten im Kunstkontext gewann er eine Vielzahl von renommierten Preisen und Wettbewerben.

Isa Genzken EMPIRE VAMPIRE WHO KILLS DEATH

2011-02-10T11:45:00.000+01:00

Herzliche Einladung zur Präsentation des Films "Empire Vampire Who Kills Death" von Isa Genzken (Kamera: Christoph Manz, 2003,vorgestellt von Miriam Schoofs in der Sammlung Hoffmann am kommenden
Mo, 14.02. um 19 h!

Isa Genzken, 1948 in Bad Oldesloe geboren, lebt und arbeitet in Berlin. Das umfangreiche Schaffen der Künstlerin Isa Genken, umfasst Skulptur, Malerei, Installation, Fotografie und Film. Durch ihr Werk zieht sich die Auseinandersetzung mit Architektur
als Manifestation der Beziehung zwischen Innen und Außen, Körper und Raum, privatem und öffentlichem Raum, Individuum und Gesellschaft. Das Video "Empire Vampire Who Kills Death" zeigt, wie die Künstlerin die eigene skulpturale Werkgruppe mit gleichem
Namen mit Hilfe ihres Kameramanns Christoph Manz filmisch dokumentiert und interpretiert.
Es stellt sich die Frage, inwiefern Isa Genzken ein „filmischer“ Blick attestiert werden kann, der die auf Sockeln inszenierten Assemblagen aus der Bewegung heraus und als gleichsam in Bewegung befindlich versteht – vielleicht nur scheinbar ein Paradox für eine Bildhauerin.

Sophie-Gips-Höfe
Sophienstraße 21
Berlin-Mitte
Zusagen bitte an: video@sammlung-hoffmann.de, damit jeder einen Platz findet.

Annika Larsson BLIND

2011-02-10T11:13:00.000+01:00

New film by Annika Larsson / World Premiere at Berlinale – Internationale Filmfestspiele Berlin
OPENING: Thursday 10.02.2011 18:00 - 21:00
Open daily February 11th to 20th 11:00 - 20:00
Free entry Potsdamerstr. 88 10785 Berlin

Artist talk with Annika Larsson and Florian Zeyfang 12:30 Sunday 13th

BLIND, is a new film-installation by Swedish Artist Annika Larsson, exploring issues around vision and blindness. The work, hitherto Larssons largest production and financed by the Swedish Film Institute and Medienboard Berlin-Brandenburg GmbH, shows a group of blind football players during a football game. Filmed in Berlin at night, the players and the field are shown in close up and in great detail. Images, from different viewpoints succeed one another, but without offering a view of the whole. In the spectator, the film arouse an oppressive feeling or even a form of claustrophobia, not only because of the closeups but also the apparent strangeness of the environment in which the figures move about. Through iteration Larsson produces a kind of psychological slow motion, where the spectator gets lulled into a soporifc state in which time is clearly flowing but also standing still.

BLIND will be premiered in form a film-installation at the Forum Expanded / 61. Internationale Filmfestpiele Berlin which is taking place in Berlin between 10-22 February 2011. This will be the first larger film-installation shown by the artist in Berlin and has been made possible by financial support from the Hauptstadt Kulturfonds. In conjuction to the exhibition there will be a publication in form of a 12” vinyl record containing the soundtrack of the film, composed by Sean McBride, as well as filmic sound elements and noise created by Larsson and Alvermark.

Swedish artist ANNIKA LARSSON (b. 1972) is one of the most renowned video artists of her generation. Her works have been widely shown internationally, at institutions including Museum für Gegenwartskunst, Basel; Fundacion la Caixa, Barcelona; Le Magasin, Grenoble; Kunsthalle Nürnberg, Nürnberg; ICA-Istitute of Contemporay Art, London; ZKM,Karlsruhe; Moderna Museet, Stockholm; S.M.A.K., Gent and Musac, Lyon. She has participated in biennials such as 49th Venice Biennial, 8th Istanbul Biennial and 6th Shanghai Biennial among others. Larsson lives and works in Berlin.

Script/Director/Editor: Annika Larsson
Producers: Anna Linder/Annika Larsson
Cinematography: Sophie Maintigneux
Sound: Jan Alvermark
Music: Sean McBride
Production Manager: Angela Anderson
Online: Per Sjökvist, Mekaniken

Forum Expanded Exhibition Opening

2011-02-08T12:37:00.001+01:00

Forum Expanded Exhibition Opening 2011 at Salon Populaire (Kunstsaele Berlin)
Wednesday, February 9th, 18:00 - 21:00

PARALLEL WORLDS
groupshow with installations by
Basma Alsharif, Yael Bartana, James Benning, Tom Holert, Wendelien van Oldenborgh, Harald Thys/Jos de Gruyter

Salon Populaire (Kunstsaele Berlin)
Bülowstraße 90
10783 Berlin

61st Berlinale Forum Expanded Exhibition

PORTENOS DE VERANO & GRAW BÖCKLER´S KNOT

2011-02-08T10:57:00.001+01:00

Screening: Thursday 10.2.2011, Time: 21.00
Altes Finanzamt, Schönstedtstraße 7 (Access through the yard), 12043 Berlin - Neukölln, http://altesfinanzamt.blogspot.com

"Porteños de Verano"
What project would you do if you get a a 35mm movie camera at hand and the film stock was for free? I would film... everything! Filmamos todos - we film everything, was our concept for "Porteños de Verano" that covers an one month stay in Buenos Aires. Since we frequently exchanged German winter with Argentinian summer, our friends there started to call us "Porteños de Verano". You will meet them and a peculiar, creative lifestyle - more easy to sense than to describe. The soundtrack by Estupendo is mixing field recordings with electronical music.
"Porteños de Verano", 35 min., HD, Film by Graw Böckler. Music by Estupendo. Buenos Aires / Berlin 2010.

"Graw Böckler´s Knot"
The images for "Graw Böckler´s Knot" have been shot in Tallinn and also in Warsaw and Bucarest - citys where the intercultural experiment "The Knot" took place during summer and autumn 2010. Graw Böckler are bringing the war to "The Knot". Fire, smoke, explosions and damages create a counterbalance to an even-minded perception of urban spaces. Still the routines of everyday life remain untroubled despite the fact of multiple threats from violence or destruction. The emotional soundtrack by Axel Willner (Black Fog, The Field) intensifies the transformation of documented reality into a daydream.
"Graw Böckler´s Knot", 26 min. HD, Video: Graw Böckler, Music: Axel Willner, Berlin 2011.

Bjørn Melhus LIVE ACTION HERO

2011-02-07T12:36:00.000+01:00

Feb 11 - Apr 10, 2011
Opening: Thursday, Feb 10, 2011 at 19.30

Parallel to the 61th Berlinale 2011, Haus am Waldsee presents the first comprehensive survey of the German born Norwegian video artist Bjørn Melhus (b.1966). Standing on the shoulders of such giants as Nam June Paik and Bruce Nauman, the internationally acclaimed artist concentrates on the absurd sides of cinema and television.
Initially trained as a filmmaker before switching to the visual arts, Melhus remains part of the media world, which he analyses, deciphers and encodes anew within his own movies. The video artists who teaches in Kassel is not only a critical observer but also always embodies the responsible agent in his works when he stages his mostly humour-laden game of duplicity on the basis of sound-bites and his own film footage.

Ever since Neil Postman’s efforts, the phenomenon of society’s medialisation has been analysed interms of the intrusion of television, film and video-clip as substitutes for communication andexperience. The human being has been transformed into a passive consumer of mass-producedmedia fare. The distinctions between entertainment, dream, trauma and information become increasingly blurred. Ready-made sound-bite meanings are being served up around the clock. Experiencing the real world seems to have become redundant. Against this background, Melhus builds his own fables and stories from fragments taken from theworld of motion pictures assembled by association into collages of sound and image. In doing so, heconsistently plays all the roles himself and underlays them with a soundtrack of famous, mostlydeceased movie stars whose male and female voices and statements the artists puts into his ownmouth.

Since “Zauberglas” (magic glass, 1991) or “Again and Again” (1998), his core concerns arequestions of personal identity, where we come from and where we go to and the boundary between oneself and the media world. The exhibition “Live Action Hero” provides evidence for this while alsocovering his entire oeuvre to date, a period of twenty years. The show assumes a poignant topicality through Melhus take on US war and antiwar movies which, at the very least since the war in Vietnam, glorify traumatised veterans who in reality are psychologically broken and have little chance of returning to the usual social networks of ordinary life. Even today, action movies attract an enthusiastic audience of millions. In real life, however, soldiers returning from battle find it hard to shake off the haunting nightmares of their experiences of war. In his most recent pieces Melhus addresses a situation, which the wars in Iraq and Afghanistan have thrown into sharp relief in Germany, too. Thus the title of the exhibition results from the most recent projects concerning this issue and refers to video works such as "Deadly Storms" (2008), and "Hecho en Mexico" (2009).

The exhibition will include among other things a movie theatre screening four films from Melhus„cinematographic work of the last 15 years. Further works such "I do not belong in this House" and "I’m not the enemy" are partly staged or presented in large projections. A catalogue including essays by Katja Blomberg, Felix Laubscher and Bjørn Vedder will be published in German and English at Verlag Walther König, Cologne (€ 16,80).

What’s Up with ... Video Art?

2011-02-02T13:22:00.000+01:00

Dieter Daniels
“Video art is dead—long live art! Beauty has depth. History has meaning. Screw the market! Keep the faith!”.(1) The video artist Diana Thater’s rallying cry highlights a paradox: artistic works involving video are permanent features of the numerous biennales, art fairs and gallery openings, and yet the term “video art” is most often used only as a historical category, and the so-called “video artist” seems to belong to an extinct species. The status of video in the fine arts has changed fundamentally since the 80s by comparison with the status of painting, photography and film. The reasons for this change lie, in part, in the technological innovations of the medium. More important, however, is the change in the self-definition of the artists and in the new evaluation of video on the art market.

read more on:
www.kunst-magazin.de

2 Vorträge Dieter Daniels

2011-01-30T15:08:00.000+01:00

Mi. 2 Feb 19.30 Uhr
»Audiovisualogie«
Technische Universität, Strasse des 17. Juni 150-152, Hörsaal A 053
(Eintritt frei)

Sa. 5 Feb 18 Uhr
»What is Live«
transmediale, HKW, Berlin
(mit Eintritt, rechtzeitig kommen, Raum kann überfüllt sein)

Audiovisualogie: Bild-Ton Relationen in Kunst, Technik, Wissenschaft und Unterhaltung

Seit dem Zeitalter der Aufklärung (Louis-Bertrand Castels „Augenklavier“ und Friedrich Chladnis „Klangfiguren“) wird die Relation zwischen visuellen und akustischen Phänomenen und Apparaten zur einem Paradigma der Hybridisierung von Kunst, Technik, Wissenschaft und Unterhaltung. In der zweiten Hälfte des 19. Jahrhunderts widmeten sich beispielsweise Hermann von Helmholtz (Physiologie des Hörens und Sehens) und Thomas Alva Edison (Phonograph und Kinetograph) als Wissenschaftler bzw. Erfinder verwandten Fragen. In den 1920er Jahren entwickelte sich in Deutschland ein soziotechnisches Netzwerk (Bruno Latour) der Bild-Ton Relationen, in dem sich heterogene Themenfelder überschneiden (absoluter Film, radiophones Klanghörspiel, Tonfilmtechnik, Elektrotechnik, Anthropologie, Synästhesieforschung).

Mit der Digitalisierung des Audiovisuellen findet eine Hybridisierung der Medienformate, künstlerischen Gattungen und techno-kulturellen Kontexte statt. Die These des Vortrags lautet, dass sich diese Entwicklung bereits seit 250 Jahren vorbereitet hat.

Literatur:
SEE THIS SOUND. Audiovisuology. Compendium: An Interdisciplinary
Compendium of Audiovisual Culture, hrsg. von Dieter Daniels and Sandra
Naumann, Köln: Verlag der Buchhandlung Walther König, 2010.

SEE THIS SOUND. Audiovisuology. Essays: Histories and Theories of
Audiovisual Media and Art, hrsg. von Dieter Daniels and Sandra Naumann,
Köln: Verlag der Buchhandlung Walther König, 2011.

__________

„What is Live?“ Von der Aura zum Avatar
Ein historischer Überblick zu ästhetischen Kontroversen und
künstlerischen Nutzungen der Liveness in Massenmedien.

Die Entscheidung des Berliner Rundfunk Intendanten Hans Flesch, im Radio Musik nicht Live, sondern von Schallplatten zu senden, löst 1930 eine breite Kontroverse aus, an der sich zahlreiche prominente Zeitgenossen (u.a. Theodor Adorno) beteiligen. Walter Benjamin widmet sich unter dem Begriff des „Verfalls der Aura“ verwandten Fragen.

Ab den 1950ern wird die „Liveness“ von massenmedialen Informationen als künstlerisches Material für eine Ästhetik der „Indetermancy“ entdeckt. John Cage setzt das Radio als ein „Live“ Musikinstrument in seinen Kompositionen ein.

Heute vermischt sich in medienbasierten Live Performances oder
Online-Angeboten ( z. B. Second Live) die „Liveness“ mit vorproduzierten und in Echtzeit generierten Elementen. Damit erhält die Frage „What is Live?“ eine neue Aktualität."

--
Prof. Dr. Dieter Daniels
Kunstgeschichte und Medientheorie
Hochschule für Grafik und Buchkunst
Wächterstr. 11
D - 04107 Leipzig
Tel. (0)341-2135-122
Fax (0)341-2135-166
E-mail: daniels@hgb-leipzig.de
www.hgb-leipzig.de/person/daniels.htm

LABOR BERLIN 4: REYNOLD REYNOLDS

2011-01-30T14:50:00.002+01:00

Feb. 2 - April 3
Opening Tuesday Feb. 1st, 2011, 8 p.m.
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10, Berlin

During the past three years Reynold Reynolds worked on "The Secrets Trilogy", a cycle exploring the imperceptible conditions that frame life.

This will be the first time "The Secrets Trilogy" is brought together and can be viewed as three installations.

In his most recent work Reynolds deconstructs film as the perfect synthesis of art and technology. "Six Easy Pieces" (2010) the final work of the trilogy, will premiere at Labor Berlin as a 3-channel installation. The work is based on the book "Six Easy Pieces: Essentials of Physics explained by its most brilliant teacher" by Richard P. Feynman. It refers to an age when artists and scientists had similar concerns and were often the same person.

"Secret Machine" (2009) takes Eadweard Muybridge's photographic experiments as a starting point. The video reflects the radical change in our understanding of time and space developed in film as well as in photography's relationship to measurement, science, and the human body.

In "Secret Life" (2008) a woman is trapped in an apartment filled with plants. She moves at mechanical speed and her mind is a clock whose hands point to the events of her life like a tapestry of time.

Reynold Reynolds was born in 1966 in Alaska. In 2004 he was invited to Berlin by the American Academy and in 2009 he received Transmediale's Distinction Award.

In co-operation with the transmediale

www.hkw.de

Filminstitut der Udk

2011-01-27T15:12:00.003+01:00

Premiere der neuen Ausgaben der DVD-Edition des Filminstituts

27. Januar 2011, um 19 Uhr im Kino ARSENAL 1

in Anwesenheit der Autorinnen, Autoren und Mitwirkenden.

Bisher sind 29 monografische DVDs erschienen. Vom experimentellen Film über dokumentarische Arbeiten bis hin zu erzählerischen Werken repräsentieren diese DVDs auch die große Bandbreite filmischer Formen, die an der UdK entstehen.

Mathieu Brohan: DIE NEGATIVEN KÖRPER DER UNFALL P.R. - Drei Underground-Filme | Guillaume Cailleau: TO TIME - Filme und Installationen | Lilli Kuschel: ST. PETERSBURG TALLAGHT STYK SONNENALLEE - Vier Filme | Sonya Schönberger: AUF DER SUCHE - Biographische Feldforschung | Effie Wu: 7 SELF-PORTRAITS - Filmische Selbstportraits

In der Black Box Installationen von Effie Wu und Guillaume Cailleau

www.filminstitut.udk-berlin.de

Experimentalfilme aus der DDR

2011-01-11T15:42:00.004+01:00

Cornelia Klauß präsentiert im Rahmen der Ausstellung "Barriere(frei) – Versuchsanordnungen über Widerstände und Hindernisse"
am 15.01. 2011 um 19 Uhr

Gino Hahnemann: September September, 1988, 6 min
Helge Leiberg: action situation, 1983, 9min
Ramona Köppl-Welsch: Konrad! Sprach die Frau Mama, 1989, 9 min
Cornelia Schleime: Unter weißen Tüchern, 1983, 9 min
Thomas Werner: Guten Tag Berlin, 1987, 12 min
Cornelia Klauß: Die subversive Kamera, 1997
Dokumentation über die Super-8-Filmszene in der DDR, 1996, 44 min

Die mit einfachsten Super-8-Kameras gedrehten Filme stehen einerseits für die begrenzten Möglichkeiten künstlerischer Praxen in der DDR und andererseits für den daraus resultierenden Improvisationsreichtum als Methode der Hindernisbewältigung. Die Filme widersetzten sich den vorgeschriebenen Kunst- und Gesellschaftsregeln der DDR und leisteten Widerstand gegen die offiziellen in den Medien präsentierten DDR-Bilder, die das real-sozialistische Abbildungsdogma repräsentieren. In den Filmen werden die Lebensrealitäten einer nicht mehr anpassungswilligen Generation radikal und poetisch reflektiert und damit die Definitionsmacht über die Darstellung der eigenen Identität behauptet.

Cornelia Klauß studierte Filmwissenschaft in Babelsberg. Von von 1990 bis 2002 war sie Programmleiterin beim Filmkunsthaus Babylon. Seither arbeitet sie freiberuflich als Regisseurin, Dramaturgin und Kuratorin für Filmfestivals.

Informationen zur Ausstellung finden Sie unter: www.widerstand-und-hindernisse.de

ratskeller – Galerie für zeitgenössische Kunst
Möllendorffstraße 6, 10367 Berlin
U-und S-Bhf. Frankfurter Allee

Tel: 902963712
ratskeller@kultur-in-lichtenberg.de

Öffnungszeiten: Mo–Fr, 10-18 Uhr

D A S W E E K E N D

2011-01-10T21:37:00.004+01:00

DIGITAL ART + SOUND
> 70 VENUES IN BERLIN
28 - 30 JANUARY 2011

Presented by transmediale, club transmediale (CTM) + Create Berlin

On the weekend prior to transmediale.11 & CTM.11 from 28 - 30 January, transmediale, CTM, Create Berlin and a multitude of Berlin partners together invite you to DAS Weekend.

This first edition draws attention to the many artists, spaces and initiatives active in Berlin with great commitment and exciting ideas to promote artistic work and discourse in the converging zones between digital arts, experimental music and sound.

DAS WEEKEND

Robert Heel Instructional Films Pt. 2

2011-01-04T13:52:00.004+01:00

Six shorts and an introduction by the artist and the curators
Early American Avant-Garde: an audiovisual performance by Robert Heel and Jan Hertz

Date: Friday, January 7, 2011
Beginning: 8pm
Venue: General Public, Schönhauser Allee 167c, Berlin
U2 > Senefelder Platz
Admission free

Robert Heel Instructional Films Pt. 2
For several years, audiovisual artist Robert Heel has been appropriating vintage instructional films for his own work. He started out using American sources from the 1950s, films that propagated proper manners, which he dismantled and then reassembled in ironic mash-ups. For his series of short films called Instructional Films and finished in 2009, he now uses mostly self-generated footage. Both angles are combined by an ironic approach.
The Instructional Films are aimed at a fictional “class”, which is tutored by Heel himself as a teacher. Equipped with a substantial amount of half-knowledge, the viewer/pupil gets to know things from the teacher which he always or never ever wanted to know. Starting from tips on how to make music, this quickly starts to read like a vademecum on how to lead your life.
Heel himself views the Instructional Films as a parody on a dreadful genre that went unquestioned during the 1950s and 60s, but also as a “guideline for 4/4 rhythmical techno-music, visualist life and artistic survival.” He places his Instructional Films between “absolute film, cinéma pur, music video, diary, instructional film, real-life satire, self-reflection and fiction.”
Pt. 2 of the screening programme shown last year in Berlin, General Public.

Robert Heel + Jan Hertz – audiovisual performance
Early American Avant-Garde
Robert Heel and Jan Hertz originally met at the college of arts in Berlin. Since then they like performing together as an AV team, as well as in Jan Hertz Band project "Computerpilots".
For the performance "Early American Avant-Garde" Robert Heel uses samples of
early film experiments and recombines, mashups and layers those samples intuitive and in real-time.
Jan Hertz combines club-orientated and uplifting beats with the deepness of beautiful and weird melodies. For this performance Jan Hertz jams through a reduced set, focusing on atmospheric drones and minimalist grooves.
Online: www.robertheel.com and www.janhertz.de

Curated by Cornelia and Holger Lund.
fluctuating images at General Public

Künstlerhaus Bethanien

2010-12-16T11:38:00.005+01:00

Current residents working with moving images:
Mark Soo | Reiko Kanazawa | Julien Grossmann | Soda_Jerk | Mai Yamashity + Naoto Kobayashi

Mark Soo
By what terms is it possible to discuss cultures rather than culture? Animated by this question, Mark Soo’s work explores the intersections of perception and the dynamics of social space, often through unexpected juxtapositions, shifting points of view, doublings and divisions, and across other latitudes. These projects reflect upon themes ranging from events of past to future tense to the subjectivities of place and frictions of lived experience. By combining varied references, while examining slippages between their cultural values, Soo’s works present spectators with the potential to reconsider assumptions of form and representation.

Reiko Kanazawa
My recent work focuses on artworks in an everyday context. Using various media including installations, videos, sculptures, photography and drawings, I try to allow for a new perspective on ideas by putting them into unexpected shapes. My aesthetic choices often contain a trivial or ironic aspect, which aims to subvert established meanings. The work in progress Nekonome (since 2008), for instance, consists of a two-channel video film about artworks from the early 20th century shot on location in Japan. This footage is combined with subtitles partly based on a well-known Japanese novel about a cat that observes and comments on the world of human beings. Standing in front of the video projection is the sculpture Moeder met kind (Mother With Child) by the Belgian artist George Minne. Belgian sculpture from the early 20th century is in fact very similar to Japanese sculpture from the same period (both betraying the influence of Auguste Rodin). The staging of the installation is reminiscent of a museum setting, addressing the influence of European culture on world history and the history of art. To the extent that it adopts the perspective of a cat and exhibits copies of artworks, this installation can be seen as a satirical comment on the art world.

Julien Grossmann
My work consists mainly of installations that involve a wide variety of mediums and techniques ranging from video projections and sound systems to architectural models and raw materials. Coming from a joint background of music and visual arts, I have always been interested in the borderline between these two artistic realms and, more generally, in the relations between essentially different elements. Over the years my focus has shifted to another level, and in my recent installations, I have been exploring the infrastructures of representation, while trying to create new possibilities for media to physically engage with their content. I investigate the underlying mechanisms of image and sound broadcasting systems by emphasizing their tangible presence and challenging their narrative power in theatrical settings. My works tend to have a destructive edge as they often include fragile, ephemeral or worn-down elements, or objects whose very existence is dubious, while playing with the rules of physicality or perverting cultural codes.

Soda_Jerk
Soda_Jerk are two collaborative artists since 2002, who work exclusively with audiovisual samples to create new narratives. By atomising and reassembling recorded culture they aim to manufacture counter-mythologies of the present. In their work sampling becomes a means of synthesising distinct space-times, making explicit the inherent ‘science-fiction’ of recorded media. Their work at Künstlerhaus Bethanian includes the completion of Astro Black: A History of Hip-Hop, a four-channel video installation that draws on the cultural theory of Afrofuturism. Mixing fictional sources and historical facts, this work proposes a radical historiography that is part documentary and part sonic fiction. Soda_Jerk are also currently experimenting with the material manipulation of celluloid in ‘The Dark Matter Cycle’, a series of videos set at the conceptual intersection of recorded media, the passage of time and death.

Mai Yamashity + Naoto Kobayashi
Mai Yamashita + Naoto Kobayashi are a Japanese artist couple and started to work together in 2000. After graduating from the Tokyo University of the Arts they moved to Germany, where they have been living and working since. Their mostly performative works are condensations of everyday life, whose simple structure and deliberately absurd methodology allow them to complete seemingly impossible ‘tasks’. In Candy (2005), for instance, the artists licked a huge ball of candy every day over a period of weeks or months until it had been reduced to normal size. In Infinity (2006) the duo is seen jogging day after day over a ‘course’ in the shape of the sign for infinity (?), which thus slowly inscribes itself on the grass. The artist’s seriousness in performing these seemingly purposeless tasks is infused with a distinct sense of humour, while making viewers reconsider the many meaningless rituals that dictate their daily lives. Yamashita + Kobayashi’s work has been exhibited among others at Kiasma Museum of Contemporary Art in Helsinki and Museo de Arte Contemporánea de Vigo (MARCO).

Künstlerhaus Bethanien

ImageMovement

2010-11-16T10:06:00.002+01:00

ImageMovement. Artists Films and Films on Art
Oranienburger Str. 18, Berlin

ImageMovement Store

»The Future of Art«

2010-11-08T14:55:00.003+01:00

»The Future of Art« 157 min. HD, Farbe, 2010
Ein Film von Erik Niedling & Ingo Niermann

GLORIA Berlin, Heidestr. 52, Gebäude 4A, 10557 Berlin

Mittwoch, den 10. November 2010 um 19 Uhr

Mit: Marina Abramovic, Thomas Bayrle, Olaf Breuning, Lady Jaye and Genesis, Breyer P. Orridge, Olafur Eliasson, Harald Falckenberg, Boris Groys, Damien Hirst, Gregor Jansen, Terence Koh, Gabriel Loebell, Marcos Lutyens, Philomene Magers, Antje Majewski, Hans Ulrich Obrist, Thomas Olbricht, Friedrich Petzel, Tobias Rehberger, Hans Georg Wagner

Kamera: Christian Görmer, Schnitt: David Adlhoch, Musik: Katrin Vellrath, Farbkorrektur: Maik Bluhm, Tonmischung: Frithjof Rödel

ZERN

ex.oriente.lux. Experimental-Filmarchiv-Ost!

2010-10-22T16:19:00.004+02:00

Die Zeit: Die hier versammelten Filme und ihre Macher haben im wesentlichen eines Gemein: Sie entstammen einer Gruppe von Künstlern die, in den Jahren 1976 bis zum Ende der DDR im November 1989 (und - als Reflexion - darüber hinaus), eine alternative, unabhängige Film-szene bildeten.

Das besondere an dieser letzten Künstler-Generation der DDR war, daß sie in einer Zeit lebten und arbeiteten, in der ihnen ihr Land keinerlei Identifikationsmuster mehr bot. Mit der Ausweisung Biermanns 1976 änderte sich das Verhältnis von Staat und Kunst noch einmal deutlich.

Die Szene: Entsprechend dem neuen Klang der Zeit mußte sich auch die Gewichtung von Inhalt und Form der Protagonisten dieser „Nach-Biermann-Generation“ grundlegend verla-gern. Die Vorhaltung des Mankos zwischen Anspruch und Wirklichkeit in der DDR-Gesellschaft war nicht mehr interessant. Vielmehr wollte man dem Geschehen eine eigene, wenn auch virtuelle Realität entgegen halten. Politisch eindeutige Äußerungen der unabhängigen Kunstszene der 80er waren Ausnahmeerscheinungen, die tendenziell nicht ernst genommen wurden. Dennoch waren ihre Arbeiten de facto durch ihre bloße Existenz politisch widerständig,

waren sie doch in der Topographie der DDR-Kulturpolitik eindeutig nicht vorgesehen. Aggressive Eingriffe von Seiten des Staats waren hier dennoch selten. Für die meisten der beteiligten Künstler war das Filmemachen nur ein Teil ihrer künstlerischen Arbeit. Viele waren - und sind heute noch - Maler. Auch deshalb hat diese Ostdeutsche Schmalspurfilmszene einen starken multimedialen Aspekt. Oft wird das Zelluloid auch direkt bemalt (Ein herausragendes Beispiel ist hier Lutz Dammbecks Film „Hommage à la Sarraz“ von 1981).

Das Ex.Oriente.Lux - Archiv: Die Initiatoren Karin Fritzsche und Claus Löser (der auch der Leiter des Archivs ist), möchten darauf hinweisen, das es sich hier um keine Sammlung mit einem Anspruch auf Vollständigkeit oder Objektivität handelt. Je mehr Zeit vergeht, desto mehr beginnen sich einige Details zu verwischen. Das geht bis hin zu Titeln, Entstehungs-jahren und Laufzeiten, die von den Künstlern selbst manchmal wiedersprüchlich angegeben werden. Filme sind verloren gegangen, oder wurden vernichtet, Filmemacher sind verstorben, oder unauffindbar.

Ebenso ist es nicht Gegenstand der Sammlung, oder der sie begleitenden Texte, zu beurteilen, was „richtige Kunst“ und was kokette Protestgebärde gewesen ist. Gemeinsam ist den Arbeiten allemal der Vorzug, jenseits aller ästhetischen Bedeutung, daß es sie damals überhaupt gegeben hat. Dieser Umstand hebt sie aus dem grauen Einerlei der durchschnittlichen Anpassung hervor. Sie reflektieren heute Befindlichkeiten, die sonst nicht mehr nachvollziehbar wären.

ex-oriente-lux.net

On Objects and Fetishes

2010-10-01T10:06:00.007+02:00

MARC ASCHENBRENNER, ULF AMINDE, PIA GRESCHNER, LISA JUNGHANß, ANNIKA LARSSON, STEFAN PANHANS, NICOLE WERMERS

presented by Anna-Catharina Gebbers & Olaf Stüber

2 October 2010, 14:00-18:00hrs

Anna-Catharina Gebbers | Bibliothekswohnung
Ziegelstr. 2, 6. Stock / 6th floor, 10117 Berlin Mitte
www.bibliothekswohnung.com

An object with special powers can also be described as a fetish. The word ‘fetish’ is derived from the Portuguese feitiço (L. factitius), meaning ‘artificial’, ‘false’ or ‘sorcery’. There is a connection between an artificial object and magical powers Inscribed in the fetish. Fetishes can take material form, but their true significance lies in the embodiment of meanings, symbols, forces, energies, powers, spirits, deities, etc. Interestingly, these magical relations do not exist in parallel worlds removed from everyday existence:

Utility objects have conventions of use and action inscribed within them, through which the objects themselves tell us what they mean and how we should deal with them. In view of the formative power emanating from such objects, the question can be raised as to whether objects serve us or vice versa. Objects appear to have at least a co-authorship in our actions. These object relations can have the effect that we ascribe them magical properties, autonomous power or the capacity to act independently. As a factory contains a whole regime of actions that are predetermined by objects, Karl Marx believed that the human subject here becomes alienated from his own true nature and is thus ‘objectified’. For Jean Baudrillard, this idea culminated in the ‘desiring machine’ in the form of an autonomous, intelligent robot, along with the chilling notion that the autonomisation of machines would eventually lead to them taking man’s place (The System of Objects, 1968). According to the Situationist International, objects produced in the society of the spectacle actually fabricate needs (Guy Debord, The Society of the Spectacle, 1967). The actor-network theory (Michel Callon/Bruno Latour) describes the power of objects to act as agency.

Contemporary culture appears to provide the reflexive and mediatory form that allows us to swing back and forth between economic rationality or scientific truth and fetishistic practices. We even seem to depend on enchantment as a way of protecting ourselves from dissociation, anomy and the loss of our sense of belonging.

For On Objects and Fetishes Anna-Catharina Gebbers and Olaf Stüber have brought together moving image works by seven contemporary artist that revolve around the magic of objects: Marc Aschenbrenner (AT), Ulf Aminde (DE), Pia Greschner (DE), Lisa Junghanß (DE), Annika Larsson (SE), Stefan Panhans (DE), and Nicole Wermers (DE). The main theme in the works of Pia Greschner and Nicole Wermers are the promises and the ‘personalities’ of architectural objects. Ulf Aminde and Marc Aschenbrenner show protagonists who gradually merge with objects. Lisa Junghanß’s work revolves around the fetish as both ritual and erotic object. Annika Larsson and Stefan Panhans focus on fetish-like insignias with social symbolic power. Screening during Frieze Art Fair week: Friday, October 15, 6pm–10pm at 401 Contemporary, 13 Mason's Yard, St. James's, London SW1Y 6BU, England, www.401contemporary.com.

The moving image works are on view within the solo exhibition The Black Object of the artist Heji Shin (DE). Her photographic work is focussed on the camera's ability to seduce. Characterised by a cinematic aesthetic her works question the ability of the photographic medium to purely document and instead emphasises on its theatrical power. The exhibition at the Bibliothekswohnung displays a dramaturgy of portraits, still life and material studies in which the depicted object unfold their magic.

The exhibition takes its associative starting point from Oraninenburgerstrasse, a street that is located near to the Bibliothekswohnung and which connects Friedrichstrasse with Hackescher Markt. Tourists, art lovers, fashionistas, prostitutes and their customers create the group of flâneurs. Exhibitionism and voyeurism, as well as specific object preferences and fetishes are part of all these environments - and blur the boundaries.

ON-CURATING ISSUE 03: Curating Film

2010-09-29T16:55:00.001+02:00

We would like to recommend the third issue of the independent international Web-Journal ON-CURATING.ORG, which is about "Curating Film". ON-CURATING.ORG is focusing on questions around curatorial practice and theory.

"Curating Film" presents interviews with seven curators who work primarily with the format of film and/or video. These interviews were all conducted in May 2009 during the International Short Film Festival Oberhausen by Siri Peyer.

The issue addresses the question as to what constitutes and characterizes each respective style of curatorial work with the moving picture. How can the specific spatial situation in the cinema be conceived as a space which evokes meaning in a special way, and what is the nature of the narrative break brought about by showing films in exhibition galleries? What are the specific ideological structures which distinguish these spaces?

Interviews with:
Ian White / Katerina Gregos / Gridthiya Gaweewong and David Teh / Mark Webber / Sheryl Mousley / Alice Koegel (in German) / Alexander Horwath (in German)

You can download the ON-CURATING ISSUE 03: Curating Film here

HEJI SHIN The Black Object

2010-09-25T14:23:00.002+02:00

25 September 2010, 14:00-18:00 Uhr

Anna-Catharina Gebbers | BibliothekswohnungZiegelstr. 2, 6. Stock / 6th floor, 10117 Berlin Mitte
www.bibliothekswohnung.com

The work of the German photographer Heji Shin (born 1976 in Seoul, lives in Berlin and New York) is focussed on the camera's ability to seduce. Her photographic works are characterised by a cinematic aesthetic. This questions the ability of medium to purely document and instead emphasises on its theatrical power. The exhibition at the Bibliothekswohnung displays a dramaturgy of portraits, still life and material studies.

The Bibliothekswohnung is located near to Oranienburgerstrasse, which connects Friedrichstrasse with Hackescher Markt. Tourists, art lovers, fashionistas, prostitutes and their customers create the group of flaneurs. Exhibitionism and voyeurism, as well as specific object preferences and fetishes are part of all these environments - and blur the boundaries.

A series of images shown at the Bibliothekswohnung investigates the leather as material by gliding over the surfaces. The close-ups create the intimate sensuality of an almost possible touch. The eyes of the viewer scan the surface, the pores and wrinkles of the skin. Paradoxically, in a way the close-up also denies to describe the object by eliminating any measurability. The photographs of the black surface reminiscent rather of Malevich's Black Square as an ideal-typical model of the utmost simplicity and a pure intuition. The leather becomes a lyrical structure, which like a naked icon can reflect the pure sensation – free of value differences, privileges and opportunities for comparison.

Heji Shin‘s portrait works draw the viewer into a world of an erotically connotated imagery that oscillates between a fashionable staging and the intimate game. The persons in the photos seem relaxed and almost coincidental. And yet, in every composition intuitive approach and well calculated planning interlace. Heji Shin arranges the pictures carefully. Every detail is deliberately set: the folds of the clothes, the location of the hair, the shades of sharpening and blurring in the image space. Quite casually, the viewer is reminded of the works of Gustave Courbet or even Titian's Venus of Urbino. And at the same time the frozen moments seem to refer to an epic storyline. Heji Shin plays with light and shadow, creating an increased dramatic atmosphere as in still images from movies. The constant presentiment of a story unfolds the suggestive power of a secret which you are curious to know - just like the end of a movie. But as with the films of David Lynch there is only a disturbing uncertainty that is never resolved.

The Black Object at Anna-Catharina Gebbers | Bibliothekswohnung is Heji Shin's first solo exhibition.

On October 2, 2010 from 2–6pm we will screen the filmprogramm On Objects and Fetishes. Anna-Catharina Gebbers and Olaf Stüber will present videos and moving image works by Ulf Aminde, Marc Aschenbrenner, Lisa Junghanß, Stefan Panhans, Nicole Wermers and others.

SALON POPULAIRE

2010-09-08T17:03:00.003+02:00

Do we all have strength enough to endure the misfortunes of others?*

Salon Populaire invites you to join a conversation about
Renzo Martens' film Episode 3: Enjoy Poverty

With Jennifer Allen, Felix Ensslin, Renzo Martens, Ana Teixeira Pinto and Dieter Roelstraete.

*(the sentence is a maxim by La Rouchefoucault)

Supported by: The Royal Netherlands Embassy
Media Partner: Mousse Magazine

12. September · 20:00 - 23:00

Salon Populaire

Transient Spaces – The Tourist Syndrome

2010-09-01T18:05:00.002+02:00

presents: Films on the topics of contemporary mobility, tourism and migration

04.09. – 05.09.2010, from 16:00

Filmmaker: Christian von Borries, Raphaël Cuomo / Maria Iorio, Sandra Hetzl, Christoph Oertli, Maxim Pozdorovkin / Joe Bender, Paul Rowley / Nicky Gogan und Marie Voignier.
Most filmmakers will be present.

Curators: Tobias Hering, Marina Sorbello, Antje Weitzel

Location: Ballhaus Naunynstrasse, Naunynstr. 27, 10997 Berlin
free entrance

The film programme takes place on the occasion of the exhibition Transient Spaces – The Tourist Syndrome: Berlin, 27.8. – 10.10.2010, NGBK and Kunstraum Kreuzberg/Bethanien.

futher information: Transient Spaces

LAIKA - all good things come in TROJKA

2010-09-01T17:51:00.002+02:00

03.09 at .HBC 20:00 am
HANAYO, REYNOLD REYNOLDS, CHIAKI, TOBY HARRIS, JEFFERS EGAN, EMMANUELLE 5, WERNER DAFELDECKER, PHILIPP JESTER

.HBC, Karl-Liebknecht-Str. 9, Berlin

futher information: LAIKA Project

ROBERT WILSON | Dancing In My Mind. Für Suzushi Hanayagi

2010-08-28T19:27:00.002+02:00

Akademie der Künste, Berlin, Pariser Platz
Ausstellung bis 12. September, 2010

Mit der japanischen Choreografin und Tänzerin Suzushi Hanayagi (geb. 1928) verband Robert Wilson lange Jahre eine seiner wichtigsten und intensivsten Arbeitsbeziehungen. Noch bis zum 12. September zeigt er jetzt im Rahmen der Projektreihe "Politische Körper" der Akademie der Künste in Berlin eine empathische Hommage an die heute an Alzheimer erkrankte große Tanzmeisterin. Die Präsentation der Rauminstallation mit Videoporträts von Suzushi Hanayagi in der Akademie der Künste am Pariser Platz findet an ihrem letzten Ausstellungstag, Sonntag, dem 12. September, ihren Höhepunkt mit der Vorführung eines Dokumentarfilms von Robert Wilson über seine künstlerische Partnerin und der Aufführung einer von Wilson choreografierten Performance von Stücken der Tänzerin aus den 60er und 70er Jahren.

Infos und Kartenreservierung unter www.adk.de

Screenings in General #19

2010-08-27T18:40:00.003+02:00

Gabriel Shalom 'videomusician'
curated by Shintaro Miyazaki

Date: Wednesday 1 September 2010
Doors: 20:00, Screening: 21:00

General Public, Schönhauser Allee 167c, 10435 Berlin

Reception Berlin

2010-08-25T16:14:00.001+02:00

"seams and notches"
Flo Gaertner, Heiko Karn, Katrin Mayer, Eske Schlüters

For her new video, Eske Schlüters mounted excerpts from various films: The film Christiane F., which includes an appearance by David Bowie, is an important point of reference, together with the S.O.U.N.D., a discotheque in Genthiner Strasse in the 1970s and ’80s, and the 1931 screen adaptation of Alfred Döblin’s novel Berlin Alexanderplatz. The re-assembled moving images concentrate on the interaction of the figures’ movements with the architecture of the public spaces.

Opening of the Exhibition: Friday, August 27, 6 - 9 pm

Kurfürstenstrasse 5/5a, D-10785 Berlin
Opening Hours: Wed-Sat 11 am - 6 pm and by appointment

reception berlin

SPLACE FILMPROGRAMM

2010-08-24T18:17:00.003+02:00

by Dirk Peuker

Leopold Kessler, Olaf Nicolai, Bettina Nürnberg & Dirk Peuker, Matthias Müller, Salla Tykkä, Karl Kels, Mathilde Rosier Splace,

Thursday 26.8.2010 / 7 – 10 p.m. 

SPLACE is the former GDR exhibition space for East Berlin, located in the base of Berlin's TV Tower on Alexanderplatz.

LOCATION: At the base of the TV tower, on the first floor. Coming from the square with the fountains go up the big flight of stairs, turn right and keep walking.

Organized by: Antje Majewski, Magdalena Magiera, Dirk Peuker, Juliane Solmsdorf

Splace

Media Facades Festival Europe 2010

2010-08-10T17:49:00.007+02:00

27 August - 2 October 2010
 MEDIA FACADES FESTIVAL EUROPE 2010 (MFF 2010) is an urban media art project that interconnects seven European cities through urban screens and media facades located in public spaces. Artists and media designers will show especially developed art projects Europe wide, through Screenings and Joint Broadcasting Events, opening a global window to create dialogue, share dreams and exchange ideas.

MFF 2010 is initiated by Public Art Lab / Berlin in cooperation with iMAL / Brussels, m-cult / Helsinki, FACT / Liverpool, Ars Electronica Futurelab / Linz, Medialab-Prado / Madrid, Kitchen Budapest. With the support of / Avec le soutien de / Met de steun van: European Commission Culture Programme, Communauté Française de Belgique, Nuit Blanche Bruxelles More info / Plus d'info / Meer info: http://www.mediafacades.eu

Babusch - Project 6: Sela & Amir

2010-08-10T17:37:00.004+02:00

Project 6: Ruti Sela & Maayan Amir "Beyond Guilt" (12.8.-9.9.10)

Opening: Thursday, 12 August, 7 pm

"Beyond guilt" (video trilogy 2003-2005, 42 min.) consists of 3 chapters. Chapter 1 was shown on this year's Berlin Biennial (which ended last week). Shot in public toilettes, the video put into focus the interrelations between sexuality, violence and power and leaves an uneasy feeling. Babusch is now presenting the complete trilogy.
Screenings start at 7.15, at 8 and at 8.45.

Babusch - Project Space for Art from and about Elsewhere
Kopenhagener Str. 33 (Aufg. I), 1st floor
10437 Berlin-Prenzlauer Berg

Videoart at Midnight #15: Marc Aschenbrenner | Knut Klaßen

2010-05-29T13:06:00.004+02:00

Videoart at Midnight (a project by Olaf Stüber and Ivo Wessel)

#15: Marc Aschenbrenner | Knut Klaßen

Freitag, 28. Mai 2010, 24:00
BABYLON, Rosa-Luxemburg-Platz, Berlin, Großer Kinosaal
(Eintritt frei | admission free)

Marc Aschenbrenner »Fatigue« 2010, 10:00 min - first release
Knut Klaßen »Das Muster« 2010, 48 min - first release

Das Muster: Pädophile in Miami, Art Deco in Miami Beach, Brückenskulpturen im Märkischen Viertel/Berlin, Hausarbeit im Schwarzwald, Sprach- und Systemübertragung in Abidjan. Mit Kaba Adjahallama, Sarah Bennani, Caspar Böhme, Bobwear, Georg Heinrichs, Hauke Heumann, Carsten Krohn, Gabriel Loebell-Herberstein, Magicien, Martin G. Schmid, Shaggy Sharoof, Franck Edmond Yao u.a. Gefördert durch die Kunststiftung NRW

Stop & Go

2010-05-19T16:07:00.010+02:00

fluctuating images presents at General Public:

“Stop & Go” – screening using stop-motion techniques by visual artists and filmmakers. Curated by Sarah Klein

Sunday, May 23, 2010, 8pm Introduction by the curator
General Public, Schönhauser Allee 167c, U2-Senefelder Platz

Kissing hats, elephants driving, a man who turns into the sun, and dinosaurs roaming the countryside rarely happen in real life, but at the stop-motion film screening all of this will become ordinary. Established filmmakers and visual artists will use stop-motion techniques to tell stories, examine visual phenomena, and make political statements in a collection of short videos.

The line-up of videos includes national and international artists and is curated by San Francisco Bay Area artist and animator Sarah Klein. Klein, who uses hand-drawn images and stop-motion animation in her own work, chose pieces that explore the possibilities of stop-motion processes. The animators breathe life into magazine cutouts, homemade drawings, everyday objects, and even the body itself. The result is a selection of videos that are humorous, poignant, and marvelous.

Selected videos in the Stop & Go screening include The Manipulators by Clare Rojas and Andrew Jeffrey Wright who alter and collage images from fashion magazines to create an entirely different story. Intricate paper-cutout circles by sculptor Jen Stark become a series of regurgitating rainbows and mysterious organic structures in Papermation. Quilt-maker Sherri Wood and animator Ignacio Alcantara collaborate on Sewing for Jesus as they animate the making of a quilt that honors the missing American and Iraqi citizens who have died in the Iraq War. Young students from the Croatian animators workshop SAF Cakovec Studio create a darkly funny animation of two characters and their mishaps in We’ve All Fallen From Mars. Comic illustrator Lilli Carré creates a high-wire act of sleepy time bears, black crows, and senior folk in For the Birds.

The complete list of artists includes Ignacio Alcantara, Tommy Becker, Lilli Carré, Pete Davies, Samara Halperin, Meredith Holch, Sean Horchy, Stephanie Hutin, Andrew Kelleher, Lana Kim, Sarah Klein, Mike Leavitt, Michael McHam, Laurie O’Brien, Saelee Oh, Mel Prest, Clare Rojas, Judith Selby, SAF Cakovec Studio, Jen Stark, Melinda Stone, Claudia Tennyson, Sherri Wood, Aeneas Wilder, and Andrew Jeffery Wright.

A cooperation between General Public and fluctuating images.

www.generalpublic.de

Die Fahrt durchs Haus

2010-05-06T13:52:00.006+02:00

urbanoFILMS #13: „Die Fahrt durchs Haus“

6. Mai 2010, 20 Uhr, Einlass ab 19.30 Uhr, Eintritt 3 Euro 

Urbanophil zeigt am 6. Mai den Film „Die Fahrt durchs Haus“ von Knut Klaßen und Carsten Krohn, der sich dem Werk und Leben des Architekten Georg Heinrichs (*1926) widmet. Von ihm geplant und errichtet wurden u.a. das Forum Steglitz, das Märkische Viertel und die Autobahnüberbauung an der Schlangenbader Straße. Der Film stellt auf künstlerische Art den Architekten sowie seine Bauwerke und ihre Besonderheiten vor.

Die anschließende Diskussion mit den beiden Regisseuren Klaßen und Krohn wird sich mit der Person Georg Heinrichs beschäftigen und die Bedeutung seiner Bauwerke für die Berliner Architekturlandschaft beleuchten. Die Regisseure werden in der Diskussion über die Gebäude Heinrichs, insbesondere zu denen der 1970er Jahre, interessante Aspekte und Details benennen und deren – vielleicht bislang verborgene – Schönheit zu Tage bringen können.

Eine Veranstaltung im Rahmen der Reihe “Schonungslos Retro – urbanophil im Bierpinsel“.

Veranstaltungsort: Schlossturm (Bierpinsel) – Schloßstraße 17, 12163 Berlin-Steglitz, U-Bhf Schloßstraße (U9)

www.urbanophil.net

WOLF KAHLEN 70th birthday

2010-05-03T11:17:00.004+02:00

Einladung / Invitation
RUINE DER KÜNSTE BERLIN
zeigt zum 25 -jährigen Bestehen
und zum 70. Geburtstag von Wolf Kahlen /
presents on occasion of its 25th anniversary
and Wolf Kahlen’s 70th birthday

Chörten Digital, VideoInstallation 2005

VideoTapes 1969-2010
das Gesamtwerk/The complete works
von/of 158 Videos On Demand

9. Mai bis / until 30. Juni, täglich 17-20 h, Eintritt frei

Eröffnung / Opening
Samstag 8. Mai 2010, 19 Uhr
Saturday, May 8, 2010 at 7 pm

RUINE DER KÜNSTE BERLIN
Hittorfstr. 5
D- 14195 Berlin-Dahlem
Tel.+49 30 831 3708
www.wolf-kahlen.net

SASCHA HAHN Essay (working title)

2010-04-30T17:03:00.005+02:00

SASCHA HAHN
Essay (working title)

1. Mai 2010, 14:00-18:00

Anna-Catharina Gebbers | Bibliothekswohnung
Ziegelstr. 2, 6. Stock / 6th floor, 10117 Berlin Mitte
www.bibliothekswohnung.com

Sascha Hahn zeigt in der Bibliothekswohnung sein neues Videoessay „Essay (working title)“ (2007–2010), eine Reihe von bildnerischen Arbeiten sowie drei kürzere Videoarbeiten.

Der Künstler zog vor drei Jahren nach Berlin, um die Mythen um David Bowies Berlin-Aufenthalt in den 1970er Jahren und seine Freundschaft zu Iggy Pop zu untersuchen. Über drei Jahre entstand eine essayistische Erzählung, in der gefundenes Filmmaterial mit eigenen Aufnahmen zu einer hypnotisierenden Folge von Bildern verarbeitet worden ist. Die offene Struktur ist nicht nur ein formales Mittel: Sie lässt auch die Projektionen und Hoffnungen ahnen, die am Anfang des Filmprojekts standen und zeigt das Scheitern daran, den Mythos zu greifen. Eine Verschmelzung mit der Projektion des Popmythos konnte nicht gelingen. Diese beiden Bewegungen sind im Film miteinander verwoben: Ähnlich wie in den Kompositionen von Johann Sebastian Bach schwingt thematisch das Ende am Anfang bereits mit.

Hahn erzeugt mit Bildern und Tönen den Eindruck von einer Art „Traumschlaf“ (Walter Benjamin), bei dem der bewusste Prozess der Wissensaneignung ein unerreichbares Ideal bleibt und alle kulturellen Werte nur geträumt sind. Dieser Wachtraum findet seine formale Umsetzung im minimalistischen Soundtrack, im Verzicht auf Farbe und darin, gesprochene oder schriftliche Kommentare auf ein Minimum zu reduzieren. So wirken in Hahns Werk Optik und Akustik auf einander ein und bilden über die vertikale Montage eine innere Einheit.

Sascha Hahn wurde 1979 in Neuss geboren. Er studierte an der Kunstakademie Düsseldorf bei Helmut Federle und Jörg Immendorf. Heute lebt er in Berlin. Seine Arbeiten waren unter anderem zu sehen in der Galerie Jacky Strenz, Frankfurt, im Kunstverein Malkasten, Düsseldorf, in der Galerie Neue Alte Brücke, Frankfurt, bei Art in General, New York, im Museum Witte de With, Rotterdam, bei Vilma Gold, London, in der Gagosian Gallery (4. berlin biennale), Berlin und im Museum Abteiberg, Mönchengladbach. „Essay (working title)“ ist Hahns erste Einzelausstellung in Berlin.

---
(English text version)

Sascha Hahn presents at Bibliothekswohnung his new video essay “Essay (working title)” (2007-2010), a series of paintings and three shorter video works.

The artist moved to Berlin three years ago in order to investigate the myths around David Bowie's stay in Berlin in the 1970s and his friendship with Iggy Pop. Over three years Hahn produced a narrative essay which combines found footage with filmic material shot by him. The result is a mesmerising series of images. The open structure is not only a formal play: It also alludes the projections and hopes from where the film project started and shows the failure of accessing the myth. There is no way to merge with the pop myth. These two movements are intertwined in the film: as in the compositions by Johann Sebastian Bach the end is thematically already resonating in the outset of the composition.

Hahn creates with images and sounds the impression of a sort of "Traumschlaf" ("dream sleep", Walter Benjamin), in which the conscious process of acquiring knowledge is an unattainable ideal, and all cultural values are only dreamed. This waking dream finds its formal implementation in the minimalist soundtrack, in the absence of colour and in the reducing of spoken or written comments to a minimum. Thereby optics and acoustics influence one another in Hahn's work and form the productive combination of the film picture and the sound by vertical montage.

Sascha Hahn was born in 1979 in Neuss. He studied at the Art Academy in Düsseldorf under Helmut Federle, and Jörg Immendorf. He now lives in Berlin. His works were shown among others in the gallery Jacky Strenz, Frankfurt, Kunstverein Malkasten, Düsseldorf, Galerie Neue Alte Brücke, Frankfurt, at Art in General, New York, the Museum Witte de With, Rotterdam, at Vilma Gold, London, at the Gagosian Gallery (4th berlin biennale), Berlin, and Museum Abteiberg, Moenchengladbach. “Essay (working title)” is Hahn's first solo exhibition in Berlin.

Show III

2010-04-29T15:10:00.003+02:00

MMX- Open Art Venue, Linienstraße 142/143, Mitte

Hours- Wed 12-22 Thu-Fri 12-18 Sat-Sun 12-19

Exhibition: April 30- May 28

Opening: April 30, 2010 19:00-22:00

Show III opens on April 30, 2010 from 19:00-22:00, with the exhibition expanding out of the interior rooms. Cedric Bomford creates a fantastical construction that keeps Tobias Sternberg’s extinct animal sculptures safe in the garden. Michael Ebert and Julian Oliver work with the back courtyard, same space but different approaches; one physical and one virtual. Karol Slowik’s glowing Immaculate Conception sculpture, David Krepfle’s ironic mask work and Ingrid Roe’s Tomorrow Never Comes photography installation premiere at MMX. Veronika Schumacher returns to engulf the entire room with her decadent and bipolar wallpaper. Circadian, the light therapy room installation by Rebecca Loyche stays two more weeks and Screening program III is curated by the MMX Directors. Featuring video work by Juan Arata, Jesper Just, Meredith Davenport, Susanne Bürner, Reynold Reynolds, Cat Tyc, Ellie Krakow, Ole Schmidt, Alex Golden, Mikko Gaestel & Lilli Kuschel.

www.mmx.mx

maybe a kiss in the garden

2010-04-29T14:55:00.002+02:00

screening programme in two parts
part II Maja Borg »Ottica Zero«

30 April–15 May 2010

inaugural screening: Thursday 29 April, at 7.30 and 8.30 pm

duration of the film: 12'48 min.

Special Screening: On Friday, April 30, and Saturday, May 1,

both films Karl Holmqvist »I'm with you in Rockland« & Maja Borg »Ottica Zero«, will be screened successively on the full hour during gallery hours.

CIRCUS Obentrautstrasse 21 Haus 17, 10963 Berlin
+49.30.25 800 667
www.circusberlin.de

UNWETTER

2010-04-15T14:05:00.002+02:00

UNWETTER
Video- und Soundinstallation

Eröffnung: Dienstag, 20. April 2010, ab 18 Uhr BLACK BOX, AdK

Akademie der Künste
Pariser Platz 4, 10117 Berlin-Mitte
21. April - 20. Juni 2010
dienstags bis sonntags 11 - 20 Uhr, Eintritt frei.

KÜNSTLER
Guido van der Werve (Holland) / Alexander Nikolaev (Uzbekistan) / Simon Faithfull (England) / Marcellvs L. (Brasilien) / Reynold Reynolds (USA) / Eugenio Ampudia (Spainien) / Michael Sailstorfer/Jürgen Heinert (Deutschland) / George Osodi (Nigeria) / Laura Glusman (Argentinien) / Kalle Laar (Deutschland) / Thomas Mulcaire (South Africa) / Agnes Meyer-Brandis (Deutschland)

Kurator: Alfons Hug, Kuratorische Assistentin: Paz Guevara.

Ein Projekt des Goethe-Instituts Rio de Janeiro und der Akademie der Künste, Berlin.

Gretchen Dutschke und ihre Kinder 1985/2008

2010-04-14T16:22:00.002+02:00

„Gretchen Dutschke – Eine Videoinstallation mit ihren Kindern 1985/2008“

Michaela Buescher und Gerd Conradt

15. - 21. April in der Galerie Oval im Babylon Mitte, Rosa-Luxemburg-Platz

Ausgangspunkt der Installation ist das erste Video-Interview von Gretchen Dutschke-Klotz nach dem Tod Rudi Dutschkes, das Michaela Buescher und Gerd Conradt 1985 auf U-Matic aufgezeichnet haben. Nun, 23 Jahre später wird das alte auf zentrale Inhalte konzentrierte und unter einem familiendynamischen Blickwinkel zusammengestellte Material Gretchen selbst und den gemeinsamen Kindern Polly, Hosea und Marek gezeigt und deren Reaktionen beim ersten Sehen gefilmt. In der Installation wird das Material mehrfach von Kommentaren und Erinnerungen unterbrochen. Graublenden auf allen Monitoren verbindet die Familienmitglieder immer wieder miteinander und ermöglicht ein kurzes Innehalten. Überhaupt ist die Installation eine sehr poetische, nahezu kontemplative Arbeit, die dem Zuschauer ohne hektische Schnitte viel Zeit lässt, sich den Protagonisten zu nähern.

Die Installation wurde hergestellt im Rahmen der Ausstellung RECORD > AGAIN! - 40jahrevideokunst.de - Teil 2 des ZKM (Zentrum für Kunst und Medientechnologie) Karlsruhe 17. Juli 2009 - 6. September 2009

i RAN HOME presents Iran Inside Out - Tailored

2010-04-14T07:57:00.004+02:00

Friday, April 16, 2010 from 7 pm
The screening and discussion are the result of the "Lost in Transmission" workshop.
Organized by Shahram Entekhabi, Hannah Munger and Sophia Schultz

at Galerie Christian Hosp (Halle am Wasser, Invalidenstr. 50/51, 10557 Berlin)

www.i-ran-home.org

Special Screening: William Hunt

2010-03-19T17:50:00.003+01:00

I don’t believe you, you’re a liar

Sunday, March 21, 2 - 6 p.m.
Wentrup
Tempelhofer Ufer 22
10963 Berlin

Artist William Hunt transformed the Artists' Studio into a recording studio and invited singer songwriters to be hooked up to a polygraph machine (lie detector). He explored the ability to separate mind from body asking is it truly heartfelt or are they just pushing our buttons?

“I don’t believe you, you’re a liar” was Bob Dylan’s response to a heckler in 1966 during a performance at the Free Trade Hall when he had made the transition to electric. Acoustic and especially folk music had traditionally been associated with protest and the authentic.

At the final performance in London´s King's Cross station 'Saturday Night TV' acts performed linked up to a lie detector and were critiqued not only on their singing talent but on their genuineness. The final was judged by a ‘celebrity panel’ along with the audience who were asked to shout “play loud, play real loud” or “I don’t believe you, you’re a liar”. Members of the audience were dressed as Bob Dylan.

www.wentrupgallery.com

MMX- Open Art Venue Show II

2010-03-13T18:38:00.004+01:00

March 13-April 16, 2010, Linienstraße 142/143, Mitte

Show II features a new nine channel video installation by Constantin Hartenstein, the premiere of Florian Gwinner’s video sculpture, Qualle, site-specific wallpaper, drawing and painting installations by Veronika Schumacher and Francisco Montoya. Clemens Wilhelm’s Je Crois Que Je Suis Malade (I believe I am Sick) and the “Blasomat” by Mikko Gaestel and Rasso Hilber are also included. Archivo video_dumbo is held over, along with Circadian the light therapy room installation by Rebecca Loyche.

www.mmx.mx

Today's studio visit: Ira Schneider

2010-03-11T17:48:00.006+01:00

we watched a couple of old and recent video works like the charming “A Weekend at the Beach, w. Jean-Luc Godard“ with Wim Wenders and Heiner Müller. On Ira's web site you will find a short documentation about the "Changing Channels" exhibition at the MUMOK in Vienna: www.ira-schneider.com

ARTIFARITI 09

2010-03-03T10:32:00.003+01:00

Museum Lichtenberg im Stadthaus, Türrschmidtstraße 24, 10317 Berlin

Präsentation am 10. März 19:30 - 21:00

Seit drei Jahren bringt das Künstlertreffen ARTifariti internationale Künstler, die Kunst als Mittel sozialer Transformation einsetzen, in die befreiten Gebiete der West Sahara.

Die dritte Ausgabe 2009, die von der spanischen Künstlerin Pamen Pereira kuratiert wurde, brachte bekannte spanische Künstler wie Federico Guzmán und Alonso Gil, aber auch Modemacher, Elektriker und Medienvertreter in die Flüchtlingslager in Südalgerien sowie in die Stadt Tifariti. Zwischen 1975 und 1991 war diese ein zentraler Schauplatz des Krieges zwischen Marokko und den Polisario Rebellen. In den 1980er Jahren wurde der 3 Meter hohe und ca. 2700 Kilometer lange marokkanische Wall nördlich von Tifariti errichtet, das gesamte Gebiet ist eines der landminenverseuchtesten Gelände der Erde.

Unter anderm stellen Ana Maria Millan und Andres Sandoval aus Kolumbien das Filmprojekt “A Pleno Sol” (In der Sonne) vor, das die Frente POLISARIO durch Autofahrten, Interviews und Diskussionen mit den Militärs zum Gegenstand macht. Die Recherche hat ein Dokument zwischen Fiktion und Dokumentation produziert, das als unheimliches Gründungsdokument der Demokratischen Republik Sahara gelten mag. (Film von Ana Maria Millan)

Artefariti 09

Sammlergespräch: Ivo Wessel

2010-03-02T09:48:00.003+01:00

Donnerstag, 4.3.2010, Einlass ab 20h
Bar Tausend, Schiffbauerdamm 11, Berlin-Mitte, www.tausendberlin.com

RSVP bis 3.3.2010: sammler@kunstmagazin.de

Der 1965 in Paderborn geborene Ivo Wessel gehört zu der jüngeren Generation von Kunstsammlern und lebt als Software-Entwickler in Berlin. Seit Schultagen hat er – neben einer gewissen Zuneigung für Computer und Elektronik – eine ausgesprochene Obsession für Literatur, insbesondere Prosa und zeitgenössische Kunst, wobei eine besondere Vorliebe für Video- und Konzeptkunst besteht. Teile seiner Kunstsammlung waren in der Fruchthalle Kaiserslautern, im Literaturhaus Berlin, in der Kunsthalle Kiel, im Kunstverein Göttingen und in der Galerie der Stadt Sindelfingen zu sehen.

Das Gespräch wird moderiert von Jan Kage.

Today's studio visit: Chris Newman

2010-03-01T18:29:00.006+01:00

Chris Newman is an old friend working experimental interdisciplinary using the medium of music, painting, video, drawing and literature. We watched some earlier rock videos with his band Janet Smith from the 80ies and some very good new stuff.

Chris Newman is singing

www.chris-newman.org

Sammlung Hoffmann. ich sehe : video

2010-02-27T15:56:00.007+01:00

Im Zusammenhang mit der aktuellen Einrichtung lädt die Sammlung Hoffmann ein, an jedem zweiten Montag des Monats von 19:00 bis 20:15 Uhr gemeinsam einige Videos zu sehen:

8. März 2010 - Yael Bartana:
- Trembling Time (2001), 6.16 min.
- Low Relief (2002), 8 min.
- Ad De'Io Yoda, (2003), 3.40 min.

12. April 2010 - Anri Sala:
- Intervista (1998), 26.33 min.
- Byrek (2000), 21.43 min.
- Nocturnes (1999), 11.28

10. Mai 2010 Gordon Matta Clark:
- City Slivers (1976), 15 min.
- Office Baroque (1977), 44 min.

Zusammengestellt und präsentiert von Miriam Schoofs

weitere Termine: 14. Juni 2010 N.N., 12. Juli 2010 N.N.

Sophie-Gips-Höfe, Sophienstraße 21, Berlin-Mitte
Zusagen bitte an: video@sammlung-hoffmann.de, damit jeder einen Platz findet.

Intothepill presents Greek Contemporary Video Art

2010-02-24T09:41:00.004+01:00

Opening Friday, February 26, 2010, 7 p.m.
Duration February 27 – April 10, 2010
Presentation Saturday, March 20, 2010, 8 p.m.

For this show uqbar invited the artists’ platform intothepill who is presenting a selection of greek contemporary video art with contributions by Marina Gioti, Yiannis Isidorou, Lina Theodorou, Tassos Langis, George Drivas, Yiannis Grigoriadis, Stefanos Tsivopoulos, Vassiliea Stylianidou, Yorgos Sapoutzis, Ioanna Myrka, Katerina Kana, Nina Kotamanidou, Panagiota Tzamourani, Mary Zygouri, Sifis Lykakis, and Nikolaos Tzaferidis (Vinsky).

Intothepill was founded in 2006 with the aim to develop a common ground of exchange and collaboration, and to create networks and to foster research and experimentation among artists involved with new media. The core of the research team of intothepill is made up of Yiannis Isidorou, Lina Theodorou, Yiannis Grigoriadis, Katerina Iliopoulou.

For further information on intothepill see: www.intothepill.net

uqbar
a project by Dorothee Bienert, Dortje Drechsel, Marina Sorbello, Antje Weitzel
Schwedenstrasse 16 | D -13357 Berlin | T + 49 (0)30 460 69 107
projectspace [at] uqbar-ev.de | projectspace.uqbar-ev.de

Today's studio visit: Maya Schweizer

2010-02-23T15:05:00.004+01:00

Maya gave an introduction into her great new video project about the street hawkers around the Eiffel Tour, planned for her solo show at Westfälischer Kunstverein Münster in Sep 2010.

www.mayaschweizer.com

NETZWERKTREFFEN 'MEDIENKUNST IN BERLIN'

2010-02-19T10:53:00.002+01:00

am 20.11.09, 20 Uhr gab es im general public (Schönhauser Allee 167c) im Rahmen von DOCK - Platform und der Vorstellung des 'Wegweiser Medienkunst (Berlin)' ein erstes Treffen für ein sich im Aufbau befindendes Netzwerk zur Medienkunst in Berlin.

Um die Vernetzung weiter voranzutreiben möchte ich Sie herzlich einladen, am Montag, den 22.02.2010 um 20:00 h in die Werkstatt für audiovisuelle Medien des Kulturwerk des bbk berlin, Mariannenplatz 2/ Bethanien (in der Druckwerkstatt) zu kommen. Der Abend soll Gelegenheit bieten uns gegenseitig kennen zu lernen, Produktionsorte von Medienkunst zu besuchen und uns weiter zu vernetzen.

Im Verlauf des Abends ist neben Raum für Gespräche eine kleine Vorstellung der 'Werkstatt für audiovisuelle Medien' sowie zwei weiterer Institutionen/ Organisationen, die sich im Feld der Medienkunst bewegen, geplant. Ich bitte Sie daher sich bei mir zu melden, sofern Sie Interesse haben ihre Arbeit näher vorzustellen und/ oder an diesem Termin kommen möchten -

medienwerkstatt@bbk-kulturwerk.de.

Idee ist es, diesen offenen Netzwerkabend mit einem jeweils anderen Gastgeber fortzuführen.

Mit den besten Grüßen, Sami Bill

P.S.: Es gibt Suppe und Wein.

Werkstatt für audiovisuelle Medien in der

Druckwerkstatt der Kulturwerk des bbk berlin GmbH

Mariannenplatz 2, 10997 Berlin

medienwerkstatt@bbk-kulturwerk.de

STAN BRAKHAGE Film-Screening

2010-02-12T11:16:00.004+01:00

STAN BRAKHAGE (1933 - 2003)

Einladung zum Film-Screening während der Eröffnung der Ausstellung
DIEHL Paintings 2008 - 2010

heute, 12. Februar 2010, 18.00 - 21.00 Uhr

Parallel zur Eröffnung der Ausstellung von H. J. DIEHL zeigt Campagne Première im Kabinett eine Auswahl von Filmen des US-Experimentalfilmers STAN BRAKHAGE (1933 - 2003). Die bahnbrechenden filmischen Techniken, die Brakhage in den 60er Jahren entwickelte - darunter das direkte Malen und Kleben auf den transparenten Filmstreifen - betonen die Bedeutung des Einzelbildes innerhalb der filmischen Sequenz. Entgegen der traditionellen Nutzung von Film als narratives Medium erzeugt er ein Gleiten von nicht identifizierbaren Formen, das eher abstrakten Gemälden oder musikalischen Kompositionen verwandt ist. Campagne Première freut sich, während der Eröffnung der Ausstellung mit neuen Arbeiten von H. J. DIEHL eine Auswahl von Filmen aus vier Jahrzehnten zu zeigen.
Mit freundlicher Genehmigung von Marilyn Brakhage.

Campagne Première
Chausseestrasse 116
D-10115 Berlin
T +49.30.400 54 300
F +49.30.400 54 301