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Interlude 18/19

Cinema & Art Couples
Paolo Sorrentino & Luca Trevisani

© Luca Trevisani, Sudan, 2016
© Luca Trevisani, Sudan, 1999

19/05/19 — 11 a.m.
Theatiner Filmkunst

Much beauty, but also aesthetic innovation and plenty of nostalgia: Paolo Sorrentino succeeded with his Oscar winner, a homage to Fellini’s ‘Dolce Vita’ and ‘Roma’ evoking the ‘eternal city’, a mixture of cynicism and tenderness, with spectacular camera movements and magical moments. Luca Trevisani’s tribute to the last white rhinoceros in North Africa, Sudan, guarded by heavily armed rangers, which the artist surrounds with lengths of cloth as if to protect him from impending death, is also tender, but by no means cynical.
Introduction: Bernd Ebert, Alte Pinkothek

Luca Trevisani | SUDAN | I 2016, 15 min
Paolo Sorrentino | LA GRANDE BELLEZZA | I, F 2013, 241 min (Italian OV, German subs)

Interlude 18/19

ARTIST TALK
ANNE IMHOF

Eliza Douglas in Anne Imhof, Faust, 2017 Deutscher Pavillon, 57. Internationale Kunstausstellung– La Biennale di Venezia © Fotografie: Nadine Fraczkowski Courtesy: Deutscher Pavillon 2017, die Künstlerin
Eliza Douglas in Anne Imhof, Faust, 2017 Deutscher Pavillon, 57. Internationale Kunstausstellung– La Biennale di Venezia © Fotografie: Nadine Fraczkowski Courtesy: Deutscher Pavillon 2017, die Künstlerin

09/04/2019 — 7 p.m.
Pinakothek der Moderne | Auditorium

Anne Imhof (born 1978) is one of the most important and original artists of our time. Her work spans the genres of performance, painting and room installation; she examines the traditional images and processes handed down through culture and the mass media and develops new tactics to reach a broader definition of the term “performance”. With the success of very few artists, she precisely captures the existentialism of current life and conveys it in impressive scenes and images that long remain with the viewer. The moving image serves not only for archival purposes but also to complement the live performances.
Anne Imhof has already held numerous international exhibitions. In addition to other important prizes, including the Berliner Preis der Nationalgalerie, she won the prestigious Golden Lion at the 2017 Venice Biennale for her work “Faust”, which was shown at the German Pavilion. Recently, the PIN Young Circle (PIN.YC) sponsorship group of the Pinakothek der Moderne purchased five of Anne Imhof’s drawings for the Staatliche Graphische Sammlung. She created these insightful sketches as studies for the five-hour-long performance in the German Pavilion.
Anne Imhof in conversation with Michael Hering (Director of Staatliche Graphische Sammlung München) and Katja Blomberg (Director of Haus am Waldsee Berlin)
Free admission

INTERLUDE 18/19

ARTIST TALK
Bjørn Melhus
CAN YOU SEE MY ART?

SUGAR (Digital Film / production still – work in progress, voraussichtlich 2019)©Bjørn Melhus
SUGAR (Digital Film / production still – work in progress, voraussichtlich 2019)©Bjørn Melhus


21/03/2019 – 6.30 p.m.

Pinakothek der Moderne | Auditorium

The German Norvegian artist, born in 1966 and living in Berlin, is the only most successfull and well-known filming artists in Germany who consistently combines social criticism with ironically grotesque stagings.
By exploiting the history of pop culture, mass media and cinema in his short films, he celebrates a unique balance between pessimistic melancholia and hysterical humour. With a very personal signature – Melhus plays all parts himself. Winner of many awards at festivals such as Oberhausen or institutional honors as the German Filmpreis, he has been incarnating many heroes of the Western mass culture, from James Dean or Jim Morrison to Marylin Monroe, Janis Joplin or the philosopher of capitalism Ayn Rand.
For the “Interlude” he presents his most recent works and gives an insight into his film SUGAR, which is still in production. In his talk he will also deal with the relationship of film and installation.
Website Bjørn Melhus
Moderated by Bernhart Schwenk (Curator of Contemporary Art at the Pinakothek der Moderne)
Free admission

Interlude 18/19

La Ferdinanda: Sonata for a Medici-Villa
Rebecca Horn

© Rebecca Horn, La Ferdinanda, 1982 Courtesy by Rebecca Horn
© Rebecca Horn, La Ferdinanda, 1982 Courtesy by Rebecca Horn

27/02/2019 | 9 p.m. | Introduction Franziska Stöhr
Filmmuseum München | Tickets 089 / 23 39 64 50

La Ferdinanda: Sonata for a Medici Villa is staged in a grand Renaissance hunting seat. The setting serves as a haven for tranquil repose (for Caterina de Dominicis, former opera singer and owner of the villa), convalescence (for young ballet dancer Simona), hiding (for Dr. Marchetti, after a series of scandals), rehearsal (for the cello player) and celebration (for a wedding party). The villa is a symbol for hidden stories and faded glories, especially for its larger-than-life owner, who wishes to maintain an illusion of luxury and grandeur. In truth, the villa’s residents are all living in a state of suspension or impotence: even the peacocks’ plumage is not strikingly colourful but a ghostly white. (Source: Tate Modern)

Rebecca Horn (born 24 March 1944, Michelstadt, Hesse) is a German visual artist, who is best known for her installation art, film directing, and her body modifications such as Einhorn (Unicorn), a body-suit with a very large horn projecting vertically from the headpiece. She directed the films Der Eintänzer (1978), La ferdinanda: Sonate für eine Medici-Villa (1982) and Buster’s Bedroom (1990). Horn presently lives and works in Paris and Berlin.

La Ferdinanda: Sonata for a Medici-Villa | Federal Republic of Germany 1982 | D+Sc: Rebecca Horn | DOP: Jiri Kadanka | M: Ingfried Hoffmann | C: Valentina Cortese, Javier Escriba, Gisela Hahn, Hans-Peter Hallwachs, Michael Maisky, David Warrilow | 85 min

Interlude 18/19

Impressions de la Haute Mongolie (Impressions of Upper Mongolia)
Salvador Dalí

© Salvador Dalí, IMPRESSIONS DE LA HAUTE MONGOLIE, 1976 Courtesy by José Montes-Baquer
© Salvador Dalí, IMPRESSIONS DE LA HAUTE MONGOLIE, 1976 Courtesy by José Montes-Baquer

20/02/2019 | 9  pm | Attending Bodo Kessler | Introduction M+M
Preceded by UN CHIEN ANDALOU (An Andalusian Dog)
Filmmuseum München | Tickets 089 / 23 39 64 50

A rare pearl of a very special kind presents the series “‘Cinema Dreams in Artists Cinema”: “Impressions of Upper Mongolia” has been conceived in 1976 by the surrealist and eccentric Salvador Dalí for the TV station WDR. It is about an imaginary trip in search of a hallified mushroom, told with a range of surrealistic video effects.
A special highlight of the evening organized by KINO DER KUNST: The Munich artist duo M+M, responsible for the introduction of the program, succeeded in locating the cameraman of the film realized jointly by Salvador Dalí and WDR director José Montes-Baquer. Bodo Kessler, who also worked with Rebecca Horn, Nam June Paik and Volker Schlöndorff, tells the story of the genesis of the project, from the first meeting with Dalí and Frau Gala in New York to the shooting in her house in Cadaques, Spain.

Impressions de la Haute Mongolie | BRD 1976 | D: José Montes-Baquer | B: Salvador Dalí | DOP: Bodo Kessler, Manfred Kage | M: Ingfried Hoffmann | 57 min | French OV with German subtitles
“Salvador Dalí and his fellow surrealists owed a great debt to the wealthy, dandyish French writer Raymond Roussel, as much as modernist poets owed the Symbolist Jules Laforgue. But like Laforgue, Roussel is much more often referenced than read, and he isn’t referenced often. A hermetic, insular writer who seems to belong to a private world almost entirely his own, Roussel despaired of his lack of success and committed suicide in 1933. His aesthetic progeny, on the other hand— Dalí, Marcel Duchamp, André Breton—were showmen, self-promoters and media geniuses. So it’s particularly poignant, in the quirkiest of ways, that Dalí chose for his final film project a collaboration with Jose Montes Baquer in 1976 called “Impressions of Upper Mongolia” (“Impressions de la haute Mongolie”—above with English subtitles), an homage to Roussel’s self-published 1910 novel Impressions of Africa.
Roussel, who traveled widely, never traveled to Africa, and his “impressions” are wholly creations of the kind of wordplay that Dalí made visual in his painting (including a canvas with Roussel’s title). Like Roussel’s novel, Impressions of Upper Mongolia is a surrealist fantasy with only the most tenuous connection to its ostensible geographical subject.” (openculture.com)

Preceded by:
Un Chien andalou |
France 1929 | D: Luis Buñuel | B: Luis Buñuel, SalvadorDalí | DOP: Albert Duverger | C: Simone Mareuil, Pierre Batcheff, Luis Buñuel, Salvador Dalí | 16 min | OV with Engl. Subtitles
“Un Chien Andalou made quite the stir upon its release. It was presented first at an invitation only-session at the Studio des Ursulines art house on June 6, 1929. It had its public release at Montmartre’s Studio 28 on October 1st. While not officially part of the Surrealist movement until after the film had shown, Dali and Bunuel’s film was quickly adopted by the group as part of their aesthetic repertoire.” (wherethelongtailends.com)

Zwischenspiel 18/19

Controfigura (The Stand-in)
Rä di Martino

© Rä di Martino, La Controfigura, 2017 Courtesy by Rä di Martino
© Rä di Martino, La Controfigura, 2017 Courtesy by Rä di Martino

13/02/2019 — 9 p.m. | Attending Rä di Martino
Filmmuseum München | Tickets 089 / 23 39 64 50

A small film crew is wandering about Marrakesh and the surrounding desert. They are looking for locations for the remake of the American film “The Swimmer” in which a man swims his way home, passing through the houses and pools that he finds along the route. (Biennale di Venezia)

Statement of the artist: “Traveling in Morocco and talking to the many Europeans who transferred there, I was struck by the number of hotels, swimming pools and immense golf courses that have been constructed in recent years, especially in Marrakesh. The city has to face an ever growing number of tourists of all kinds, and has to keep them all happy: from the wealthy Russians, Arabs or Europeans, who build themselves private paradises walled off from the rest of the city, to ex-hippies and people on package tours. New presences that have profoundly transformed the landscape, with hundreds of swimming pools scattered around the city. This is where I imagined my swimmer, a stand in suffering from a midlife crisis, and at the same time the crisis of his alter egos, of the real actors and of the system they represent.” (Rä di Martino)

Zwischenspiel 18/19

Visages Villages (Faces and Places)
Agnès Varda

Agnès Varda, Visages Villages, 2017 Courtesy by Weltkino
© Agnès Varda, Visages Villages, 2017 | Courtesy by Weltkino

06/02/2019 | 9 p.m. | Introduction: Herlinde Koelbl
Filmmuseum München | Tickets: 089 / 23 39 64 50

Working for the first time with a co-director, French artist JR, the 90 years old veteran documentary  maker Agnès Varda makes study of ‘faces and places’.
“Visages, Villages is a movie about itself: the subjects are so warm and wonderful it’s a wise move. Varda and JR travel to small French towns in his van, which is decorated like an enormous camera. Inside is a photo-booth and large format prints spit out the side. Is there actually an assistant dropping the images out? Yes, probably, but while this movie is about the process of making art, it doesn’t want to destroy the magic entirely.” (The Guardian)

Agnès Varda will be honoured with the Berlinale Camera 2019.

Agnès Varda is one of the most important contemporary francophone filmmakers. She started out as a theatre photographer in Paris before shooting her first feature film in 1954, with no prior filmmaking experience. Through Alain Resnais, who edited the film, Varda first came into contact with the circle surrounding the Cahiers du Cinéma, who would later go on to form the core of the French Nouvelle Vague. Visages, villages (Faces Places), made in collaboration with French artist JR, was nominated for the 2018 Oscar for Best Documentary Feature.

JR (Juste Ridicule) is the pseudonym of a French photographer and artist whose identity is unconfirmed. Describing himself as a photograffeur, he flyposts large black-and-white photographic images in public locations, in a manner similar to the appropriation of the built environment by the graffiti artist. He states that the street is “the largest art gallery in the world”.

Herlinde Koelbl is since the end of the 1980’s Germany’s most widely discussed photographer and documentary maker. She is knewn for her portraits of well-known German personalities from politics and business world. Mostly she offers large-scale thematic projects, often dealing with societal taboos. Since the end of the 1980`s one of Germany’s most widely discussed photographers.

Interlude 18/19

Short film program
Matthias Müller & Christoph Girardet

© Christoph Girardet, Matthias Müller, PERSONNE, 2016
Courtesy by Christoph Girardet, Matthias Müller

30/01/2019 — 9 p.m.
Filmmuseum München

Since 1999 the experimental filmmaker Matthias Müller and the media artist Christoph Girardet realise together award-winning short films, which have been produced in a rigorous formal processes  to create fascinating images and film poems. Mostly from their own 35mm takes and carefully selected found footage film excerpts, they exaggerate cinema into art, treat topics like childhood (“Meteor”), mirror scenes (“Crystal”) or light effects (“Contre-Jour”). All her films are a new dramatic condensation of the raw material cinema, such as the calm editing sequence of seemingly undramatic scenes in “personne”, a tribute to the great, behind his roles completely disappearing French “Nobody” Jean-Louis Trintignant.

THE NEXT EDITION OF KINO DER KUNST WILL TAKE PLACE IN 2020

The Artistic Director of KINO DER KUNST has decided to postpone the next edition of KINO DER KUNST until spring 2020. This unique blend of festival and exhibition with films by visual artists is the only one of its kind in the world. Taking place in Munich every two years, it will be held next year as planned with the sensitive issue of “Forbidden Beauty”.
The rescheduling results from the move forward of this year’s Venice Biennale, which is now scheduled for early May 2019. This change prevents many artists from presenting their works at KINO DER KUNST.
At the same time, the postponement of international projects will allow KINO DER KUNST to significantly enhance the content of ZWISCHENSPIEL, the in-house festival held between the main editions. This year, the London-based artist duo Gilbert & George was responsible for its highly successful première. ZWISCHENSPIEL 2019’s high-calibre programme will run into April and present the film series “Dream Time” in the Filmmuseum München as well as Artist Talks with Bjørn Melhus and Anne Imhof in the Pinakothek der Moderne.

Interlude 18/19

Banksy
Exit Through the Gift Shop

© Bansky, Exit Through the Gift Shop, 2010 Courtesy by Alamode
© Banksy, Exit Through the Gift Shop, 2010
Courtesy by Alamode

23/01/2019 — 9 p.m.
Filmmuseum München

In this feature film where what is real and what might be fake blurs, the infamous, shadowy British graffiti street artist Banksy, who has literally left his mark on cities throughout the world, comes in contact with Thierry Guetta, a Los Angeles-based Frenchman who videotapes various underground art escapades. EXIT THROUGH THE GIFT SHOP follows Guetta’s attempts to capture the ever-elusive Banksy at work–only to have the mischievous artist turn the camera back on him with hilarious results. Is it all real? Or could this be Banksy’s greatest stunt yet? The film contains footage of Banksy, Shephard Fairey, Invader and many of the world’s most infamous graffiti artists at work.
Introduction: Sebastian Pohl (Positive-Propaganda e.V.)
Get your tickets now!
Ticket phone (Germany): 089 / 23 39 64 50.

Interlude 18/19

Alejandro Jodorowsky
Poesía sin fin (Endless Poetry)

Endless Poetry_1__©Pascale Montandon-Jodorowsky
Endless Poetry_1__©Pascale Montandon-Jodorowsky

16/01/2019 — 9 p.m.
Filmmuseum München

Endless Poetry is an ode to the quest for beauty and inner truth, as a universal force capable of changing one’s life forever, written by a man who has dedicated his existence to creating spiritual and artistic awareness, told through Jodorowsky’s unique surreal and psychedelic visual language.
Introduction: Dunja Bialas (film critic)

Interlude 18/19

Thank you, Gilbert and George!

© Kino der Kunst
Gilbert und George beim KINO DER KUNST Zwischenspiel 18/19 im Filmmuseum München © Kino der Kunst

The film series “Cinema Dreams in Artists Cinema” has started! On January 10, 2019, Gilbert and George kicked off the series at the Filmmuseum in Munich and showed how much they have become one with their art figures. Seeing Gilbert and George’s perfect performance during the audience discussion all questions of authenticity, illusion and disillusion as well as the difference between reality and fiction were obsolete. Art is being, being is art.

Interlude 18/19

Film series
Cinema Dreams in Artists Cinema

Special Opening
GILBERT & GEORGE

© Philip Haas, The Singing Sculpture 1991 Foto: Gilbert & George, Courtesy by Philip Haas
© Philip Haas, The Singing Sculpture 1991
Foto: Gilbert & George, Courtesy by Philip Haas

09/01/2019 — 9 p.m. (Preview)
10/01/2019 — 7 p.m. (With Gilbert & George!)
Filmmuseum Munich

We are looking forward to welcoming the British artist duo Gilbert & George for the Special Opening of the new film series CINEMA DREAMS IN ARTISTS CINEMA on January 10, 2019. You can book tickets now!
Our ticket phone number is 089 / 23 39 64 50.
See projects

Interlude 18/19

ARTIST TALK
PHIL COLLINS

Phil Collins, Delete Beach, 2016 HD animation loop; colour, sound; 21 min. Rubber crumble, tyres, refuse, liquid pools, lights. Installation view, Phil Collins: Can’t Do Right For Doing Wrong, HOME, Manchester, 2018. Photo: Lee Baxter. Courtesy Shady Lane Productions, Berlin.
Phil Collins, Delete Beach, 2016
HD animation loop; colour, sound; 21 min. Rubber crumble, tyres, refuse, liquid pools, lights.
Installation view, Phil Collins: Can’t Do Right For Doing Wrong, HOME, Manchester, 2018.
Photo: Lee Baxter. Courtesy Shady Lane Productions, Berlin.

04/12/2018 — 8 p.m.
Harry Klein

British artist Phil Collins (born 1970) studies the nuances of social relationships in different locations and global communities in his films, installations, photographs and live events. With new forms of artist actions such as a disco marathon in Ramallah, satirical teleshopping events, karaoke performances “Made in Japan” or call-to-vinyl actions, Phil Collins is expanding his video art to cross genres and include performance, theatre and music production. His work completely redefines the term “multimedia”.
The professor of video art at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne) was nominated for the Turner Prize, is a winner of the Paul Hamlyn Award for Visual Arts and received the Audience Award at KINO DER KUNST in 2015.
For the “Zwischenspiel / Interlude”, Phil Collins at the “Harry Klein” club explores a space where – as in his art – dance, music and visuals coalesce into a unified emotional experience.
The talk is moderated by Heinz Peter Schwerfel (Artistic Director of KINO DER KUNST)
Free admission

INTERLUDE 18/19

ARTIST TALK
MARK LEWIS

©Mark Lewis_Museum (2018) Film Still
©Mark Lewis_Museum (2018) Film Still

24/10/18, 7 p.m.
Kunstverein Munich

Born 1958 in Ontario, Canada, the photographer and filmmaker lives today in London and mostly works in a crossover of abstract analysis, the tradition of experimental film and the emotional perception of landscape or architecture.
Much of his work focuses on style and technology of film, for instance on the complex narration of long tracking shots. His films are nearly always short, precise exercises on particular techniques of filmmaking and spatial perception, they particularly tend to look at contemporary cities, film history, and the way film has impacted ideas about everyday life. Mark Lewis had many solo shows in important museums around the world and represented in 2009 Canada at the Venice Biennale.
Website Mark Lewis
Talk in English. Moderated by Heinz Peter Schwerfel (Artistic Director of KINO DER KUNST)
Free admission

ON TOUR 18

Istanbul
DIRIMART DOLAPDERE

AES+F, Inverso Mundus, Still #1-05, 2015 © AES+F I ARS New York. Courtesy of the artists, MAMM and Triumph Gallery
AES+F, Inverso Mundus, Still #1-05, 2015 © AES+F I ARS New York. Courtesy of the artists, MAMM and Triumph Gallery

20/07 – 29/07/18

Dirimart: KINO DER KUNST

In Cinemas 18

SHIRIN NESHAT
LOOKING FOR OUM KULTHUM

Traumsequenz: Mitra (Neda Rahmanian) steht mit Oum Kulthum (Najia Skalli) am Geländer und schaut auf das Meer ©RazorFilm
Dream sequence: Mitra (Neda Rahmanian) and Oum Kulthum (Najia Skalli) standing at the handrail and watching the ocean © RazorFilm

10/06/18, 11.00
City Kino
Discussion with Shirin Neshat after the screening

The Egyptian singer Oum Kulthum (1900 to 1975) is still celebrated worldwide as the “Callas of the Orient”, as a timelessly outstanding artist with an extraordinary voice and unforgettable musical intensity. Often forgotten is that Oum Kulthum lived during a politically dramatic era in Egypt – she was and remains a legendary woman for the male-dominated Islamic world.

Read more

It was only a question of time until her life and music would become a topic for the Iran-born Shirin Neshat, one of the most important contemporary artists, who was last year’s winner of the world’s most significant art prize, the Praemium Imperiale. In her photos, video installations and films, Neshat – whose works are regularly presented at KINO DER KUNST in Munich – often addresses the solitude of the Muslim woman in a world dominated by men. But instead of simply filming another biopic à la Hollywood and dutifully retelling the life of the famous Egyptian, Neshat introduces autobiographical details and the stylistic concepts of her own art. Oum Kulthum’s life and work become a cinematic artwork that – apart from all chaotic historical and present events – celebrates the strength of a woman and artist in the Islamic world.

Filmed in today’s Morocco, the script by Shirin Neshat and her partner and long-term accomplice Shoja Azari narrates a story within a story, i.e. the attempts by an alter ego of the artist – constantly shaken by doubt and drama – to film Oum Kulthum’s life. Stylistically, however, the film particularly emphasizes the singing and stage presence of the musician, just as it accounts for the videos of the New York-based artist. These include silent dream sequences, sophisticated choreography in the presence of the protagonists, an absence of all psychological simplification, and the beauty of the images and tracking shots typical for Neshat.

An event from NFP marketing & distribution in cooperation with KINO DER KUNST.