DONATA WENDERS, born in 1965 in Berlin. She has worked as an artistic photographer and set photographer for the films of Wim Wenders since 1995. She has had numerous exhibitions in museums and galleries worldwide which are typically accompanied by lavish artist books. Solo exhibitions at the Fotografie Forum, Frankfurt (2021), Neue Galerie, Gladbeck, Polka Galerie, Paris (2019), Atelier Jungwirth, Graz (2018) and Kunst Stadtforum, Innsbruck (2017), among others. Selected group exhibitions: Japanisches Palais, Dresden (2020), Galleria Doris Ghetta, Ortisei, Diözesanmuseum, Bamberg (2019), Alfred Ehrhardt Stiftung, Berlin (2018) and Galerie Tanit München (2017) donatawenders.com
KINO DER KUNST 2020
Truth Passes Through The Creases Of Time Like Water Through Your Fingers
DEU 2019, 4’, ENGLISCH/ENGLISH
FOTOGRAFIE/PHOTOGRAPHY:Donata Wenders
The single image has become a sequence of images that fade into one another. A room transforms into a place that reveals the traces of a long day and has something to tell us. A woman sits down at a table, gets ups, walks back and forth, sits down again, gets up, pauses, then continues. A short reflection about time and stories between individual pictures
HETAIN PATEL, born in 1980 in Bolton, lives in London. Recipient of the Jarman Award in 2019. He works in the areas of performance, film, sculpture and photography. Selected solo and group exhibitions: Manchester Art Gallery; Royal Opera House, London (2018); Wood-street Galleries, Pittsburgh; 56th Venice Biennale (2015); Serpentine Gallery, London; Tate Modern Tanks, London (2012). Selected films: The Jump (2015), Heaven and Earth (2014) hetainpatel.com
KINO DER KUNST 2020
Don’t Look at the Finger
GBR 2017, HD, 16’08’’, BRITISCHE ZEICHENSPRACHE/BRITISH SIGN LANGUAGE
An African wedding ceremony: the bridal couple meet each other for the very first time in the church. They scrutinize one another and attempt to make contact using a ritualistic sign language. A trial of strength begins that quickly escalates into combat, as Kung Fu, Wushu and karate transform the West African love ritual into an action-packed martial arts film. The couple’s wordless dialogue demonstrates the perfect ability of the body to communicate and the universality of visual language
MUNEM WASIF, born in 1983 in Bangladesh. He explores complex social and political issues in his ex-pressionistic photographs and films that are often conceived as long-term projects. Selected exhibitions: Centre Pompidou, Palais de Tokyo, Visa pour l’image (Paris); White chapel Gallery, Kettle’s Yard, Victoria & Albert Museum (London); Museu d’Art Contemporani de Barcelona; Fotomuseum Winterthur; Kunsthal Rotterdam; Para Site, Hong Kong. munemwasif.com
KINO DER KUNST 2020
Kheyal
BGD 2015-2018, 4K, 23’30’’, OHNE DIALOG/NO DIALOGUE
DEUTSCHE PREMIERE/GERMAN PREMIERE
In the Bangla Bazar and Farashganj neighborhoods of Old Dhaka, the historic downtown of the ever-expanding capital city of Bangladesh, one finds many hidden passageways, shadow-filled alleys and empty buildings. Between the consciousness and unconsciousness of this place, a nostalgic magical realism emerges that transcends the circumstances of life. An old typewriter is struck, instruments are played, saucepans clatter. All of which recall the hovering sounds and layering of repeated vocals in Hindustani classical music known as “Kheyal.”
JULIUS HOFMANN, born in 1983, lives in Leipzig. His work deals with the representation of space and surface in the digital age and includes figurative and abstract painting, drawings, collages and computer-animated films. Recent solo shows: Galerie Kleindienst, Leipzig, Discovery Committee Art Brüssel (2019), Museum of Fine Arts, Leipzig and Ornis A. Gallery, Amsterdam (2018). Selected group exhibitions: Espronceda, Barcelona, Bacva Gallery, Zagreb (2019) and G2 Kunsthalle, Leipzig (2017 juliushofmann.de
KINO DER KUNST 2020
Might of Young Engines II
DEU 2018, 21’22’’, ENGLISCH/ENGLISH
A never-ending apocalyptic rainstorm like in Ridley Scott’s Blade Runner, a red cape like in Nicolas Roegs’ Don’t Look Now. Hardcore policemen dance in the city’s hip nightclub as a crime story unfolds, complete with nocturnal helicopter searches and a red Cinderella shoe providing the decisive clue. Using low-fi animation that celebrates graphic errors and compression artifacts, Hofmann’s post-human antiheroes join forces in a dark hard-boiled thriller where the secret enemy is the perfection of the CGI-generated “flatness” aesthetic.
VAJIKO CHACHKHIANI, born in 1985, lives in Tbilisi and Berlin. His films, sculptures, performances, photographs and installations are characterized by witty conception and an often quiet, content-laden and aesthetic poetry. Recent solo shows at the Kunstverein Dresden, Art Basel Unlimited, Berlinische Galerie (2019), Yarat Contemporary Art Center, Scrap Metal Gallery, Toronto and Bundeskunsthalle, Bonn (2018).
Selected group exhibitions: Kunsthalle Osnabrück, Centro de Arte Contemporáneo de Quito, Ecuador, Crawford Art Gallery, Cork (2019) and the 57th Venice Biennale (2017). Selected films: Winter Which Was Not There (2017) and Life Track (2014).
KINO DER KUNST 2020
Heavy Metal Honey
GEO 2019, 2K, 14’15’’, GEORGISCH/GEORGIAN
An extended family in Georgia gathers for dinner in the parlor. Banalities are exchanged. In the constricted atmosphere of the familial constellation, reality and fiction begin to increasingly intermingle. A rainstorm sets in, forming the prelude to an unexpected showdown. The situational drama is ruptured by the unexpected positing of a splattered allegory onto every-day life in Georgia, one in which family structures are viscous and adhesive but not necessarily as sweet as honey.
MARF MABO, born in 1987 in Passau. Works as both a photographer and graphic artist and is also trained as a carpenter. Film studies (Master) at the Academy of Fine Arts, Hamburg. Films: The Wind That Eats People (2019), Jonny Bix Bongers – Sorge dich nicht (2017) and Für die Kat z (2016). marf.at
KINO DER KUNST 2020
I am a Monument
DEU 2018, 16MM KODAK, DIGITAL HD, 14’30’’, ENGLISCH/ENGLISH
Thousands of years ago, the Egyptians believed that life on earth was an illusion and that reality began after death, under the earth, where the bodies of the dead remained. Deep in the sand, amidst the ever-changing sand dunes, the edges of the pyramids lie buried without any recognizable foundation. Digging seems futile. Or is it the underworld that is growing up through the surface?
EGIL PAULSEN, lives in Oslo. He works in the fields of installation, computer and video art as well as develops video games. Solo shows at the Gallery Fisk, Bergen and Gallery TRE, Bergen (2013), among others. Selected group exhibitions: Rubin Museum of Art, New York (2016), Kunstnerforbundet, Oslo (2015) and the Contemporary Art Center SOKOL, Moscow (2014). egilpaulsen.com
KINO DER KUNST 2020
Skogsrå
NOR 2017, 19’20’’, NORWEGISCH/NORWEGIAN
CAST: Asbjørn Røen Halsten, Yngvild Saeter
MUSIK/MUSIC: Audun Gundersen Vassdal DEUTSCHE PREMIERE/GERMAN PREMIERE
Deep in the Norwegian woods, Johan maintains a salmon ladder. When he accidentally slips in the water and seriously injures himself with his knife, a mysterious naked beauty appears to him. The woman follows him into his dreams and fantasy and reality become fluid. A new interpretation of the Norwegian saga of the fateful woman in the woods.
NAEEM MOHAIEMEN, born in 1969 in London, grew up in Bangladesh. Lives in Dhaka and New York. His artistic work deals with the history of political utopias. Solo exhibitions at The Power Plant Art Gallery, Toronto (2020) and MoMA PS1, New York (2018). Participation in the Yokohama Triennial (2020), Turner Prize (2018), documenta 14 (2017) and 56th Venice Biennale (2015), among others. Selected films: Two Meetings and a Funeral(2017) and Century’s Container (2016).
KINO DER KUNST 2020
Tripoli Cancelled
GRE 2017, HD VIDEO, 93’, ENGLISCH/ENGLISH
KAMERA/CINEMATOGRAPHY: Petros Nousias
CAST: Vassilis Koukalani
Inspired by the experience of the director’s father who, in 1977, was stranded at the airport in Athens without a passport for days on end, the film follows the week in the life of a man who has been living in a deserted airport for over a decade. All promises of movement are brought to a standstill in this metaphorical evocation of an era of frantic migration. Here, there are no guards or fences, only mannequins in Olympic Airlines uniforms and songs by the legendary Melina Mercouri and Boney M.
LARISSA SANSOUR, born in 1973 in Jerusalem, lives in London. Solo shows at Dar El-Nimer for Arts & Culture, Beirut, Nikolaj Contemporary Art Centre, Copenhagen and the Danish Pavilion at the 58th Venice Biennale (2019), among others. Participation in the Istanbul Biennale. SØREN LIND, born in 1970. The Danish writer, director and screenwriter lives in London. Selected exhibitions: 58th Venice Biennale (2019), MoMA, New York and Barbican Centre, London. Joint films: In the Future They Ate from the Finest Porcelain (KDK 2015) and Nation Estate (2013)
KINO DER KUNST 2020
In Vitro
PSE, DNK, GBR 2019, 4K, 28’, ARABISCH/ARABIC
KAMERA/CINEMATOGRAPHY: Anna Valdez Hanks
CAST: Hiam Abbass, Maisa Abd Elhadi, Marah Abu Srour, Leila Sansour larissasansour.com | sorenlind.com
DEUTSCHE PREMIERE/GERMAN PREMIERE
A natural catastrophe has rendered the biblical city of Bethlehem uninhabitable. In an underground survival station, female scientists are making preparations to replant the earth’s surface. The task will be undertaken by a woman who was cloned after the disaster. She visits the oldest scientist on her deathbed and discusses the power of the past and the importance of nostalgia for survival. On a split screen, historical black-and-white images and futuristic architecture enter into a dialogue. The past is powerfully connected to a new generation.
ELISA MARIA NADAL, born in 1985 in southern Brazil. She made her first documentary films in Curitiba, Brazil and studied at both the University of Television and Film and the Academy of Fine Arts in Munich. The former rhythmic gymnast under-stands dance as a narrative instrument and language in its own right that enters into a dialogue with the camera. Other films: My Fre e Will (2018), Satya (2017). elisanadal.com
KINO DER KUNST 2020
Prisoners of the Body
DEU 2020, 4K, 26’17’’, OHNE DIALOG/NO DIALOGUE
WELTPREMIERE/WORLD PREMIERE
To be alive is to be on the move. A metaphorical journey through our existence told in the language of dance. Beginning with a symbolic birth and passing through various phases of bodily experience, the film is an ode to the power of movement
ALEXANDRA KAZAKOVTSEVA, born in 1994 in St. Petersburg. Her work encompasses film, painting, drawing, installation and digital media and deals with the problems of consumer society as well as concepts of post-irony, post-internet and post-feminism. Exhibitions at the Navicula Artis Gallery and Stepan Razin Factory, both in St. Petersburg (2019) as well as Safehouse Gallery, London (2018), among others. ANITA KUTLINSKAYA, born in 1994 in St. Petersburg. She uses photo – graphy, film and video to develop new visual languages and reflect on contemporary society. Joint films: Generation Z (2017) and Youth(2016).
KINO DER KUNST 2020
I Like You
RUS 2019, 4K, 16’36’’, RUSSISCH/RUSSIAN
SOUND: Serebro
A young office manager falls in love with a hip instagirl whom he has been following virtually for some time. After chatting online, they decide to meet in a nightclub. He wants to get to know her “true self” but discovers only cynical beauty. The film playfully links the idolization of social media icons and narcissistic default settings such as selfies with the question of how values and ideals change under the influence of contemporary media.
Sylvie Boisseau, born in 1970, and Frank Westermeyer, born in 1971, live in Berlin and Genf. They have been working together since 1996 and their videos and interventions examine identity and question what constitutes community. Participation in Transmediale (2019) and dokumentArt (2007). Inclusion in group exhibitions at the Museum Ulm and Messe Basel (2019), among others. Selected films: Bootstrap (2017) and Das künftige Geschlecht (2012) filmerei.net
KINO DER KUNST 2020
Der Freie Mensch – mit KI
DEU/CHE 2019, 4K, 7’34’’, DEUTSCH/GERMAN
KONZEPT/CONCEPT: Sylvie Boisseau & Frank Westermeyer
KAMERA/CINEMATOGRAPHY: Sylvie Boisseau
CAST: Frank Westermeyer, Frank Westermeyer (Stimme)
A beautiful mind: decisions about what to purchase and how to act, not to mention basic thinking and helpful everyday advice are some of the things we willingly outsource to artificial intelligence. Without a doubt, the algorithm knows us better than we know ourselves. But when access to an outsourced database is unlimited, how will the retrieval of optimized information affect our behavior? “Man asks machine” is the starting point for this satirical sci-fi experiment by Boisseau & Westermeyer in which an average middle-aged man asks his artificial assistant about life’s uncertainties—and AI becomes a modern-day oracle.
RIAR RIZALDI, born in Indonesia, lives in Hong Kong. His primary focus is the relationship between human/non-human and technology, consumer electronics and fiction theory. Selected exhibitions: NTT InterCommunication Center, Tokyo; National Gallery of Indonesia; Hidden Space, Hong Kong; Selasar Sunaryo Art Space, Bandung. Participation in the Locarno Film Festival, BFI Southbank, London and the International Film Festival Rotterdam, among others rizaldiriar.com
Natasha, a solar-powered AI voice assistant, researches the genealogical truth about her origins. Based on the chemical make-up of her cells, she is led to the Indonesian island of Bangka where cassiterite (tin) is mined, the basic building block of solar cells and touch screens. This film essay playfully uncovers the neocolonialism of global technologies and puts an end to the my th of digital immateriality.
ANU PENNANEN, born in 1975 in Kirkkonummi, Finland, lives in Helsinki. Her films and installations deal with globalization and exile, urbanity and the environment, marginalization and conformity. Selected exhibitions: CCA, Glasgow; CAC, Vilnius; Centre Pompidou, Paris; Montehermoso Cultural Center; Frankfurter Kunstverein; Manifesta 5, Donostia-San Sebastián. Selected films: Staande! Debout! (2013, with Stéphane Querrec), Ruins of the Gaze (2010) and A Monument for the Invisible (2003) anupennanen.com
KINO DER KUNST 2020
A Poem to Read When I’m Gone
FIN 2019, 4K, 27’29’’, ENGLISCH/ENGLISH
KAMERA/CINEMATOGRAPHY: Katharina Dießner, Isabel Alvarez
BUCH/WRITER: Stéphane Querrec
SOUND: Pelle Venetjoki
CAST: Korkmaz Arslan
WELTPREMIERE/WORLD PREMIERE
A man—be he Syrian, Afghan or Kurd—flees from a refugee center at the former Berlin Tempelhof airport. From then on, he lives alone between the lockers at train stations, unobserved by passers-by, barred from life by fences. Welcome to the limbo of our society. He murmurs a poem that, like an incantation for a better life, accompanies his bleak existence. A cautious and gentle approach to a dull reality that can only be endured thanks to the beauty of poetry.
NADA ELKALAAWY, born in 1995 in Alexandria, lives in London. Growing up with both Egyptian and British cultures, her work deals with loss, traces of memory and nostalgic recollection. Her primary source materials are photographs of the three generations of her family. Exhibitions at MASS, Alexandria; The Wing, London; Shelter Art Space, Alexandria (2019); Gypsum Gallery, Kairo; GX Gallery, London; Arab Women Artists Now Festival, London (2018). nadaelkalaawy.com
KINO DER KUNST 2020
Home
GBR 2018, 2D DIGITAL ANIMATION, 2’51’’, ARABISCH, ENGLISCH/ARABIC, ENGLISH
ZEICHNUNGEN/DRAWINGS: Nada Elkalaawy
DEUTSCHE PREMIERE/GERMAN PREMIERE
The animated past of the artist’s Egyptian homeland emerges from hundreds of drawings. Observations mix with remembered images of people, wallpaper, furniture, moods, conversations. A reflection on how life’s events overlap one another and are permeated by the memory of the past. Absence and presence, remoteness and closeness, joy and sorrow all become one.
MATHILDE LAVENNE, born in 1982 in France. Since 2011, she has concentrated on new technologies and digital tools in her short films and installations. Exhibitions at the Palais de Tokyo, Paris, Villa Médicis, Rome and MADATAC, Madrid, among others. She is a member of the Casa de Velázquez – Académie de France in Madrid. In 2018, she received the Golden Nica from Ars Electronica, Linz. Group exhibitions at the WRO Media Art Biennale, Wroclaw and LEV Festival, Gijon (2019).
Participation in the Uppsala International Short Film Festival, Imagine Science Film Festival, New York, Milano Film Festival, Ann Arbor Film Festival and Tampere Film Festival (2019) mathildelavenne.com
KINO DER KUNST 2020
Tropics
FRA 2019, SCANNER 3D FARO, 13’40’’, SPANISCH/SPANISH
SCHNITT, VFX/EDITING, VFX: Mathilde Lavenne
SOUND DESIGN: Léonore Mercier
A Mexican farm in the tropics. Recorded voices and compiled scans of people and places allow invisible stories and memories to emerge that reach as far back as the French colonial period of the 19th century. With her “archaeo-astronomy,” a method that brings technology and nature into an enlightening unity, the artist exposes the spirit of a lost paradise.
Emilija Škarnulytė, born in 1987 in Vilnius. She works primarily with “Deep Time,” a concept of geological time into which she integrates the cosmic, ecological and political. Her work has been featured in solo shows at the Pinchuk Art Center, Kiev (2020) and Künstlerhaus Bethanien, Berlin (2017). She was the winner of the highly endowed Pinchuk Future Award in 2018 and the KINO DER KUNST Project Prize in 2017. Selected group exhibitions: XXII Triennale di Milano; Sami Contemporary Art Center, Karasjok; Screen City Biennial, Stavanger; Seoul Museum of Art; Toronto Biennial of Art (2019); Serpentine Galleries, London. Selected films: Deep Point Cloud (2019), Sirenomelia (2018) and Point Cloud Therapy (2017).
A cinematic journey into the interior of Geneva’s CERN combined with scientific images from the Super-Kamiokande Neutrino Observatory in Japan and the European Organization for Nuclear Research. The images are made to float by means of reflections, just like the spaceship in Stanley Kubrick’s 2001 – A Space Odyssey (1968), and serve as souvenirs of our bygone beliefs about the future—a meditation on the transience of contemporary science
CAO FEI, born in 1978 in Guangzhou. The recipient of multiple awards, she is one of the most innovative artists working in China. Her films and installations mix social commentary, popular aesthetics and references to Surrea-lism with documentary aspects. Participation in the 50th, 52th and 56th Venice Biennales (2003, 2007, 2015). Selected group exhibitions: Guggenheim Museum (2018); Palais de Tokyo (2017); MoMA, New York (2016); Fondation Louis Vuitton (2016). Selected solo shows: Serpentine Gallery (2020); Centre Pompidou, Paris (2019); K21, Düsseldorf; Tai Kwun Contemporary, Hong Kong (2018); MoMA PS1, New York (2017 caofei.com
KINO DER KUNST 2020
Asia One
CHN 2018, 63’20’’, OHNE DIALOG/NO DIALOGUE
SOUND: Sleep Away By Bob Acri
A woman and a man and a modern-day mail-order dispatch. Instead of name badges, they both wear barcodes on their arms, just like the goods they carry through the gigantic logistics center where they work. They are the last humans that the Asia One Unmanned Warehouse still needs. The year is 2021. Together with a cute AI robot, a ménage-à-trois of increasingly emotional production processes unfolds. The film was shot in the mail-order center of the e-commerce giant JD.com near Shanghai. Reality has now arrived in the future: a grim yet tender social documentary meets science fiction.
MATTHEW BARNEY, born in San Francisco in 1967, lives in New York. With his CREMASTER cycle (1994-2003), he set new standards in media art. His elaborately produced films are usually created after performances whose props are installed as sculptural objects. Recent solo shows: Hayward Gallery, London (2020), Yale University Art Gallery, New Haven and UCCA, Peking (2019). Selected films: River of Fundament (2014), De Lama Lâmina (2007) and Drawing Restraint 9 (2005).
KINO DER KUNST 2020
Redoubt
USA 2019, 4K, 134’, OHNE DIALOG/NO DIALOGUE
KAMERA/CINEMATOGRAPHY: Peter Strietmann
MUSIK/MUSIC: Jonathan Bepler
SCHNITT/EDITING: Katharine McQuerrey
CAST: Anette Wachter, Eleanor Bauer, Matthew Barney
EUROPÄISCHE PREMIERE/EUROPEAN PREMIERE
Hunting scenes in the snow-covered Sawtooth mountains of Idaho: Diana, goddess of the hunt, combs the rugged wilderness with her virgin entourage in search of an elusive wolf. Simultaneously, a copperplate engraver stalks the group and secretly records their actions in etchings. This activity does not go unnoticed and soon a rifle is pointed at him as the virgins perform death rituals. Meanwhile, an electroplater is busy creating the wolf’s astro-logical constellation. American, classical and cosmic myths overlap into a tale of mankind told through wonderful pictures of nature.
MIKA ROTTENBERG, born in 1976 in Buenos Aires, raised in Israel, lives in New York. Her film installations deal with cycles of production and the circulation of goods. She is the recipient of many awards including the Kurt Schwitters Prize in 2019. Selected solo exhibitions: Sprengel Museum, Hannover (2020), New Museum, New York, Museo d’Arte Moderna, Bologna (2019), Goldsmiths Centre for Contemporary Art, London, Galerie Sprüth Magers, Berlin and Kunsthaus, Bregenz (2018). Participation in Skulptur Projekte, Münster (2017), 56th Venice Biennale (2015) and Performa 11, New York (2011)
KINO DER KUNST 2020
Spaghetti Blockchain
USA 2019, 18’15’’, OHNE DIALOG/NO DIALOGUE
KAMERA/CINEMATOGRAPHY: David Hollander
CAST: Tyva Kyzy, Tabia Wood, Fatima Jamal, Tal Ben Menashe
Landscapes, production processes and experimental arrangements result in a world of “social Surrealism” (Mika Rottenberg). Wobbly silicon cylinders, models of atoms made from plastic balls, melting foam and a model of spaghetti and marshmallows abstract the physical world. In a kaleidoscopic zoetrope, they intermingle with images of the Siberian plateau, traditional singers and the inner worlds of the Geneva particle accelerator. A symphony of images from mechanical, material and invisible worlds.
TUAN ANDREW NGUYEN, born in 1976 in Saigon, Vietnam, lives and works in Ho Chi Minh. He studied art at the California Institute of the Arts and is the co-founder of the Propeller Group. Selected solo exhibitions: Joslyn Art Museum, Omaha, Nebraska; State of Concept, Athens; James Cohan, New York (all 2020); Grenfell Art Gallery, Newfoundland (2019); Asia Society, New York (2018). Other exhibitions include Manifesta 13, Marseille, Whitney Museum of American Art, New York and the Beirut Biennial. tuanandrewnguyen.com
KINO DER KUNST 2020
The Boat People
NM 2020, SUPER 16, 19’46’’, TAGALOG
KAMERA/CINEMATOGRAPHY: Andrew Yuyi Truong
CAST: Gryshyll Reyes Ilarina, Jam Acuzar, Michael Mendoza Soronio
DEUTSCHE PREMIERE/GERMAN PREMIERE
Set in an unspecified future at the precarious edge of humanity’s possible extinction, the film follows a group of children led by a strong-willed and resourceful little girl, who travel the seas and collect the stories of a world they never knew through objects that survived through time. Calling themselves The Boat People, the group finds objects amongst the ruins of human civilization, spread through the seas.
SERGIO VEGA, born in 1959 in Buenos Aires, lives in Gaines-ville, Florida. Professor of Photography at the University of Florida since 1999. Selected solo shows: Galleria Umberto Di Marino, Naples (2019) and Galerie Karsten Greve, Paris (2017). Selected group exhibitions: Kiasma Finnish National Gallery, Helsinki and the Atchugarry Gallery, Miami (2019). Participation in documenta 13 (2012) and the 51st Venice Biennale (2005).
KINO DER KUNST 2020
Courbet (The Artist Politician)
USA 2018, 4K, 10’, STUMM, ENGLISCHE TEXTTAFELN/SILENT, ENGLISH TEXT BOARDS
CAST: Camilo Racana, Lane Kelman sergio-vega-art.squarespace.com
WELTPREMIERE/WORLD PREMIERE
During the revolt of the Paris Commune in 1871, the city is surrounded by the Prussian army. As the bombs drop, the celebrated painter and Communard sympathizer Gustav Courbet is relaxing with wine and cheese in his studio. The Communards proceed to tear down the column honoring Napoleon at the Place Vendôme, the idea and initiative for which came from Courbet who lives in the neighborhood. As the monument falls, the painter has a vision in which Marianne, the female symbol of a democratic France, appears to him. —Adapted from an almost true story.
ALA EDDINE SLIM, born in 1982 in Sousse, Tunisia. He studied Audiovisual Technologies at the Institut supérieur des arts multimédia de La Manouba (ISAMM). Since 2014, he has been working as a director of award-winning experimental feature films and producing video installations. His work has been included in exhibitions at the MoMA, New York, Centre Pompidou, Paris and Tabakalera, Clermont-Ferrand, among others. Selected films: Akher Wahed Fina (2016) and Babylon (2012).
Kino der Kunst 2020
Tlamess TUN, FRA 2019, 120’, ARABISCH/ARABIC
CAST: Abdullah Miniawy, Souhir Ben Amara, Khaled Ben Aissa
KAMERA/CINEMATOGRAPHY: Amine Messadi
For years, a soldier who deserted his Tunisian anti-terror unit has been living alone in the wilderness. Bearded, dirt-encrusted and sporting long fingernails, he manages to survive in the ruins of an abandoned building. As the hermit roams the deep woods, he encounters an elegant woman who has lost her way. Like a greedy ogre, he carries her off to his lair as treasure. In this unusual reinterpretation of Beauty and the Beast, the unequal couple find each other through telepathic eye contact. The woman is also a deserter—from a luxurious and boring marriage to a wealthy businessman. A visually powerful film that anticipates its viewers expectations and preempts familiar narrative logic again and again.
PAUL TARRAGÓ, born in 1962 in Essex, teaches at the University of the Arts in London. His experimental films and metafictions on video and celluloid have been shown worldwide at film festivals and in galleries. He is a member of the Exploding Cinema collective in London. Selected festivals and exhibitions: International Film Festival, Rotterdam, EMAF, Osnabrück, National Review of Live Art, Triangle France, Brooklyn Museum of Art and ICA London. Selected films: Resident of Earth (2004), Making Things Meaningful (2003) and How We Make Our Films (2002).
Kino der Kunst 2020
Magic Explained GBR 2019, SUPER 8, 7’, ENGLISCH/ENGLISH
STIMME/VOICE: Alex Elmsley
MUSIC & SOUND: Torrie Zito, Pyrolator, Paul Tarragó paultarrago.net
DEUTSCHE PREMIERE/GERMAN PREMIERE
“The action changes, but the rhythm is the same.” A metafiction wittily annotated by the filmmaker from off screen. Stop-motion experiments result in simple film tricks all created directly in a Super 8 camera. A humorous homage to the fascinating magic of the pre-digital era.
NEÏL BELOUFA, born in 1985. The French-Algerian artist
lives in Paris. In his installation-like sceneries comprised of pictures and sculptures, film is the central artistic medium. Participation in the 58th Venice Biennale (2019), London Film Festival and Toronto Film Festival, among others. Solo exhibitions at the MoMA, New York, Hammer Museum, Los Angeles and Palais de Tokyo, Paris. Selected films: Desire for Data (2014), Tonight and the People (2013) and Sans-Titre (Grand Prize, Short Film Festival Oberhausen, 2011).
Kino der Kunst 2020
Occidental FRA 2017, 73’, FRANZÖSISCH/FRENCH KAMERA/CINEMATOGRAPHY: Guillaume Le Grontec SCHNITT/EDITING: Ermanno Corrado
TON/SOUND: Arno Ledoux, François Bailly
CAST: Idir Chender, Anna Ivacheff, Paul Hamy PRODUKTION/PRODUCTION: Bad Manner’s & Atelier Neïl Beloufa
Riots and demonstrations across French cities—as well as in front of the Parisian Hotel Occidental where Giorgio, an Italian, has booked the bridal suite for himself and his boyfriend Antonio. But the hotel manager Diana is suspicious and has called in the police to get rid of the odd couple. Are they Italians? Homosexuals? Criminals? The hotel lobby, with its ’70s décor, forms the backdrop for this tabloid comedy inspired by the contemporary social climate in which satirical anecdotes about homophobia, racism, misogyny and a fear of terrorism abound. Nothing is serious, everything is fake. Isn’t it?
Wang Tuo, born in 1984 in Changchun, lives in Peking.
In his performances, installations and films he combines interview, reality show and absurd theater. Recent solo shows (2020): Ullens Center for Contemporary Art, Peking; Present Company, New York (2019); Gallery EXIT, Hong Kong; Beijing Contemporary, Peking (2018); White Space, Peking; Salt Project, Peking (2017). Selected group exhibitions: Today Art Museum, Peking; Long March Space, Peking; Staatliche Kunsthalle Baden-Baden; Owen Art Gallery at Gould Academy, Maine (2019); OCAT, Shanghai; Julia Stoschek Collection, Dusseldorf; Blindspot Gallery, Hong Kong; OCAT, Shenzhen (2018).
Kino der Kunst 2020
The Interrogation CHN 2017, 35MM, 18’35’’, CHINESISCH/CHINESE tuo-wang.com
Which psychological tricks work in a job interview? The answers are par- ticularly interesting when revealed by an officer from the “Commission for Disciplinary Inspection,” along with the methods he uses during inter- rogations. This highly political narrative thread is contrasted with a story inspired by Ingmar Bergman’s film Persona (1966), in which an actress who refuses to speak is urged to do so by a nurse. Film stills and photographs overlap in a collage of inspection and therapeutic intervention superimposed by the voice-over of the protagonist.
Milorad Krstić The multimedia artist has lived in Budapest since 1989. Ruben Brandt, Collector celebrated its premiere at the Locarno Film Festival and was the winner of the Art Cinema Award at the 15th Seville European Film Festival. His work has been featured in solo exhibitions in Berlin, Novi Sad, Sarajevo, Zagreb, Dubrovnik, Belgrade, Stuttgart, Nuremberg, Frankfurt, Oudehaske, Budapest, Kaposvar, Szeged and Györ.
Selected films: My Baby Left Me (1995), Motel (2000) and Budapest (2002).
Kino der Kunst 2020
Ruben Brandt, Collector HUN 2018, ANIMATION, 94’, ENGLISCH/ENGLISH
ANIMATION: Milorad Krstić, Marcell László
MUSIK/MUSIC: Tibor Cári
Art theft as therapy: the art collector Ruben Brandt hopes to pacify his inner demons with paintings. Thirteen works of art by old and young masters are stolen from the world’s most important museums and private collections in order to put an end to his nightmares. The styles and intellectual currents of the last century intermingle in a feverish pop collage of references to the cult films of Alfred Hitchcock and Quentin Tarantino and the powerful block- buster images from Terminator or Rambo. Suspenseful, humorous, surreal and audio-visually breathtaking—a masterpiece of artistic animation.
Kudzanai Chiurai, born in 1981, lives in Harare (Zimbabwe). His work deals with the political, economic and social aspects of Post-Colonialism. Recent solo shows at the National Gallery of Zimbabwe and Zeitz MoCAA, Cape Town (2017). Selected group exhibitions: Museum für Moderne Kunst, Frankfurt (2014) and MoMA, New York (2011). Participation in documenta 13 (2012). Selected films: Sins of the Father (2016) and Moyo (2013).
KINO DER KUNST 20
We Live in Silence (Ch. 1–7)
ZWE 2017, 41’41’’, Englisch/English
Kamera/cinematography: Adam Bentel
Cast: Botshelo Motuba, Adriaan Fourie, Alino Katombe
A post-colonial history of the African continent is reformulated in seven elaborate tableaux vivants. In this cinematic response to the celebrated film Soleil Ôby Mauritanian director Med Hondo (1967), Chiurai operates with similitude, recreating selected scenes in order to dissect the original’s message and produce alternative colonial narratives. In his version, an African from the Dark Continent sets off for Paris in search of his “Gallic ancestors.”Desperate for work and a place to live, he finds only indifference, rejection and humiliation before rising up in rebellion together with his fellow immigrants. A cinematic manifesto denouncing a new form of slavery.
A Russian artist collective formed by Tatiana Arzamasova (born in 1955), Lev Evzovich (born in 1958), Evgeny Svyatsky and Vladimir Fridkes (born in 1956). Live in Moscow. They have been presenting their work since the end of the 1980s in the most important biennals and at exhibitions worldwide. Participation in the 56th Venice Biennal 2015; 6th Moscow Biennale 2015 et al. Exhibitions at ZKM Karlsruhe; Moderna Museet Stockholm; Tate Britain, London; The State Russian Museum, St Petersburg et al.
Selected works: The Liminal Space Trilogy: Last Riot (2005/07), Feast of Trimalcho (2009), Alegoria Sacra (2011)
(RUS 2015, HD, 38’20’’, NO DIALOGUES)
Pigs carved by butchers, a child punished by the teacher, men and women in reversed roles, or a rich man who is provided generous alms by a beggar in rags: Inspired by medieval engravings and drawings depicting absurd situations – which served as models for artists such as Dutch painter Hieronymus Bosch – these sometimes comical yet tragic motives are brought forward into our day and age. A cinematic reinterpretation of reality, a type of poetic vision in the usual surrealist style.
Eija-Liisa Ahtila, born in 1959 in Finland, lives in Helsinki. Participation in the Venice Biennale 1999, 2005 and 2009. Exhibitions a.o. at the Moscow Museum of Modern Art; Stedelijk Museum, Amsterdam; Hamburger Bahnhof, Berlin. Solo exhibitions since 2002 a.o. at the Moderna Museet, Stockholm; K21, Düsseldorf; Jeu de Paume, Paris; Marian Goodman Gallery, New York/Paris.
The Annunciation / Marian Ilmestys (FIN 2011, DCP, 37 Min. 40 Sek., enOF)
In the splitscreen version of her installation, Eija-Liisa Ahtila reconstructs one of the central motives of Christian iconography: the annunciation. Based on the Gospel of Saint Lucas and paintings of the annunciation in which artists have represented their visions of this episode of the Gospel over several centuries, the film transposes the biblical miracle into the present day.
Eija-Liisa Ahtila, “Marian Ilmestys” / „The Annunciation“, 2011, DCP, 37 Min. 40 Sek., Courtesy Marian Goodman Gallery, New York/Paris
Alavanou, Loukia
Loukia Alavanou, born in 1979, lives in Athens. Solo exhibitions in the Upload Art Project Toronto et al. Group exhibitions in the BOZAR Palais des Beaux-Arts, Brussels 2014; State Museum of Contemporary Art, Thessaloniki 2014; Palais de Tokyo, Paris 2013 et al.
Loukia Alavanou, THE HUNTER (GRC 2014, 8’, greek)
German Premiere
A short film about the long history of gold in culture and politics. In light of current political conflicts surrounding the sale of the Cassandra gold mines in northern Greece, self-shot images of everyday life in the mines are combined with excerpts from famous Hollywood movies to form a visual puzzle that depicts the precious metal as an economic and cultural icon.
Loukia Alavanou, „THE HUNTER“, GRC 2014, 8’
Altindere, Halil
Halil Altindere, Born in 1971 in Turkish Kurdistan, lives in Istanbul. His work deals with political, social and cultural codes. Participation in the 58th Venice Biennale (2019), Gwangju Biennale, Triennale di Milano, Rencontres d’Arles (2018), Berlin Biennale, Manifesta 10 and documenta 12 (2007). Recent solo exhibitions at Fundacja Nosna, Poland, Pilot Gallery, Istanbul, Neuer Berliner Kunstverein, MoMA PS1 and Kunst-palais Erlangen. Selected films: Homeland(2016, KDK 2017) and Angels of Hell (2014, KDK 2015) Website Halil Altındere
KINO DER KUNST 20
Ballerinas and Police
TUR 2017, HD, 9’39’’, Ohne Dialog/No Dialogue
Kamera/cinematography: Cengiz Tanç
Choreografie/choreography: Idil
Dancing to Tchaikovsky’s Swan Lake, four little swans join hands while form -ing an impenetrable curtain of delicate tutus. Gracefully, they perform their world-renowned dance in front of armed Turkish security forces whose drawn weapons are forcing matters to a head. In the aftermath of the brutally suppressed uprising in Istanbul’s Gezi Park, Altındere has created a video in which the beauty of art literally dances in the face of political repression and its unimaginative politics. An ironic recoding that transforms the world-famous ballet into an act of resistance.
Homeland (GER / TUR 2016, HD, 10´06″, Arabic)
Filmed in Turkey and Germany, this film relies on the tension between realism and fiction to focus on the experience of forced migration. Mohammed Abu Hajar gives voice to the contradictions brought about by the refugee status. The rhymes by the Berlin-based Syrian-born rapper accompany the viewer through scenes partially based on real footage. They take us from Istanbul to Berlin – a political centre where Europe‘s response to the refugee crisis is being sought.
Halil Altındere, Homeland, 2016, HD video, color, sound, 10’6”, Vocals and lyrics Mohammad Abu Hajar, Music Nguzunguzu. Courtesy Halil Altindere and Pilot Gallery, Istanbul. Commissioned and coproduced by Berlin Biennale for Contemporary Art.
Angels of Hell (TUR 2014, 13’26’’, no dialogue)
A parody of fast-paced action movies with shootouts, helicopters, suitcases full of money, conspiratorial meetings in mosques and a dwarf as James Bond. Gangsters control life in Turkey until an Atatürk doppelganger straightens things up again with a blonde at his side and his Kalashnikov.
Halil Altindere, Angels of Hell, TUR 2014, 13’26’’, Ridvan Bayrakogly; Pilot Gallery, Istanbul
Artus, Philipp
Philipp Artus, born in 1982 in Bremen, studied art, animation, music theory and media arts in Nantes and Cologne. Visual Music Award 2012. Exhibition and festival participations included a. o. SIGGRAPH, Los Angeles; Museum of Contemporary Art, Kanazawa; European Media Art Festival, Osnabrück; Videoformes, Clermont-Ferrand; LUMINALE, Frankfurt.
Philipp Artus, Snail Trail (GER 2012, HD, 3 Min., no dialogue) Snail Trail tells the story of a snail that invents the wheel and passes through a cultural evolution of acceleration, only to finally end up where it started.
Philipp Artus, „Snail Trail“, 2012, HD, 3 Min.
Arango, Mauricio
Mauricio Arango, born in Colombia, studied at the Academy of Fine Arts, Salzburg and participated in the Independent Study Program at the Whitney Museum. He lives in New York. Exhibitions included The São Paulo Museum of Contemporary Art; Artists Space, New York; Stills Gallery, Edinburgh; Espacio Fundación Telefónica de Buenos Aires; Museo de Arte Moderno de Medellín.
The Night of the Moon Has Many Hours (COL/USA 2011, HD, 12 Min., no dialogue) The Night of the Moon Has Many Hours recalls the plight of those who lost relatives between 1990 and 2000, during Colombia’s period of cruel violence. A young man wakes up in the middle of the night. He steps out into the darkness and reaches a river. When he wades into the dark water, he discovers dead bodies and, in a mysterious nightly ritual, recovers them from the river’s icy grasp.
Mauricio Arango, „The Night of the Moon Has Many Hours“, 2011, HD, 12 Min.
Atkins, Ed
Ed Atkins, born in 1982, lives in London. Solo exhibitions in the Stedelijk Museum, Amsterdam; Serpentine Gallery, London; Kunst-halle Zurich et al. Group exhibitions in the New Museum, New York 2015; Friedricianum, Kas-sel 2013 et al. Participation in the Art Basel 2014; 56th Biennale di Venezia, 2013 et al.
Even Pricks (GBR 2013, 8’, English)
The film comprises a series of hyperpolished digitally rendered vignettes, evoking ads, videoclips or animation, that relate the idea of depression – both physical and psychological – to the immaterial surfaces of images.
Ed Atkins, „Even Pricks“, GBR 2013, 8’, Courtesy of the Artist and Cabinet, London
Azari, Shoja
SHOJA AZARI Born in 1958, lives in New York. Since 1998 close collaboration with Shirin Neshat, that successfully began with the installation Turbulent which won the Golden Lion at the 48th Venice Biennale. Followed by the Silver Lion for the movie Women Without Men eleven years later. Exhibitions at the Haus der Kulturen, Berlin; ICA London; Centre Pompidou, Paris et al. Selected Films: King of Black (2013), Women Without Men (2009), Window (2006), K (2002)
Shoja Azari, Simple Little Lives, USA 2016, 80’39’’. International distribution: Wide Management
SIMPLE LITTLE LIVES (USA 2016, 2K, 80’39’’, English)
Cast: Natalie Hall, Brock Harris, Kieran Campion, Christopher Sears, Rosie Benton, Paul Pilcz, JJ Condon, Ismael Cruz Cordova, Ashley Trawinski, Dylan Perlman
WORLD PREMIERE
As they do every year, nine friends meet to grill a pig over an open fire at night – a generations-old tradition diligently upheld in the rural Adirondacks in New York. This time, however, a mysterious uninvited stranger from the city also comes. He acts as a catalyst who – as the evening advances and the alcohol intake increases – exposes the simmering tensions in the group. An open conflict develops. This work is a parable about social differences, frustration and the propensity to violence in the young white generation in the USA.
Barrada, Yto
Yto Barrada, born in 1971, lives in Tangier. Participation in the Venice Biennale, 2011. Deutsche Bank artist of the year 2011. Exhibitions a.o. Victoria & Albert Museum, London; Centre Georges Pompidou, Paris; MOMA, New York. Solo exhibitions since 2001 a.o. Fotomuseum Winterthur; MARCO, Rom; Jeu de Paume, Paris; Witte de With, Rotterdam; Galerie Polaris, Paris.
Hand-me-Downs (MAR 2011, HD, 15 Min., enOF)
Yto Barrada digs into her family history and narrates sixteen “myths”, based on unreliable narrators and unverifiable stories, which she illustrates with strangers’ home movies and archival films from the last half-century in Morocco.
Yto Barrada, „Hand-Me-Downs“, 2011, HD, 15’, Courtesy Galerie Polaris, Paris
Bartana, Yael
Yael Bartana, born in Kfar Yehezkel, Israel, lives in Amsterdam and Berlin. In her films, she merges political and social observations with the staging of fascistic authority. Recent solo shows at the Fondazione Modena Arte Visive, Modena, Capitain Petzel, Berlin (2019), Annet Gelink Gallery, Amsterdam (2018), Philadelphia Museum of Art and the Volksbühne, Berlin (2017), among others. Participation in the Faena Festival, Miami (2019), IDFA, Amsterdam, Berlinale Forum Expanded (2016), 54th Venice Biennale (2011) and documenta 12 (2007). Selected films: Simone the Hermetic, Pardes (2015), Tr u e Finn (2014), Inferno (2013, KDK 2015), JRMiP Congress (2012) and And Europe Will Be Stunned: Zamach (2011, KDK 2013). Website Yael Bartana
KINO DER KUNST 2020
The Undertaker
ISR/DEU 2019, 2K, 13’ OHNE DIALOG/NO DIALOGUE
A funeral procession led by an austere high priestess makes its way through an American downtown en route to a cemetery where the weapons carried by her followers will be ceremoniously buried. As the high priestess fills dirt into the grave and stamps down the soil, her disciples carry out a performance based on a choreography by Israeli dancer Noa Eshkol. Militarism is subtly transformed into an aesthetic plea for pacificism in which the beauty of composed movement is celebrated.
Assassination / Zamach (POL/ISR/NLD 2011, Blueray, 35 Min., plOmeU) German Premiere In the near future we attend the funeral of the leader of the Jewish Renaissance Movement, who has been killed by an anonymous assassin. This symbolic death creates the myth of a new political movement ready to be implemented. Zamach is the last part of a trilogy and brings the dream about a multinational community and the brand-new Polish society to an ultimate test.
Inferno (BRA 2013, 22’, no dialog)
With dynamic imagery influenced by Hollywood action movies and the silent-film aesthetics of Expressionism, the artist weaves a story about the construction of a replica of Salomon’s Jerusalem Temple by a powerful Brazilian sect. An ancient episode from the Middle East, the inspiration of the Jewish diaspora, is set in relationship to religious fanaticism in South America today. Fact and fiction, prophecy and history – is the reconstruction of Salomon’s Temple the anticipation of its demise?
Yael Bartana, „Inferno“, BRA 2013, 22’, Courtesy of Petzel Gallery, New York; Annet Gelink Gallery, Amsterdam; Sommer Contemporary Art, Tel Aviv
Bass, Melika
Melika Bass, born in North Carolina, studied literature, philosophy and later art at the Art Institute of Chicago. She lives in Chicago. Exhibitions included Museum of Contemporary Art Detroit; Segal Center for the Performing Arts, Montreal. Solo exhibition at Museum of Contemporary Art Chicago, 2011.
Waking Things (USA 2011, 16mm, 34 Min., enOF) German Premiere In a house in a primeval wood, a mysterious family of misfits prepares a seasonal feast for a visiting party of strangers. As they shuffle through ritualistic preparations, shadows reveal the true character of each individual: one menacing, one wounded and one worn. They are the stewards of an old tradition, blood for blood.
Melika Bass, „Waking Things“, 2011, 16mm, 34 Min.
Ben-Shitrit, Orit
Orit Ben-Shitrit, born in Israel, studied art and dance at Bezalel Art Academy, Jerusalem, London College of Communication and Hunter College, New York. She lives in New York. Exhibitions since 2003 included MACRO, Rome; Haifa Museum of Art; Guest Projects, London; Royal Academy of Art, London; White Box, New York.
Vive le Capital (USA 2012, HD, 15 Min. 24 Sek., frOmeU) German Premiere Vive le Capital is a deliberation on a love/hate relationship with money. The plot pirouettes between the protagonist’s soliloquy and dancers who respond in various transgressing behaviours. Three of them travel to the time of Cosimo De Medici and visit the roots of our banking system; they also pay homage to the French Revolution and embody John Law, who ran the first Ponzi scheme.
Orit Ben-Shitrit, „Vive le Capital“, 2012, HD, 15 Min. 24 Sek.
Bengtsson, Åsa Maria
Åsa Maria Bengtsson, born in 1956 in Östersund, studied art at Forum School Graphics in Malmø. She lives in Malmø. Exhibitions included ICA, London; Museo de Arte Contemporàneo, Santiago di Chile; Künstlerhaus Bethanien, Berlin; Maison de la Culture Plateau Mont-Royal, Montreal; Pusan Metropolitan Museum. Solo exhibitions since 1990, a.o. Moderna Museet, Malmø.
Fermentity / Jäsningen (SWE 2011, HD, 9 Min. 6 Sek., no dialogue) German Premiere Jäsningen is a short drama about human identity. We create ideals and our ideals shape us, but who decides what the correct model is? The film is set in a clinic for the mentally disabled and deals with the transformation of the peer norm. Lead actor Pierre Bjorkman suffers from Down’s syndrome in real life.
Åsa Maria Bengtsson, „Jäsningen“ / „Fermentity“, 2011, HD, 9 Min. 6 Sek.
Caspari, Nina
Nina Caspari, born in 1987 in Recklinghausen, studied art and design at AKI ArtEZ in Enschede and audiovisual art at the Sint-Lukas Brussels University College of Art and Design. She participated in the International Student Triennial in Istanbul, 2010, and in the exhibition 3=6 in Enschede.
The Silk Silence of the Wild Cotton Candy (BEL 2012, HD, 9 Min. 45 Sek., no dialogue) German Premiere The Silk Silence of the Wild Cotton Candy is a flashback to childhood inside the head of a young woman. A surreal mix of dream and reality. Memories, wishes and dreams are confronted by the present.
Nina Caspari, „The Silk Silence of the Wild Cotton Candy“, 2012, HD, 9 Min. 45 Sek.
Çavuşoğlu, Ergin
Ergin Çavuşoğlu, born in 1968 in Bulgaria, studied in Sofia, Istanbul, London and at the University of Portsmouth. He lives in London. He participated in the Venice Biennale, 2003, and in the Manifesta, 2010. Solo exhibitions since 2004 included Ludwig Forum für Internationale Kunst, Aachen; RAMPA, Istanbul; PEER, London; Kunstverein Freiburg; John Hansard Gallery, Southampton.
And I Awoke (GBR 2012, HD, 4 Min. 10 Sek., no dialogue) German Premiere And I Awoke echoes the final dream sequence in Leo Tolstoy’s “A Confession”. In the dream, Tolstoy sees his body entangled in wires lying on a bed suspended in what he describes as ‘infinite space’. His inner struggle and helplessness compel him to resist gravity. “And it seemed as if someone said to me: ‘See that you remember.’ And I awoke.
Ergin Çavuşoğlu, „And I Awoke“, 2012, HD, 4 Min. 10 Sek., Courtesy John Hansard Gallery, Southampton
Cheng, Ian
Emissary Forks Featuring Thousands Islands
Award for the Filmic Oeuvre 2017 Espace Louis Vuitton Munich
Emissary Forks at Perfection, 2015. Collection Fondation Louis Vuitton - courtesy: the artist; Pilar Corrias Gallery, London; and Standard (Oslo), Oslo
The American artist Ian Cheng is the recipient of the Award for the Filmic Oeuvre, bestowed by the Espace Louis Vuitton within the framework of the film festival KINO DER KUNST. His monographic exhibition is part of the Fondation Louis Vuitton’s ongoing “Hors-les-murs” program, which introduces previously unseen artworks from its collection to a broad audience.
Cheng’s progressive practice of new media art focuses on the nature of mutation and the capacity of humans to relate and react to change. Drawing on the principles of video game design, cognitive science, and improvisation in the performing arts he develops “live simulations”, which act as living virtual ecosystems, housed in digital space and accessible via apps.
A “live simulation” begins with a set of digital features authored by the artist, but unlike video, it has no end and therefore evolves and devolves in perpetuity. The artist assigns archetypal features to each element in the work. Based on a set of algorithms these elements take on lives of their own, evolving over time just like the human body and mind, with no predetermined outcome.
Cheng describes his simulations as a “neurological gym”: a venue for viewers to consciously exercise the feelings of confusion, anxiety, and cognitive dissonance that accompany our epoch’s perpetual state of change.
Cheng Ran
Born in 1981, Cheng Ran currently lives in Hangzhou. The graduate of China Academy of Art Hangzhou and former assistant to Yang Fudong is one of the most significant Chinese new media artists. Exhibtions since 2012 at New Museum, New York; K11 Art Foundation, Hongkong; Ullens Center for Contemporary Art, Beijing; Rockbund Art Museum, Shanghai et al. Participation in numerous film festivals and biennales, such as the 14th Istanbul Biennal and the 5th Auckland Triennale.
Selected films: Before falling asleep (2013), Lostalgia (2012, KdK 2013)
Lostalghia (CHN 2012, 12 Min. 13 Sek.)
In Lostalghia Andrei Tarkovsky’s ‘Nostalghia’ is re-edited to create a circular narrative that concludes with the replacement of ‘N’ of nostalgia with the letter ‘L’. Cheng´s interest in the cinematic, poetic and mysterious intertwine in the film alluding to the repetitions that occur as life is played out.
Cheng Ran, „Lostalghia“, 2012, Video, 11 Min. 45 Sek., Courtesy of LEO XU PROJECTS, Shanghai, Copyright: Cheng Ran
In Course of the Miraculous (CHN 2016, HD, 197’, English-Chinese)
Cast: Guan Zeqiang, Winston Youri Matthijs, Lin Tiejing German Premiere What happened to the British mountaineer George Mallory, whose trace was lost forever on Mount Everest in 1924? What happened to the Dutch artist Bas Jan Ader, who disappeared on an Atlantic crossing he undertook in 1975 as part of the performance In Search of the Miraculous? And why did only a third of the original crew of the Chinese fishing trawler Lu Rong Yu 2682 return in 2011? In a hypnotic narrative inspired by fables and mythic literature, with long shots and fascinating images, Cheng Ran weaves together three true stories of disappearance. He dares the paradoxical and cinematic attempt to explain the inexplicable and unimaginable essence of these fates.
Cheng Ran, In Course of the Miraculous, 2016, 197’. Courtesy of the artist, K11 Art Foundation, Erlenmeyer Foundation and Galerie Urs Meile, Beijing-Lucerne
Chong Chan Fui, Chris
Chris Chong Chan Fui, born in 1982 in Borneo, Malaysia. He lives and works in Kuala Lumpur. He studied at Pusan’s Asian Film Academy. In 2009 he was awarded the American Express Maverick Prize. His work has been shown a.o. at the Toronto International Film Festival, the Festival de Cannes and the Berlinale. It was also exhibited at the Hirshhorn Museum of the Smithsonian Institution in Washington D.C. in 2010.
Heavenhell (MYS 2009, 10 Min. 13 Sek.)
In Heavenhell the artist replicates the 1963 Akira Kurosawa film „High and Low”, twice restaging Kurosawa’s staged depiction of the notorious and violent red light district of ’60s Yokohama, Japan: first simulating the film as originally shot and then with the current inhabitants, reviving history and memory into the collective consciousness of the audience.
Chris Chong Chan Fui, „Heavenhell“, Video, 2009, 10 Min. 13 Sek.
Clark, Larry
Larry Clark, born in 1943, lives in New York. Solo exhibitions in the Foam Photography Museum Amsterdam; Simon Lee Gallery, Hong Kong; Museum of Contemporary Art, Los Angeles et al. Group exhibitions in the Galerie Rudolfinum, Prague 2014; New Museum, New York 2013 et al.
The Smell of Us (FRA 2014, 92’, French) German Premiere Every day, the skateboarders Math, Marie, Pacman, JP, Guillaume and Toff meet on the terraces behind the Palais de Tokyo, the Paris art center that overlooks the Eiffel tower and the Seine. They are as little interested in the cultural life of their neighborhood as they are in the old drunkard (Larry Clark) who lives among them. Instead, they concentrate on having fun, making love and getting high. Fleeing from their often complicated families, they live for the moment and earn fast money through Internet dating, while Toff is filming everything.
Clément Cogitore, born in 1983, lives in Paris and Strasbourg. Studied at the École Supérieure des Arts Décoratifs of Strasbourg and at Le Fresnoy – Studio national des arts contemporains. From the beginning, his films have been selected for numerous festivals worldwide like Cannes, Locarno, Lisbon, Montréal. Cogitore has won many awards, as filmmaker and as artist, including the important Prix de la Fondation de l‘entreprise Ricard 2016. Exhibitions a.o. at the Palais de Tokyo, Paris; Centre Pompidou, Paris; Museum of Fine Arts, Boston; MoMA, New York. Kino der Kunst 2017 Main Award Artist up the the age of 35 (donated by Biehler von Dorrer Stiftung)
Selected films: Ni le ciel, ni la terre (2015, KdK 2017), Un Archipel (2011, KdK 2013), Bielutine (2011), Visités (2007)
The Evil Eye
FRA 2018,15’, ENGLISCH/ENGLISH
Prix Marcel Duchamp 2018
Ein High-Tech-Psychothriller von „erotisch-komatöser Klarheit“ (A. Crowley). Auf die allgemeine und trivial gewordene Bilder-Zirkulation antwortet Cogitore mit visuellen intensiven, aber ambivalenten Inszenierungen. Erzählungen transformieren die vorgefertigte Stockfotografie, während eine weibliche Stimme stereotype Szenen globaler Bilderflut durchläuft. Ein großer LED-Bildschirm erregt Aufmerksamkeit, auf ihm beginnt „die Auto-rität des Dispositivs zu driften“ (Marcella Lista, Centre Georges Pompidou).
KINO DER KUNST 2017
An Archipelago / Un archipel (FRA 2011, Digibeta, 11 Min., enOF) Un archipel tells the story of the HMS Astute, a British nuclear submarine that mysteriously ran aground on the Isle of Skye on October 22, 2010.
Clément Cogitore, “Un Archipel” / „An Archipelago“, 2011, Digibeta, 11 Min., Courtesy Galerie White Project, Paris
Ni le ciel, ni la terre (FRA 2015, 2K, 100’, French + Farsi)
Cast: Jérémie Renier, Kevin Azaïs, Swann Arlaud, Marc Robert, Finnegan Oldfield, Clément Bresson, Sâm Mirhosseini Kino der Kunst Second Main Award 2017
Afghanistan 2014. With the imminent withdrawal of the troops, section commander Antarès Bonassieu and his section are given the job of ensuring safety and order in a rugged, hard-to-reach valley at the foot of the Wakhan, a mountain range on the border to Pakistan. Only rarely do warning shots break the silence; these are mostly due to careless shepherds. It is quiet on the Wakhan, even military. Until one night, two soldiers mysteriously disappear.
Eli Cortiñas, born in 1976, lives in Cologne and Berlin. Exhibitions in the Art Cube Gallery, Jerusalem 2014; Kunsthalle Budapest 2013; Kunstmuseum Bonn 2013; Capitain Petzel, Berlin 2013 et al. Best Experimental Award at Film Festival Nashville 2014.
The One Who Walks (GER/ITA 2014, 9’30’’, French /Italian/Spanish)
Named after the central female figure in Carlo Lizzani’s contribution to the neo-realistic anthology film “L᾽amore in città” from 1953. An aging, impoverished prostitute is the focal point for questioning one’s own role as an individual, a self-reliant child in a working-class family, a woman, a daughter or an artist. An associative montage of self-filmed material, found footage and fragile sculptural constructions.
Eli Cortiñas, „The One Who Walks“, DEU/ITA 2014, 9’30’’
Collins, Phil
Phil Collins, born 1970, lives in Berlin. Solo exhibitions in the British Film Institute 2014; Dallas Museum of Art 2007; Tate Britain, London 2006 et al. Group exhibitions in the MUMOK, Vienna; Van Abbemuseum, Eindhoven; New Museum, New York et al.
Tomorrow Is Always Too Long (GBR /GER 2014, 82’, English) Audience Award KINO DER KUNST 2015
A cinematic declaration of love, a city portrait and a musical about Glasgow. Developed with various communities, the film is funny, sentimental and constantly surprises. Everyday urban life is the setting for an existential journey that takes us from birth and youth to issues with the prison system and then to the nursing home. Completely natural amateur actors sing – better than might be expected – songs specifically composed for the film by Cate Le Bon, accompanied by the Royal Scottish National Orchestra.
Phil Collins, „Tomorrow Is Always Too Long“, GBR/DEU 2014, 82’, Courtesy of Shady Lane Productions, Berlin
Cytter, Keren
Keren Cytter, born in 1977, lives in New York. Solo exhibitions in the Stedelijk Museum, Amsterdam; Witte de With, Rotterdam et al. Group exhibitions Julia Stoschek Collection, ZKM Karlsruhe 2014; MMOMA, Moscow 2011; Van Abbemuseum, Eindhoven 2010 et al.
Vengeance 1 – 7 (USA 2013, 7 x 15’, English)
Love, betrayal, revenge – the stuff of everyday human relations in real life is often popular substance for television soap operas. Cytter, who recently moved from Berlin to New York, has filmed seven short episodes about her first impressions of her new home and its trivial, mass-media art. Over 50 professional actors at 15 different locations interpret material from ancient Greek dramas as they might be found on 21st century television. Scary.
Keren Cytter, „Vengeance 1-7“, USA 2013, 7×15’, Courtesy of the artist and Galerie Nagel Draxler, Berlin/Köln
Dawood, Shezad
Shezad Dawood, Born in 1974, lives in London. His multi-media work deals with history and contemporary narratives in relation to his own multicultural background. Recent solo shows (selected) at Bluecoat, Liverpool, MOCA, Toronto and Frieze LIVE, London (2019). Selected group exhibitions: Gwangju Biennale (2018) and Mori Art Museum, Tokyo (2016). Selected films: It Was a Time That Was a Time, I’m So in I See Ravel (2015), Trailer (2011, KDK 2013) shezaddawood.com leviathan-cycle.com
In an imaginary dystopian future, only a handful of terrestrials have survived a catastrophe in the solar system. In part four of the ten-part Leviathan Cycle, survivors Ben and Yasmine leave their Venetian lagoon for Morocco. Their journey on and under water takes them to Africa where they encounter a mysterious couple, Ding Ling and Nemo, whom they rescue from marauding vagabonds. An almost ethnographic journey into the future and a reversal of the common cliché of migration as a one-way street.
Trailer (GBR 2011, 2.35 (SCOPE), 15 Min. 20Sek., en/ur/ar/zhOmeU) German Premiere Trailer presents an experimental and alternative reading of footage from the science fiction feature film “Piercing Brightness”. One of three parallel films drawn from the same material, it interrogates the syntax of the gallery and cinema context, the narrative structure of short and long films and the codes and interrelation between the different forms.
MASK (played by Houda Echouafni) giving orders to the aliens as they arrive on earth in Preston, North West England. Shezad Dawood, „Trailer“ / „Piercing Brightness“, Production Still, 2011, 15 Min. 20 Sek. Courtesy of UBIK Productions Ltd, Photography: R
de Beer, Sue
SUE DE BEER, born in 1973, lives in New York. Her video works, photographs and sculptures address the relationship between memory, history and psychoanalysis. Recent solo shows: Tarble Arts Center, Illinois (2019), Boesky East, New York (2018) and Vanity Projects, New York & Miami (2017). Selected group exhibitions: Daata Editions, New York, Sadie Coles, London (2019), Sammlung Goetz, Munich, Art Basel Miami Beach, Haus der Kunst, Munich, MoMA PS1, New York, Schirn Kunsthalle, Frankfurt and ZKM, Karlsruhe. Selected films: The Legendary Leland City Club (2016), The Blue Lenses (2015, KDK 2017), Room 309 (2012), The Ghosts (2011, KDK 2013), Silver and Gold (2011) and Hans und Grete (2004). Website Sue de Beer
KINO DER KUNST 2020
The White Wolf
USA 2018, 4K, 23’21’’, ENGLISCH/ENGLISH
EUROPÄISCHE PREMIERE/EUROPEAN PREMIERE
The classic werewolf tale is used as a lense for transformation, memory, psychology and physicality. On a fictitious island off the coast of New England in the late 1980s, the paths of various characters begin to intersect, all of whom are connected to the secret history of the town through their stays in a local clinic there. The horror thriller was created within the framework of the John Simon Guggenheim Fellowship that de Beer received in 2016 and with the support of Mana Contemporary and the Marianne Boesky Gallery
(USA 2010, HD, 30 Min., enOF) The Ghosts is a two-channel video in the form of an Italian “Giallo” film. It tells the story of a hypnotist who retrieves lost lengths of time from peoples’ memories and returns them to the patient as if they are experiencing these moments anew. The hypnotist has developed a method that allows her to dive into the deepest parts of the human mind and find the ghosts hidden there.
Sue de Beer, „The Ghosts“, 2011, HD, 30 Min., Courtesy Galerie Christian Ehrentraut, Berlin
The Blue Lenses (USA/ARE 2015, HD, 19’03’’, English) European Premiere In her short story The Blue Lenses, Daphne du Maurier tells the tale of a woman who will supposedly regain her vision after an operation. When the bandage is removed from her eyes, however, she suddenly sees people completely differently. Instead of human heads, she sees dangerous beasts. Like du Maurier‘s story, the film also questions reality and fiction as well as trust and deception, with a current political problem as ist protagonist: The Middle East. The film was originally developed by Sue de Beer as an installation.
Sue de Beer, The Blue Lenses (still), USA/ARE 2015, 19’3’’, Still reproduced in color, Two-channel video installation. Courtesy the artist and Marianne Boesky Gallery, New York
Dean, Tacita
Tacita Dean, born in 1965, lives in Berlin. Solo exhibitions in the New Museum, New York; Tate Modern, London; Solomon R. Guggenheim Museum, New York et al. Participation in the 55th Biennale di Venezia, 2013; documenta 13, 2012 et al.
JG (GER 2013, 35mm anamorphic, 26’30’’, English) German Premiere Named after the initials of American science-fiction writer J. G. Ballard, Dean’s film and Ballard’s short story “The Voices of Time” and the legendary, now flooded land art sculpture “Spiral Jetty” by Robert Smithson seem cryptically connected. For Dean, JG, filmed at salt lakes in Utah and California, is a film about landscape and time, which she desires to “mix in a single image” that can only be analog – in no case digital.
Tacita Dean, „JG“, GER 2013, 25’30’’, Courtesy of Marian Goodman, Paris
di Martino, Rä
Rä di Martino, born in 1975 in Rome, studied at Chelsea College and the Slade School of Fine Art and lives in New York. He participated in Manifesta, 2008, and Busan Biennial, 2006. Exhibitions included Tate Modern, London; PS1, New York; MCA Chicago; Palazzo Grassi, Venice; Magasin, Grenoble. Solo exhibitions since 2003 included Vartaj Gallery, Vilnius; CAV, Coimbra; Monitor Gallery, Rome
Short History of Abandoned Scenes / Petite Histoire des Plateaux Abandonnés (MAR/ITA 2012, HD, 9 Min., arOmeU) Petite Histoire des Plateaux Abandonnés looks at the architectural and cultural remains of film shoots in the Maroccan desert, which Hollywood studios like to use as a stand-in for anywhere from ancient Rome to unknown planets. After the shoot, the props are abandoned in the desert to decay into “ancient ruins” to be visited by the local population.
Rä di Martino, „Petite Histoire des Plateaux Abandonnés“ / „Short History of Abandoned Scenes“, 2012, HD, 9 Min.
The Show MAS Go On (ITA 2014, 30’, Italian) German Premiere The five-story department store MAS in Rome opened a century ago as an expensive shopping center for fashion. Today, only the magnificent old chandeliers still testify to the glories of the past. For the length of one film, however, threadbare carpets and dusty shelves again serve as a stage for urban fauna of our time, where performances and scenes rekindle the spirit of a cult department store.
Rä di Martino, „The Show MAS Go On“, ITA 2014, 30’, Produzioni Illuminati, San Benedetto del Tronto; Snaporazverein, St. Moritz; Think Cattleya, Rom
Djurberg, Nathalie / Berg, Hans
Nathalie Djurberg, born in 1978 in Sweden, studied in Gothenburg and Malmø. She lives in Sweden and Berlin. Silver Lion at the Venice Biennale, 2009. Solo exhibitions since 2002 a.o. Camden Art Centre, London; Walker Art Center, Minneapolis; Museum Boijmans Van Beuningen, Rotterdam; Kestnergesellschaft, Hanover; Centre Pompidou, Paris; Zach Feuer Gallery, New York.
The Parade of Rituals and Stereotypes (SWE 2012, HD, 10 Min. 56 Sek., enOF) The Parade of Rituals and Stereotypes consists of a dark series of fascinating animations of clay figures in which humans and animals act out upsetting scenarios of torture, humiliation, and masquerade, mining the interplay of brutality and guilt. Narrative is conceived here in spatial terms such as setting, sound, and action, as on a stage.
Nathalie Djurberg, „The Parade of Rituals and Stereotypes“, 2012, HD, 10 Min. 56 Sek., Courtesy Zach Feuer Gallery, New York
Drivas, George
George Drivas, born in 1969 in Athens, represented Greece at the 57th Venice Biennale (2017). Recent solo shows at the National Museum of Contem-porary Art, Athens (2018) and La Galleria Nazionale, Rome (2017), as well as a monographicexhibition at the Lumen Quarterly Festival, Peking (2017/18). Participation in documenta 14 (2017) and Festival du nouveau cinéma, Montreal (2015), among others. Selected films: Laboratory of Dilemmas (2019), Platform Zero(2015) and Kepler (2014, KDK 2015) Website George Drivas
KINO DER KUNST 2020
Empirical Data 2.0
GRC 2019, 4K, 31’, GRIECHISCH/GREEK
KAMERA/CINEMATOGRAPHY: Spiros Pagonis, Claudio Bolivar
CAST: David Malteze
WELTPREMIERE/WORLD PREMIERE
In a monologue, the Georgian actor David Malteze recalls how he arrived in Greece as an immigrant and began to act. His professional simulation as an actor necessarily included his own personal assimilation into society— an additional experience. The double estrangement from one’s true self is made evident by his speaking in the third-person, the use of a divided screen and through elegant, high-contrast, black-and-white, Kafkaesque settings.
Kepler (GRC / GEO 2014, 14’, Georgian) German Premiere Named after a recently discovered planet whose surface and atmosphere resemble the earth’s, this film is a retro-futuristic fairy tale, a commentary on current politics or simply…a bad joke.
George Drivas, „Kepler“, GRC 2014, 14’, Polyeco Contemporary Art Initiative
Dwyer, Jacob
Jacob Dwyer, born in 1988, lives in Amsterdam. Studied Fine Art at the Newcastle University before completing a Master degree in Experimental Film at Kingston University. His former films were screened at festivals such as IFFR in Rotterdam, Lo schermo dell’arte in Florence, and DocNext in Amsterdam. The sound installation Paulalien Knows Best premiered at Juliette Jongma and Cood Children Gallery, New Orleans.
Selected Films: Donovan Garcia (2016), The Celtic Body (2014; KdK 2015), The Camaguey Hustle (2012)
Dat Likwid Land (GER/NLD/USA 2016, HD, 29’, English) German Premiere At a bus stop, an invisible, laconic narrator finds a red notebook with the inscription “Ignatius Reilly. Journal of a Working Boy”. On the search for the journal‘s owner, who describes himself as an outsider, the film travels from Rotterdam to New Orleans, and into a strange, paradoxical country consisting of cemeteries and cypress swamps… For this film, which features his typical humorous manner, Dwyer won the project pitch of KINO DER KUNST 2015.
Marcel Dzama, born in 1974, lives in New York. Solo exhibitions in the Kunstmuseum Thun; Gemeentemuseum, The Hague; Kunstverein Braunschweig et al. Group exhibitions in the Whitechapel Gallery, London 2014; Museum of Contemporary Canadian Art, Toronto 2013; MoMA, New York 2009 et al.
A Game of Chess (MEX 2011, HD, 14 Min. 2 Sek., no dialogue)
Chess, the favorite game of the twentieth-century avant garde – both military contest and aesthetic argument – in turn, serves here as the basis for a thrilling ballet of figures, full of suggestive allusions and surprising turns.
Une danse des bouffons (or A jester’s dance) (USA 2013, 34’58’’, no dialogue) German Premiere A “Dadaist love story”, borrowed freely from Marcel Duchamp’s ill-fated affair with the Brazilian sculptor Maria Martins, here played by musician Kim Gordon (Sonic Youth). Martins tries everything to free her lover, who has been imprisoned and sentenced to permanently play chess. A silent black-and-white film, the story and scenic images are inspired by famous works of art – from Oskar Schlemmer’s “Triadic Ballet” to prints by Francisco de Goya or installations by Joseph Beuys.
Marcel Dzama, „Une danse des bouffons (or A jester’s dance)“, USA 2013, 34’58’’, Courtesy of David Zwirner, New York/London; Sies + Höke, Düsseldorf
Eilers, Willehad
Willehad Eilers, born in 1981, lives in Amsterdam. Group exhibitions in the Palazzo della Penna, Perugia 2011; Haus der Kulturen der Welt, Berlin 2009; 53rd Biennale di Venezia 2009; Gemeentemuseum, Den Hague 2006 et al.
Du bist ein Muss (DEU / NLD 2013, 3’30’’, German)
Are motivational speeches the new prayers in an egocentric world? Can we only love others if we love ourselves? Does our property, including our vacation cottages and gardens, finally make us what we want to be? Questions and more questions…
Willehad Eilers, „DU BIST EIN MUSS“, DEU/NLD 2013, 3’30’’
Escorsa, Dionis
Dionis Escorsa, born 1970 in Tortosa, lives in Barcelona and Berlin. Collaborations with the collective Rotor. Exhibitions included Hangar, Barcelona; 40Cube Gallery, Rennes; CCCB, Bracelona; Islands 6 Art Center, Shanghai; Netherlands Media Art Institute, Amsterdam; Fundacion Tomie Ohtake, São Paulo. In 2009 solo exhibition at Dispari & Dispari Projects, Reggio Emilia.
Y (ESP/SRB, 2012, XDCam Cinealta, 93 Min., sr/caOmeU) German Premiere A veteran of the Balkan war, now a homeless alcoholic, dreams that he is a tree growing inside the ruins of his house, which was destroyed in a bombing raid… While the disaster of the war in the Balkans slowly dissolves in the collective memory, the real events will remain forever blurred by the veil of a nightmare that we are still waking from but still already starting to forget.
Dionis Escorsa, „Y“ , 2012, 93 Min. Courtesy Dispari & Dispari Projects, Reggio Emilia
Fahmy, Marianne & Youssef, Amir
Marianne Fahmy & Amir Youssef, both born in 1992, live in Egypt. Fahmy studied at the faculty of Fine Arts at Alexandria University. Previous exhibitions a.o. at the Fine Art Museum, Alexandria; Saad Zaghloul Museum, Cairo. In 2014 she was awarded at the 25th Youth Salon Exhibition. Youssef who is assistant teacher at the faculty of Fine Arts, took part in the documenta 13 as an artist assistant with Theaster Gates. Art director for Wael Shawky’s film Al Araba Al Madfuna II. Participated in the Mediterranea 17 (2015).
31 Silent Encounters (EGY 2016, Digital, 7’30’’, Arabic) European Premiere A purposefully simple and poignant conversation based on love letters written in Egypt in the 1950s. The dialogue of an imprisoned Communist activist with his wife, illustrated with current film images of buildings from the period. Little by little, social and political problems superimpose themselves over the couple‘s feelings, just as the realization of current problems in Egypt erases every trace of nostalgia.
Loretta Fahrenholz, born in 1981, lives in Berlin. Solo exhibition in the Halle für Kunst, Lüneburg; Reena Spaulings Fine Arts, New York et al. Group exhibitions in the Modern Art Oxford; Kunsthalle Basel; 10th Shanghai Biennale 2014 (all 2014) et al.
My Throat, My Air (GER 2014, 17’, German)
Idyll in the Bavarian foothills, drama performed in residential barracks: Big and little children play guns with plastic pistols, adolescent girls apply makeup and gag each other, children try out handstands. This intentionally clumsy and enigmatic story of a strange family was filmed mainly in Munich’s Westend area, with former Fassbinder actor and Warhol associate Ulli Lommel in a leading role.
Loretta Fahrenholz, „My Throat, My Air“, DEU 2014, 17’, Courtesy of Loretta Fahrenholz and Vitakuben, Leipzig
Fast, Omer
Omer Fast, born 1972 in Jerusalem, lives and works in Berlin. Studied art at Hunter College, New York. Recipient of the 2009 Prize of the National Gallery Berlin for young art. Participation in the Venice Biennale (2011) and documenta (13) (2012). Solo exhibitions: Whitney Museum of American Art, New York; mumok, Vienna; Pinakothek der Moderne, Munich; La Caixa, Barcelona. Films: Remainder (2015), Everything that Rises Must Converge (2014, KDK 2015), 5000 Feet Is the Best (2011, KDK 2013).
KINO DER KUNST 2020
De Oylem iz a Goylem
AUT 2019, 24’40’’, JIDDISCH, DEUTSCH/YIDDISH, GERMAN
KAMERA/CINEMATOGRAPHY: Stefan Ciupek
PRODUCTION: Salzburger Kunstverein
A lone skier encounters an unexpected passenger on a lift high up the Austrian Alps. Based on a medieval Jewish fairy tale.
Everything That Rises Must Converge (GER/ USA 2014, 56’, English /Spanish)
This film follows the daily routine of four porn actors as they wake up in the morning, drive to work in the San Fernando Valley and take a shower afterwards. Various fictitious characters, whose stories take place in the same house as the actors work, turn up between the scenes on the porn set. In a matrix of four simultaneous images, the film weaves scenes of a busy and tiring everyday professional life with unexpected moments of beauty.
Omer Fast, „Everything That Rises Must Converge“, DEU/USA 56’, 2014, Filmgalerie 451, Berlin
Continuity (GER 2016, digital, 85’, German)
Cast: André M Hennicke, Iris Böhm, Lukas Steltner, Constantin von Jascheroff, Niklas Kohrt
What first begins as a simple linear narrative about the return of a young German soldier from Afghanistan soon becomes sinister. Continuity is the story of a middle-aged married couple who repeatedly invites young men to their house in a small German town for an arcane ritual. Three different young men representing the couple‘s lost son Daniel spend the night in the house. Afterwards, they mysteriously disappear.
5000 Feet Is the Best
(USA 2011, HD, 31 Min., enOmdU) Audience Award KINO DER KUNST 2013 5000 Feet is the Best says a pilot while sitting in a cockpit on the ground half a world away from the plane he is actually flying – a drone on a military mission. Do we lose our connection to reality when living in a parallel world simulated by technical images and instruments? Where are the borders between reality and fiction?
Omer Fast, „5000 Feet is the Best“, 2011, HD, 31 Min.
Faulhaber, Christoph
Christoph Faulhaber, born in 1972, lives in Hamburg. Exhibitions in the Staatliche Kunsthalle Baden-Baden 2014 et al. Winner of the Arte Laguna Art Prize, Arsenale Venedig 2014; Kunst am Bau Competition, Zurich 2010 et al.
Jedes Bild ist ein leeres Bild (GER 2014, 68’, German)
This film tells the story of the artist who has been invited to New York on a scholarship. Despite his valid visa, he is suspected of being a terrorist due to some of his previous art happenings and is subsequently bullied by the FBI. The documentary recordings of his New York stay were edited with a program of the “Grand Theft Auto” software, which is used to create video clips. The avatar Niko Bellic, developed by the toy manufacturer, functions as the artist’s alter ego, who constantly reflects and comments on the events.
Christoph Faulhaber, „Jedes Bild ist ein leeres Bild“, DEU 2014, 68’
Frampton, Russell & Way, Ruth
Russell Frampton, born in 1961 in Hampshire, lives in Devonshire and Brittany. He is a painter and musician and has exhibited nationally and internationally since his studies. He has been increasingly involved in experimental filmmaking and collaboration at the Dance/Film Lab at the University of Plymouth.
Ruth Way is the Associate Head of School Arts and Humanities and programme leader for Dance Theatre at the University of Plymouth. She was honoured with a major Arts Council of England award to help her develop her practice as a dance filmmaker and choreographer in collaboration with Russell Frampton.
Into Air (GBR 2016, HD, 11’45’’, English) World Premiere Seen from several perspectives, the mysterious moment when chance meetings and future tragedies intersect – anywhere in the world. Even if the future fate of the protagonists seems predictable, their actions cannot be influenced. A film based loosely on Ted Hughes‘ text The Pan, one of only two poems that Hughes wrote for his wife Sylvia Plath, who committed suicide in 1963.
Born in 1982, lives in Berlin. Studied at Städelschule, Frankfurt. Recent solo shows a.o. at the Kunsthalle Düsseldorf, 2016; Irish Museum of Modern Art, Dublin 2016. Group shows a.o. at the Camden Arts Centre London, 2016; Solomon R. Guggenheim Museum, New York 2015; Centre Pompidou, Paris 2014; Espace Louis Vuitton, München 2013. Participated in the 9th Berlin Biennale 2016; Ruhrtriennale 2012; São Paulo Biennale 2010 et al.
Selected works: Humanizer (2016), Hello (2015), Studio Pietà (King Kong Komplex) (2013)
A portrait of Joanne Sally, former Miss Northern Ireland, an artist, teacher and professional boxer. Fujiwara got to know her during his time at Harrow School, a distinguished English school for boys, where she promoted and lastingly shaped his artistic talent. Years later, when private nude photos of Sally were discovered and circulated by some students, she became the focus of a defamatory media campaign that destroyed her reputation. Five years after the scandal, the film tries to draw a more complex picture of her.
Simon Fujiwara, Joanne, GBR 2016, 13’34’’, Mixed media installation with video projection. Commissioned by FVU, The Photographers’ Gallery and Ishikawa Foundation, supported by Arts Council England. Courtesy of the artist
Fulmen, Pachet
Pachet Fulmen, born in 1985, lives in Hamburg. Participations in the ANIMFEST Athens 2012; ÉCU The European Independent Film Festival, Paris 2011; Machine-RAUM Festival for Video Art and Digital Culture, Vejle Kunstmuseum 2011; ION International Animation, Games and Short Film Festival, Los Angeles 2004 et al.
Song for God (GER 2014, 5’15’’, English)
In a violent world full of disasters that in vain clings to God, a strong woman who can only rely on herself pursues her own path, far beyond religion and dogma. A dark, originally crafted cartoon.
Pachet Fulmen, „Song for God“, DEU 2014, 5’15’’
Gaskell, Anna
Anna Gaskell, born in 1969 in Iowa, studied photography at the Art Institute of Chicago and Yale University. She lives in New York. Many solo exhibitions since 1997, including Wexner Center for the Arts, Ohio; White Cube, London; Castello di Rivoli, Turin; Museum of Modern Art, Oxford; Galerie Gisela Capitain, Cologne.
Swimming Lessons (USA 2013, HD, 25 Min. 39 Sek., enOF) World Premiere Swimming Lessons tells the stories of two teenage girls who are different but – at the same time – strangely similar. Water is a key element in both girls’ lives. One girl is slowly going blind and would like to learn swimming before she loses her eyesight completely while the other girl lost her mother, who drowned during a spring flood.
Anna Gaskell, „Swimming Lessons“, 2013, HD, 25 Min. 39 Sek., Courtesy Galerie Gisela Capitain, Köln
Girardet, Christoph / Müller, Matthias
Christoph Girardet, born in 1966, studied at the HBK Braunschweig. Solo exhibitions included Kunstverein Hannover; Sean Kelly Gallery, New York. Matthias Müller, born 1961, studied at the Bielefeld University and HBK Braunschweig. Professor for experimental film at KHM, Cologne. He has organized numerous avantgarde film events.
Meteor (GER 2011, 35mm, 15 Min., enOF)
Combining images from movies, fragments of folk- and fairytales and old science fiction material, Meteor tries to capture the life and mind of a boy at the threshold to self-discovery. His imagination, fed by the media, takes him on a phantasmatic journey from his bedroom into an artificial cosmos.
Christoph Girardet / Matthias Müller, „Meteor“, 2011, 35mm, 15 Min.
Glusiec, Karolina
Karolina Glusiec, born 1986 in Lubin, studied animation at the Royal College of Art, London, and audiovisual communication at the Academy of Humanities and Economics, Lodz. She won the Jerwood Drawing Prize 2012. Exhibitions included Museo Reina Sofía, Madrid; Galeria Imaginarium, Lodz; Royal College of Art, London; Centrum Kulturu Zamek, Poznan.
Velocity (GBR 2012, 16mm, 6 Min., enOF) Velocity. I always thought I had a perfect memory. I wanted to make a film about memory, drawing and drawings. Because they are the only proof I have that some places, people and things ever existed. I wanted to show these drawings to you.
Karolina Glusiec, „Velocity“, 2012, 16mm, 6 Min.
Görig, Matze
Matze Görig, born in 1980 in Konstanz, studied at the Academy of Fine Arts Munich and lives in Berlin. He opened the artist-space Korsobad with the collective Crucible in Berlin in 2010. Exhibitions and performances since 2004 included Galerie Traversee, Munich; Spiegelhalle, Konstanz; Kunstbau im Lenbachhaus, Munich; Städtische Kunsthalle Lothringer 13, Munich.
Plankton (GER 2012, HD, 12 Min. 50 Sek., deOmeU) A film about a young woman, her escape from but also her longing for the sea, about stranded sailors and a noise on the radio.
Matze Görig, „Plankton“, 2012, HD, 12 Min. 50 Sek.
Gonzàlez, Lola
Lola Gonzàlez, born 1988 in Angoulême, lives in Brest and Paris. Mixes performance, photography, dance, and film. Exhibitons since 2013 in Le Crédac, Ivry; Le Magasin, Grenoble; Palais de Tokyo, Paris. Winner of the Prix Meurice 2016, art resident in Los Angeles in 2017. Participation in Black Box Festival Seattle; Biennale Lyon.
Selected works: Véridis quo (2016), Winter is coming (2014)
Summer Camp (FRA 2015, HD, 9’, French) German Premiere Sweating and in a very confined space, four men rehearse the resistance. They are strenuously working out, both physically and mentally, for an event that may never come to be. First, they call off a strange list of first names noted on the wall of a room, then they sing in choir an anthem against religion and militarism.
Evgeny Granilshchikov, born in 1985, lives in Moscow. Solo exhibition in the MediaArtLab, Moscow. Group exhibition in the Hayward Gallery, London 2014; Museum of Multimedia Art, Moscow 2013; 5th Biennale of Contemporary Art, Moscow 2013 et al.
Courbet’s Funeral (RUS 2014, 11’33’’, Russian) German Premiere Music: Motherfathers The Moscow Underground: The bemused individual is the mirror of a society in search of its identity. A trivial monologue can become a political statement, filmmaking a questionable – and dangerous – activity. Documentary and staged sequences alternate in the cinematic diary of the young Kandinsky Prizewinner Granilshchikov. Using his mobile phone, he has filmed scenes that re-enact actual events; everyday life becomes politics; politics becomes drama. And what about art?
Evgeny Granilshchikov, „Courbet’s Funeral“, RUS 2014, 11’33’’
Gréaud, Loris
Loris Gréaud, born 1979, studied music at the Conservatoire de Musique and graphic arts at the ENSPAC, Paris. He lives in France. Prix Ricard 2005. He participated in the Venice Biennale, 2011. Solo exhibitions since 2004 included Pace, New York; ICA, London; Palais de Tokyo, Paris; Kunsthalle Wien; Kunsthalle St. Gallen; La Conservera, Murcia; Yvon Lambert Gallery, Paris.
The Snorks: A Concert for Creatures (FRA 2012, DCP/Apple Pro Res, 22 Min. 19 Sek., enOmfrU)
The film The Snorks: A Concert for Creatures is the final instalment of a long-term project. Shot around the world, it combines scientific research, poetry, rap music, fireworks and an urban legend into a hallucinatory epic inspired by the discovery of a mysterious world and its inhabitants – the deep sea.
Hartenstein, Constantin
Constantin Hartenstein, born in 1982, lives in New York. Solo exhibitions in the Kunstmuseum Bonn; Salon Kennedy, Frankfurt; German Consulate New York et al. Group exhibitions in the MUU Gallery, Helsinki 2014; Museum Of The Moving Image, New York 2013 et al.
Alpha (USA 2014, 11’22’’, English)
How do I become an alpha male? In something like an ad for testosterone, three male bodybuilders illustrate the text “Be the Alpha Male”, which is narrated by a computer voice and covers the historically based theory (Alexander the Great!) of the leadership qualities of the alpha animal and its importance for society.
Constantin Hartenstein, „ALPHA“, USA 2014, 11’22’’
Härenstam, Mattias
Mattias Härenstam, born in 1977, studied at the National Academy of Fine Arts in Bergen, Norway, and at Städelschule, Frankfurt. Numerous exhibitions worldwide, a.o. at Vigeland Museum, Oslo; Whitechapel Gallery, London; Herzliya Museum of Contemporary Art, Israel; Moscow Museum of Modern Art. Lifetime artist grant from the Norwegian Government in 2010; nominated for the Lorck Schive Art Prize 2017, the most prestigious art prize in Norway.
Weitere Filme (Auwahl): Reconstruction (2013), Portrait of a man reminiscent of my father (2011)
Prospekt (NOR 2017, 4K, 16’, Norvegian)
Cast: Jesper Malm, Edith Haagenrud, Melina Tranulis, Terje Ranes, Kikki Stormo, Frode Winther, Oddrun Valestrand World Premiere A man sits alone in his car, screaming in a fit of futile anger and despair. Everything in his life seems to be collapsing. A successful real estate agent and previously a happy family man, he can‘t grasp what is going on with him and the world. Because he is not able to talk about his problems, he begins to turn away from his family, friends and work colleagues. Half psychodrama, half dark political satire, this film treats the question of what happens when a former winner begins to lose.
Maj Hasager, born in Denmark, studied photography and art in Malmø and Glasgow. Participation in the the Guangzhou Triennial, 2008, and the Liverpool Biennial, 2010. Solo exhibitions since 2002 included CCA Laznia, Gdansk; Vollsmose Cultural Centre, Odense; Landings Projectspace, Norway; Galleri Populus Tremula, Iceland; Galleri Spegeln, Malmø; Emerged Space, Glasgow
Decembers – Narrating History (POL/DNK 2012, HD, 14 Min. 35 Sek., enOF) German Premiere Two important uprisings took place in Gdansk in December, one in 1970, the other in 1981. Both incidents are documented in thousands of photos. The first was brutally crushed by the Polish People\’s Army and the latter started a period of martial law. Decembers – Narrating History illuminates the discarded stories of everyday life and emphasizes their role in the fabric of history.
Maja Hasager, „Decembers – Narrating History“, 2012, HD, 14 Min. 35 Sek.
Ho Tzu Nyen
Ho Tzu Nyen, born in Singapore in 1976. He earned a BA in Creative Arts from Victorian College of the Arts, University of Melbourne (2001), and an MA in Southeast Asian Studies from the National University of Singapore (2007).
The Name (GER 2015, HD, 16’51’’, English)
Fictional clues to a lost writer named Hanrahan, who wrote about the history of Malaysian communism several years ago. Compiled from found footage, this film is a fast-paced and funny homage to the act of literary writing in the cinema.
Ho Tzu Nyen, The Name, 2015, Single Channel HD projection, 5.1 surround sound, 16’ 51’’, with 16 books by the author “Gene Z. Hanrahan”. Courtesy of the artist
Hsu Chia Wei
Hsu Chia Wei, born 1983 in Taichung, Taiwan. Lives and works in Taipei, Taiwan.
Ruins of the Intelligence Bureau (FRA 2015, 4K, 13’30’’, Chinese) German Premiere After its defeat in the Chinese Civil War, a unit of the Kuomintang troops fled to Thailand in circa 1950. Like stateless persons, the soldiers settle in the Thai village of Huai Mo, which would become a base of the American CIA during the Cold War.
Chia Wei Hsu, Ruins of the Intelligence Bureau, FRA 2015, 13’30’’. Courtesy of the artist
Hu Wei
Hu Wei, born in 1983, lives in Beijing and Paris. Studied film at Fémis in Paris and art at the National French Art Academy ENSBA and Le Fresnoy – Studio national des arts contemporains. Participation a.o. in the Cannes Film Festival, the Sundance Film Festival and the Venice Biennale. Group shows at Palais de Tokyo and Centre Pompidou, Paris. Nomination of his film Butter Lamp as Best Short Film at the Academy Awards, Los Angeles 2015.
Selected Films: Butter Lamp (2013, winner KdK 2015), Le propriétaire (2012), Sans toi (2009)
Butter Lamp (FRA / CHN 2013, 16’, Tibetan) Second Main Award KINO DER KUNST 2015
In their studio, a young photographer and his assistant photograph group shots of Tibetan nomad families in front of various backdrops. Personal contacts between the photographer and his subjects develop more and more. A laconic masterpiece that has won many awards.
Hu Wei, „Butter Lamp“, FRA/CHN 2013, 16’
Ce qui nous éloigne (FRA 2016, 4K, 18’, French-English-Chinese)
Darsteller: Camille Debray, Isabelle Huppert, Nai An, André Wilms, Zhang Xian Min, Charlotte Kramp, Anne Trappon
Two families meet in a bourgeois Parisian apartment. One is a successful French actress‘s family; the other is an older Chinese pair on a trip in Europe. After a friendly chat, it slowly becomes apparent that there is a secret between the visitors and hosts.
Hu Wei, Ce qui nous éloigne, FRA 2016, 18’. Courtesy of the artist
Huang, Ran
Ran Huang, born in 1982, lives in Beijing and London. Solo exhibitions in the Simon Lee Gallery, London; Long March Space, Beijing; Sean Kelly Gallery, New York et al. Participation in the 10th Shanghai Biennale 2015; 67th Festival de Cannes 2014 et al.
The Administration of Glory (CHN 2014, 33’, Chinese) German Premiere A divination ritual, a stolen car, treasure hunt, brainwashing and a scientific experiment: Five parallel stories from contemporary China that – behind the sparkling surface of their visual elegance – question the role of the artist and his historical credibility.
Ran Huang, „The Administration of Glory“, CHN 2014, 33’, Courtesy of the artist, Long March Space, Beijing; Simon Lee Gallery, London
Huizenga, Actually
Actually Huizenga is a performer, singer, filmmaker and all-round artist from Los Angeles. By now she focuses on film which she has discovered through making music videos for her bands. She has written, produced, directed and self released four short films so far, including her most recent film Gnostic Vampire.
Filmography: Viking Angel (2014), Write a Book About It (2010), SoftRock (2010)
Heavenly Sin (USA 2016, 4K, 66’, English)
Cast: Actually Huizenga, Mara Madison, Cameron Moir, Socrates Mitsios
A convent-inclined female is forced into marrying a creepy, possessive Dude and has to live in a baby-pink Room and watch porn all day. She finally reaches her breaking point and struggles to find a small grasp of control in her life. This is a study in attaining self control, in order to loose control.
Pierre Huyghe, Born in 1962, lives in Paris. Solo exhibitions in the LACMA, Los Angeles; Museum Ludwig, Cologne et al. Group exhibitions in the MoMA PS1, New York 2013; documenta 13, 2012 et al. Special Jury Prize at the 49th Biennale di Venezia 2001.
Untitled (Human Mask) (FRA 2014, 19’, no dialogue) KINO DER KUNST Main Award 2015
La Condition Humaine: Pictures of a deserted Fukushima after the 2011 tsunami. Then, a monkey educated in Japan as a server is wearing the mask of a woman and waiting on tables in an empty restaurant…
Pierre Huyghe, „Untitled (Human Mask)“, FRA 2014, 19’, Courtesy of the artist and Marian Goodman Gallery, New York; Hauser & Wirth, London; Esther Schipper, Berlin; Anna Lena Film, Paris.
Johne, Sven
Sven Johne, born in 1976, lives in Berlin. Solo exhibitions in the Kunsthalle Bielefeld; Edith-Russ-Haus für Medienkunst, Oldenburg; Whitespace, West Palm Beach et al. Group exhibitions in the NBK, Berlin 2015; State Museum of Contemporary Art, Thessaloniki 2015; Extra City Kunsthal, Antwerpen 2014 et al.
Jutta (GER 2014, 17’36’’, German)
A woman holds a monologue about the social rise of her son Erik, a businessman who has planned to use money from international investors to build a hotel resort on a heavenly island for the richest of the rich – and for her, Jutta, his mother. Slowly, however, her story unravels and Erik’s success story crashes. Jutta’s monologue contains verbatim passages from the speeches of German-Brazilian businessman Eike Baista, who became the seventh richest person on the planet overnight – before losing everything again.
Sven Johne, „Jutta“, DEU 2014, 17’36’’, Tatja Seibt; Studio Sven Johne, Berlin
Joffre, Nathalie
Nathalie Joffre lives in Paris. Studied Visual Arts, History of art and photography in Paris, Amiens and London. Exhibitions since 2011 a.o. at Kunsthaus Bethanien, Berlin; Le CENTQUATRE, Paris; Bethlem Museum of the Mind, London. Participated in the British Shorts Film Festival, Berlin; Festival Vidéoformes; FIVA, Buenos Aires. Besides several nominations, she was awarded the PRIX ICART for Contemporary Art (Paris) in 2013.
Selected works: Apparitions (2016), At the edge of the double (2015), Les Tranchées… (2013-14)
Data History Voyage (FRA/GBR 2016, HD, 8’, English) German Premiere By filming the process of an archeological excavation in Dorchester (UK) with a team of the University of Oxford, the narrator experiences several mysterious memory disorders. Having started to film the excavation site, the first rushes of the excavation have disappeared from her harddrive. While observing archeologists at work, some memories from her childhood start coming to the surface of her memory… A film about loss and resurfacing of memory in all forms intimate, digital, and archeological.
Jung Hee Seo, born in Seoul, studied in the USA, South Korea and France. She lives in France and South Korea. Participation in festivals, exhibitions and screenings a.o. at Le Fresnoy, Tourcoing; La trois, Liège; Scanner, Barcelona; Festival of Video Art, St. Petersburg.
Sing Under (FRA 2012, HD, 10 Min., no dialogue) German Premiere The modern story of the unavoidable end of mankind or millennia-old legend of the biblical Flood? The dehumanized body of a girl appears in an animal, organic rough state. A black liquid secreted by her body, sign of an unknown poisoning, produces discomfort and finally coagulates into a poetic vision.
Jung Hee Seo, „Sing Under“, 2012, HD, 10 Min.
Julien, Isaac
Isaac Julien, born in 1960 in London. The artist, film producer and university lecturer studied painting and film at Central Saint Martins College of Art and Design. He is the founder of the Sankofa Film and Video Collective and Normal Films. Until 2015, he served as professor at the Staatliche Hochschule für Gestaltung in Karlsruhe. His numerous films include Looking for Langston (1989), Young Soul Rebels (1991), Baltimore (2003), Derek (2008) and Better Life (2010). Website Isaac Julien
KINO DER KUNST 2020
Lessons of the Hour
GBR 2019, 35mm, 4k, 25’45’’, Englisch/English
Kamera/Cinematography: Nina Kellgren
CAST: Ray Fearon, Cara Horgan, Mikael Olsson
Europapremiere/European Premiere
“Lessons of the Hour” is a poetic meditation on the life and times of Frederick Douglass (1818–1895), the visionary African American abolitionist and freed slave. The film proposes a contemplative journey into Douglass’ zeitgeist and its relationship to contemporaneity and includes excerpts of Douglass’ most arresting speeches and allusions to his private and public milieus.
Isaac Julien J. P. Ball Studio, 1867 Douglass (Lessons of the Hour), 2019 Framed photograph on gloss inkjet paper mounted on aluminium Courtesy the artist
KINO DER KUNST 2017
Young Soul Rebels (GBR/FRAU/GER/ESP 1991, 105 Min., 35mm, dtF)
Young soul DJ Chris becomes implicated in a murder…
Set in 1977, during the week of the Queen’s Silver Jubilee. Together with his partner Caz, Chris, a young black London DJ, runs pirate radio station ‚Soul Patrol’ from an East End garage. When a mutual friend is murdered whilst cruising in a London park, Chris is arrested for the murder. Young Soul Rebels was awarded the Semaine de la critique prize at the Cannes Film Festival in 1991 and launched the career of Sophie Okonedo. Also starring Valentine Nonyela and Mo Sesay.
Isaac Julien, Film still from “Young Soul Rebels”, 1991, colour, 35mm, sound, 105 Min., Courtesy Isaac Julien, Victoria Miro Gallery, London, Metro Pictures, New York, Galería Helga de Alvear, Madrid
The Attendant (GBR 1993, 7 Min. 59 Sek., 35mm, enOF)
“The Attendant” (1993) is actually set in a museum: Wilberforce House in Hull, England, which is devoted to the history of slavery. It’s a real place, though in Isaac Julien’s hands it looks surreal. The plot revolves around sexual fantasies aroused in a middle-aged black male museum guard – or attendant – by a young white male visitor. Much of the action takes place after closing time. As the guard paces the galleries, a huge 19th-century painting titled “Slaves on the West Coast of Africa”, by the French artist François-Auguste Biard, comes to life, its melodramatic scene of a white master bending over a dying black slave transformed into an up-to-date, leather clad sadomasochistic grouping… Another scene plays in a gallery hung with soft-core drawings by Tom of Finland, one of many references to the contemporary art in the film.
Holland Cotter, The New York Times (24. November 2006)
Isaac Julien, Film still from “The Attendant”, 1993, Single-screen installation, colour, 35mm film, sound, 10 Min., Courtesy Isaac Julien, Victoria Miro Gallery, London, Metro Pictures, New York, Galería Helga de Alvear, Madrid
Frantz Fanon, Black Skin White Mask (GBR 1996, 73 Min., 35mm, enOF)
Interviews, reconstructions and archive footage tell in a drama-documentary the story of the life and work of the highly influential anti-colonialist writer Frantz Fanon, author of “Black Skin, White Mask” and “The Wretched of the Earth” and a psychiatric doctor in Algeria during its war of independence with France.
The impetus for the film project was to restore to academic and artistic discourses a recognition of both the originality and contradictory nature of this major thinker. It was initially conceived as a reflection on the revival of interest in Fanon’s ideas in black visual and performance arts. The black arts movement in Britain and North America had sought a more substantial basis for reflection on the black body and its representations. In development, the film\’s mandate became broader to include other aspects of Fanon´s influence and legacy.
Isaac Julien, Film still from “Frantz Fanon, Black Skin White Mask”, 1996, colour 35mm, sound, 73 Min., Courtesy Isaac Julien, Victoria Miro Gallery, London, Metro Pictures, New York, Galería Helga de Alvear, Madrid
Three (USA 1999, 14 Min., 16mm, Video Transfer, enOF)
Produced in collaboration with and featuring choreographers Bebe Miller and Ralph Lemon along with British actress Cleo Sylvestre, Three explores aspects of desire through dance movements and symbolically weighted images.
These are juxtaposed with their social, cultural or religious sources thereby reifying a narrative which draws on and comments on interdisciplinary codes. Indeed, one of the objectives of Julien\’s oeuvre is to break down the barriers which exist between different artistic disciplines by uniting them in an exponential dialogue. As such the collaborative nature of this work is one of its most important elements, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture and uniting these in a poetic landscape to construct a powerfully visual narrative.
Isaac Julien, Still from “Three”, 1996-99, 20 Min., Sepia/Colour 16mm, Video Transfer, Sound, Courtesy Isaac Julien, Metro Pictures, New York, Victoria Miro Gallery, London
Baltimore 2003 (GBR 2003, 12 Min. 43 Sek., 16mm, DVD Transfer, enOF)
Inspired by blaxploitation movies while he was filming his documentary “Baadasssss Cinema”, Julien appropriates the styles, gestures, language and iconography of the genre to create a work that defies easy categorization. Starring veteran black actor and director Melvin Van Peebles, Baltimore was designed in part as homage to Van Peebles´ movies. It unites three Baltimore museums with blaxploitation cinema, the tough talking, hard-living symbol of black empowerment that Van Peebles helped usher in with his 1971 movie “Sweet Sweetback´s Baadasssss Song”. Baltimore is ironic and funky, nostalgic and futuristic, rough and fine. It is characterized by oscillation and an insistent formal play with linear perspective which also pays homage to Piero della Francesca and more particularly, a painting of unknown authorship, c.1500 known as “View of an Ideal City” which features in the collection of the Walters Art Museum.
Isaac Julien, “Baltimore”, 2003, Installation view, 3rd Berlin Biennial, Germany Three-screen installation, b&w / colour 16mm, DVD transfer, sound, 11 Min., Courtesy Isaac Julien, Victoria Miro Gallery, London, Metro Pictures, New York
Derek (GBR 2008, 78 Min., Digital Video, enOF)
Derek Jarman’s films constantly interrogated time and art, and epitomised his own era. He was a painter, part of that moment that made sixties London a capital of the art world, and a film-maker, perhaps the single most crucial figure of British independent cinema through the seventies, eighties and nineties. He lived as a gay man surfing the joys of Gay Liberation and the sorrows of Aids and as a participant observer, noting with pen or camera all that passed before him – from punk to Margaret Thatcher.
Now those images serve to place his art in his time. There are also images of Jarman himself, as he erupted into the viewfinder of the news media. And, as the thread from which it is all woven, a day long interview in 1990 with Colin MacCabe. It is his message in a bottle, a survey of his life from the point of view of his death, a talisman for the future.
The present in Isaac Julien’s documentary is represented by a letter written to Derek by Tilda Swinton and read by her as a voiceover which provides a beguiling narrative thread throughout the film, bringing his life closer to a new generation, a new audience.
“Isaac Julien and Tilda Swinton at Derek Jarman’s grave”, Photograph: Nina Kellgren, Courtesy Isaac Julien
Just, Jesper
Jesper Just, born in 1974 in Kopenhagen, lives in New York. Previous solo exhibitions a.o. at Palais de Tokyo (2015); at Portland Art Museum; Des Moines Art Center; National Art Museum of Modern Art, Seoul (all 2014). He represented Denmark in 2013 with This Is a Landscape at the Venice Biennale. Numerous awards, including the Carnegie Art Award 2008. Since 2000 about 25 films and installations, a.o. It Will All End IN TEARS (2006), A Vicious Undertow (2007), Sirens of Chrome (2010)
Servitudes (DNK 2015, 2K, 9’, no dialogue)
Cast: Dree Hemingway
The film only has a single camera position but a complex subject. It investigates the balancing act of identity, femininity and the clichés of sensuality and erotic – and thus, the dominant culture of youthfulness and beauty that exists in today‘s world.
Tellervo Kalleinen, born in 1975 in Finland, and Oliver Kochta-Kalleinen, born in 1971 in Germany, live in Helsinki and have collaborated since 2003. They participated in Ars Electronica, Linz, 2010. Exhibitions included the Finnish Museum of Contemporary Art, Helsinki; Mori Art Museum, Tokyo; The Kitchen, New York; P.S.1, New York; S.M.A.K., Ghent; NGBK, Berlin; Shedhalle, Zurich.
Archipelago Science Fiction (FIN 2013, Apple Pro 1080p, 24 Min. 55 Sek., zh/sv/en/fiOmeU) World Premiere In Archipelago Science Fiction, inhabitants of the Finnish Turku archipelago imagine the future of their home in four short episodes written and acted by themselves.Located in the Baltic Sea, the Turku islands provide the framework for four hilarious and sometimes chilling futuristic scenarios based on the fears and hopes of the locals. Their visions are surprisingly contemporary and universal.
Tellervo Kalleinen / Oliver Kochta-Kalleinen, „Archipelago Science Fiction“, 2013, HD, 24 Min. 55 Sek.
Karikis, Mikhail / Orlow, Uriel
Mikhail Karikis, born in Greece, lives in London and studied at the Slade School of Fine Art. He participated in Manifesta, 2012. Solo exhibition at Arnolfini, Bristol, 2013. Uriel Orlow, born in Switzerland,studied at the Slade School of Fine Art and lives in Zurich and London. He participated in the Venice Biennale, 2011. Solo exhibition at Centre PasquArt, Biel, 2012.
Sounds from Beneath (GBR 2012, HD, 6 Min. 45 Sek, enOF)
For Sounds from Beneath, the artist Mikhail Karikis asked a male coalminers’ choir to remember the sounds they used to hear when they worked in the mine and sing them on top of a disused Kentish coal mine. The video, at once political and poetic, depicts the desolate disused mining site brought back to life through song.
Mikhail Karikis / Uriel Orlow „Sounds from Beneath“, 2012, HD, 6 Min. 45 Sek.
Kiessling, Marte
Marte Kiessling, born in 1981, lives in Berlin. Member of artist groups Global Alien and Cameracartell. Solo exhibitions in the Yuokobo Art Space, Tokyo; Kasko, Basel et al. Group exhibitions in the Litmus Art Space, Seoul 2014; Kreuzberg Pavillon, documenta 13, 2012 et al.
Decisions (GER 2014, 4’55’’, English)
In this video, the artist relates decisions her great-grandmother made that have continued to influence the fate of the entire family up to the present. Many images are taken from the family archives, others from the Internet; true history and fiction become an insoluble tangle. Viewers must decide for themselves what is true and what is not.
Marte Kiessling, „Decisions“, DEU 2014, 4’55’’
Kranioti, Evangelia
Evangelia Kranioti, born in 1979, lives in Paris. Participation in the Kyotographie International Photography Festival, Kyoto 2014; La Biennale de Belleville, Paris 2014 et al. Exhibitions in the State Museum of Contemporary Art, Thessaloniki 2013; MUSAK, Vienna 2012 et al.
Exotica, Erotica, Etc. (FRA 2015, 73’, Griechisch / Spanisch / Portugiesisch)
Sailors are like terrorists. They arrive in the ports of the world with a bomb called love that explodes when they leave and never come back. Even though they have paid for the love… The artist spent months on merchant vessels with crews made up entirely of men. She confronts these images with the portraits of prostitutes in Latin American ports.
Evangelia Kranioti, „Exotica, Erotica, Etc.“, FRA 2015, 73’, Aurora Films, Paris
Kurant, Agnieszka
Agnieszka Kurant, born in 1978, lives in New York. Exhibitions include Polish Pavilion at the Venice Biennale (2010), the Guggenheim Museum, New York (2015), Palais de Tokyo, Paris (2014), Sculpture Center, New York (2013), Stroom den Haag (2014), MoMA PS1, New York (2013); Performa Biennial New York (2013); Witte de With, Rotterdam (2011); Tate Modern, London (2006) et al.
Cutaways (USA 2013, 23’40’’, English) German Premiere In collaboration with the legendary American film editor Walter Murch (The Godfather) Kurant depicts the invisible universe or junk yard of cut-out characters that have been completely deleted from the final cut of feature films by the editors. Charlotte Rampling, once a young female hitchhiker in “Vanishing Point”, and two actors cut out from “Pulp Fiction” and “The Conversation” continue impersonating their characters 40 years later. A meeting of three copyrights – phantom characters that started living their own lives.
Agnieszka Kurant, „Cutaways“, USA 2013, 23’40’’, Courtesy of Anna Lena Films; Tanya Bonakdar Gallery, New York and Galeria Fortes Vilaça, São Paulo
Kuhn, Jochen
Jochen Kuhn, born in 1954, lives in Ludwigsburg. Professor at the Film Academy Baden-Württemberg and Member of the Academy of Fine Arts, Berlin. His work was featured in a monographic exhibition at the International Short Film Festival Tampere (2014). Solo shows at Galerie Artforum, Offenburg, Badischer Kunstverein, Karlsruhe, Künstlerhaus, Hamburg, and Sammlung Goetz, Munich, among others. Recipient of the German Film Prize and the Grand Prize of the Short Film Festival Oberhausen. Selected films: Zentralmuseum(2016, KDK 2017), Immer müder (2014, KDK 2015) and Sonntag 3 (2012, KDK 2013)
KINO DER KUNST 2020
Gerichtszeichner
DEU 2018, 11’30’’, DEUTSCH/GERMAN
MALEREI, KAMERA, MUSIK, SPRECHER/PAINTINGS, CINEMATOGRAPHY, MUSIC, NARRATOR: Jochen Kuhn
SCHNITT/EDITING: Olaf Meltzer
Religion in the courtroom: a man who cuts off ears in the name of God stands before the judge. Tumultuous events that upset the world order develop from this mysterious confession—and the courtroom sketch artist is right in the middle of them.
Immer Müder (GER 2014, 6’07’’, German)
A short, intentionally laconic cinematic commentary on fatigue.
Jochen Kuhn, „IMMER MÜDER“, DEU 2014, 6’07’’
KINO DER KUNST 2013
Sonntag 3 (GER 2012, HD, 14 Min., deOmeU)
The third part of a series of films about Sunday outings. In Sonntag 3 the main character has a blind date with an unknown woman at the Grand Café in Berlin. And the woman is no-one other than…the German Chancellor.
Jochen Kuhn, „Sonntag 3“, 2012, 14 Min.
Lachman, Ed
Ed Lachman, born in 1946 in Morristown, New Jersey. Studied painting, then assisted such greats as Robby Müller, Sven Nykvist and Vittorio Storaro. The award-winning cinematographer and documentary filmmaker has filmed with Herzog, Wenders and Ulrich Seidl as well as Sophia Coppola (The Virgin Suicides, 1999), Steven Soderbergh (Erin Brockovich, 2000), or Todd Haynes, a.o. in I‘m not there (2007) or Carol (2015). Oscar nomination for Far from Heaven (2002).
Report from Hollywood (USA 1982, 35mm transferred to 4K, 59’, English)
RegDirectorie: Ed Lachman
Cast: Henri Alekan, Patrick Bauchau, Samuel Fuller, Wim Wenders u.a.
Lachman observes Wim Wenders and his team filming The State of Things in a remote hotel on the Portuguese coast. This is a film about a film on filmmaking, and thus, an homage to great authors in the film industry such as cinematographer Henri Alekan or director Samuel Fuller – and the European cinema of the 1980s.
The Music of Regret (USA 2006, 35mm transferred to HD, 40’, English)
Director: Laurie Simmons
Cast: Meryl Streep, Adam Guettel and the Alvin Ailey II Dancers
For her first film, well known New York City artist Laurie Simmons worked with cinematographer Ed Lachman, multiple Oscar-winner Meryl Streep, who was cast to sing for the first time, as well as the film score composer Michael Rohatyn. In the classic Broadway tradition as a musical in three acts, Simmons conjures alluringly beautiful images of two lovers from warring families, telling the story with her typical puppets and marionettes that she brings to life.
Lari, Valentina
Valentina Lari, born in Florence, lives in London where she studied photography at Goldsmiths College. In 2012, she won the World Experiment Cinema Award at Amsterdam Film Festival. She participated in the Human Rights Nights Film Festival, Bologna. Exhibitions included Shoreditch\’s Town Hall, London; Guerilla Zoo, London; King’s College, London.
The Deformity of Beauty – A Last Dance with the Mütter Maidens (GBR/USA 2011, HD, 20 Min., enOF) German Premiere The Deformity of Beauty – A Last Dance with the Mütter Maidens is inspired by an essay by David Hume. It takes place among selected female anatomic specimens currently exhibited in the Mütter Museum of Anatomy in Philadelphia. The women’s stories are revealed by a beautiful young woman who becomes the witness to the secrets of these mysterious and somehow unfortunate medical marvels.
Valentina Lari, „The Deformity of Beauty – A Last Dance with the Mütter Maidens“, 2011, HD, 20 Min.
Langan, Clare
Clare Langan, born in 1967 in Dublin, lives in Western Ireland. Selected solo exhibitions: Metropolitan Museum of Photography Tokyo, MoMA, New York, The Rubicon Gallery, Dublin and Galerie Anita Beckers, Frankfurt. Other exhibitions include: Katzen Arts Center, Washington, Magda Danysz, Paris, The National Gallery of Ireland (2019) and Dirimart, Istanbul (2018, Best of KDK). Selected films: The Human Flock (2017), The Winter of 13 Storms (2017), Flight from the City (2015) and The Floating World (2013, KDK 2013) Website Clare Langan
KINO DER KUNST 2020
The Heart of a Tree
IRL 2020, HD, 12’, OHNE DIALOG/NO DIALOGUE
Funded by the Arts Council of Ireland
WELTPREMIERE/WOLRD PREMIERE
Eine Kontemplation über die Bedeutung von Bäumen für den Fortbestand des Planeten, gleichzeitig ein Blick in die Zukunft der Menschheit: Wir werden uns weiterentwickeln und anpassen – um zu überleben. Gedreht wurde in einer unfruchtbaren, baumlosen Region, die in der Zukunft, aber ebenso auf einem anderen Planeten liegen könnte. Ihre Bewohner ernten das Gold der Zukunft: sauerstoffhaltige Luft. Sie pflanzen Bäume, in der Hoffnung, den Planeten wieder beleben zu können.
The Floating World (IRL 2013, HD, 15 Min., no dialogue) World Premiere The Floating World comprises of a film in three parts, shot in three distinctly different places, geographically, symbolically and historically. It is the interplay and progression between the three sections, that gives the project gravitas, adding up to a very powerful study of mankind\’s relationship with the earth, from high aspirations, to its fall from grace.
Dinh Q. Lê, born in 1963 in Ha-Tien, Vietnam. After his hometown was invaded by Khmer Rouge in 1979, he fled and moved to the USA where he studied at the Photography School of Visual Arts, New York and at the University of California, Santa Barbara, CA. Exhibitions and festivals included a.o. the New Museum New York; Venice Biennale, 2003, ZKM Karlsruhe; Singapore Biennale, 2008 and the International Short Film Festival Oberhausen, 2009.
From Father To Son: A Rite of Passage (VNM 2009, 10 Min. 15 Sek.) From Fatherto Son: A Rite of Passage deconstructs and juxtaposes the performances of actors Martin Sheen and Charlie Sheen as soldiers from Vietnam War movies \”Platoon\” and \”Apocalypse Now\”, filmed 7 years apart. Footage spliced together of both films unites father and son as actors to continually replay the trauma and futility of the Vietnam War, giving insight into the legacy and omnipresence of the war in the mind of the artist\’s generation as well as exploring the father son relationship.
Dinh Q Lê, „From Father to Son: A Rite of Passage“, 2009, HD, 10 Min. 15 Sek., Courtesy Sàn Art, Ho Chi Minh City
Leccia, Ange
Ange Leccia, born in 1952, lives in Paris. Last solo exhibition in the Palais de Tokyo, Paris. Group exhibitions in the Chengdu Museum of Contemporary Art, Sichuan 2014; Centre Pompidou, Paris 2012; MMOMA, Moscow 2012; 54th Biennale di Venezia 2011; K21 Kunstsammlung NRW 2005 et al.
Traversée (FRA 2013, 19’32’’, no dialogue) German Premiere Wordless impressions of a ferry-crossing on an unidentified vessel that apparently travels from North Africa to the southern European mainland, combined with fragmented memories of travel, advertising, pharaoh sculptures and folklore.
Ange Leccia, „Traversée“, FRA 2013, 19’32’’, Courtesy of the artist and Almine Rech Gallery
Lesniewski, Xenia
Xenia Lesniewski, born in 1985, lives in Vienna. Participation in the 59th International Short Film Festival Oberhausen 2013, Shorts Competition at the 63rd Berlinale 2013 et al. Exhibitions in the Galerie OelFrüh, Hamburg 2014; Kunstverein Dortmund 2014 et al.
Hypozentrum (GER 2013, 14’30’’, German)
Ass-to-mouth, but Chanel is OK too… Hypocenter, an invisible location, but one which emits a tremendous force with great consequences for the visible world, is a fragmented amalgamation of fiction and reality resulting in a time-based, animated film. Aesthetic blackmail. Fills emotional deficits; really sad.
Sasha Litvintseva, born in 1989, lives in London. Participation in the Aesthetica Short Film Festival, York; BornShorts Film Festival, Bornholm; Antimatter Film Festival, Victoria, British Columbia (all 2014) et al. Group exhibitions in the BAC Bogota Arte Contemporaneo Museum; Palazzo Flangini, Venice (both 2015) et al.
Immortality, Home and Elsewhere (GBR 2014, 16mm transferiert auf Video, 12’26’’, English) German Premiere A very personal film essay about apocalyptic themes and immortality, collective destiny and individual curiosity. Google Street View, international tourism, excerpts from disaster movies: How can the individual survive the raging flood of images wrought by our information age?
Sasha Litvintseva, „Immortality, Home and Elsewhere“, GBR 2014, 12’26’’
M+M
M+M stands for the artistic collaboration between Marc Weis, born in 1965, and Martin De Mattia, born in 1963. Exhibitions included Folkwang Museum, Essen; Hamburger Kunsthalle; Pinakothek der Moderne, Munich. Solo exhibitions since 1996 include Wilhelm Hack Museum, Ludwigshafen; Museum of Photography, Berlin; Galerie Walter Storms, Munich.
SamstagSonntagMontag (GER 2012, HD, 9 Min. 22 Sek., deOmeU)
In SaturdaySundayMonday, the same male protagonist appears in different roles, each a new interpretation of key scenes from John Badham\’s \”Saturday Night Fever\”, Jean-Luc Godard\’s \”Le Mépris\” and Stanley Kubrick\’s \”Shining\”, shown as a splitscreen from two perspectives. Depending on the day of the week the mood and personality of the main character change radically.
M+M, „SamstagSonntagMontag“, 2012, HD, 9 Min. 22 Sek., Courtesy Galerie Walter Storms, München
Dienstag (GER 2015, HD, 4’14’’, German)
Darsteller: Christopher Luser, Daniela Schulz, Oliver Mallison World Premiere (Single-Channel-Version)
Two parallel scenes in the Botticelli hair salon. The same customer gets a wet shave in the old Italian tradition, one time from a hairdresser, the other time from a man with opaque facial features. In the first version, the erotic, sensual tension and increasing physical intimacy grow with every contact. The parallel version tells a different story: the potential physical danger that progressively flashes through as the straight razor is sharpened and set on the skin. The dialogue is taken from the film Le mari de la coiffeuse (The Hairdresser’s Wife) by Patrice Leconte.
Freitag (GER/ LUX 2015, 4’, no dialogue) German Premiere Split screen: Night. Music in the style of the 1970s. Two long parallel tracking shots along a row of houses. Nearly identical views through windows. An older and a younger woman each come out of the bathroom, wearing only a towel… A man breaks open the window. He approaches each woman from the rear, lifts a razor. Short, deadly cuts.
M+M, „Freitag“, DEU 2015, 4’
Maclean, Rachel
RACHEL MACLEAN, Born in 1987 in Edinburgh, lives in Glasgow. She studied Fine Arts at Edinburgh College of Art. Solo and group exhibitions a.o. at Tate Britain 2016; Zabludowicz Collection, London 2014; Collective Gallery, Edinburgh 2013; Trade Gallery, Nottingham 2013. In 2013, she received the Margaret Tait Award at the Glasgow Film Festival. In 2017 she will represent Scotland at the Venice Biennale. Selected films: Feed Me (2015), The Weepers (2014), Random Acts (2011) Website Rachel Maclean
IT’S WHAT’S INSIDE THAT COUNTS (GBR/USA 2016, DIGITAL, VIDEO, 30’, English)
GERMAN PREMIERE
A hefty parody of our digital reality in the typical Maclean Horror-Barbie look, coproduced by Channel 4 and the Tate Gallery. The supermodel-like figurehead of a greed-driven data provider is stalked by the leader of a band of guerrilla hacktivist rats. Their aim is to disrupt and gorge upon the addictive invisi-juice that powers phones and tablets, gnawing on bandwidth cables like sugar cane to suck at the sweet nectar within. Above ground, the citizens are infected with a plaguelike lethargy. It turns them into zombies who stumble around in stained bed clothes looking for ever greater connectivity, totally disconnected from non-virtual reality.
Mélanie Matranga, born in 1985, lives in Paris. Solo exhibitions in the Palais de Tokyo, Paris 2015 et al. Group exhibitions in the Astrup Fearnley Museet, Oslo; LUMA Westbau, Zurich (both 2014). In 2014 she won the Frieze Artist Award for the film “From A to B through E”.
From A to B through E (GBR 2014, 3 x 7’, English /French) German Premiere Co-Regie: Bouré Valentin Three improvised sequences about the complications in a young couple’s romance, filmed in berths and the cafeteria during the construction of London’s Frieze Art Fair; put online and then promptly awarded last year’s Frieze Artist Award.
Mélanie Matranga, „From A to B through E“, GBR 2014, 3×7’, Courtesy of Mélanie Matranga and Bouré Valentin“
Melhus, Bjørn
Bjørn Melhus, born in 1966, lives in Berlin. Solo exhibitions in the Kunsthalle Rotterdam; Denver Art Museum; Kunsthalle Bremen. Group exhibitions in the Centre de la Photographie Genf 2013; Biennale di Venezia 2011; ZKM Karlsruhe 2007 et al. German Short Film Award in 2011 for “I’m not the Enemy”.
I’m Not the Enemy (GER 2011, HD, 13’30”, English) I’m Not the Enemy is the story of a soldier who returns home after a war only to feel like a stranger. At the mercy of a psychotic family situation, he feels detached from a society which doesn\’t know anything about the real state of war and perhaps doesn\’t even care. Is it ever possible to return from war?
Bjørn Melhus, „I´m Not the Enemy“, 2011, HD, 13 Min. 30 Sek., Courtesy Galerie Anita Beckers, Frankfurt.
Freedom & Independence (GER 2014, 15’, English) World Premiere Money and faith, religion and capitalism, the bold theses of the self-proclaimed inventor of American Objectivism, Ayn Rand, and the religious rhetoric of US-American apocalyptic films. In his latest film – a mix of musical and science fiction, elaborately filmed in Istanbul gated communities and a Berlin morgue – Melhus lets muscle men, zombies and other dolls dance – all embodied by himself, of course.
Bjørn Melhus, „Freedom & Independence“, DEU 2014, 15’, Limboland Productions, Berlin
Michaels, Paola
Paola Michaels, born in Bogota, lives in Buenos Aires. She works with film and mixed media. Group exhibitions with video installations, textile art, photography and animated films in Argentina, Columbia and Spain. Her film The House from 2012 won numerous prizes.
Snails and Diamonds (ARG / COL 2014, 8’26’’, Spanish /English) German Premiere A completely non-serious film about serious subjects such as self-discovery, migration, reproduction and love in the life of the gastropod. Pseudo-scientific reflections on snails and how they experience the world.
Paola Michaels, „Snails and Diamonds“ ARG/COL 2014, 8’26’’
Menlibayeva, Almagul
Almagul Menlibayeva, born in 1969 in Kazakhstan, studied photography at the Academy for Art and Theatre in Almaty. She lives in Berlin and Kazakhstan. She participated in the Sydney Biennale, 2012. Solo exhibitions since 2007 included a.o.: Nassauischer Kunstverein, Wiesbaden; Museum van Hedendaagse Kunst, Antwerp; Galerie Albert Benamou, Paris; Priska C. Juschka Fine Art, New York.
Transoxiana Dreams (KAZ 2011, HD, 23 Min., Russisch) Main Award KINO DER KUNST 2013 Transoxiana Dreams, a mixture of documentary and fairy tale, illustrates the dramatic environmental changes in the Aral region as seen through the eyes of a fisherman’s young daughter. One day, her father leaves to look for the lake and new fishing grounds. On his way through the desert he meets bizarre creatures, half horse, half human: a tribute to the nomadic past of his people.
Almagul Menlibayeva, „Transoxiana Dreams“, 2011, HD, 23’, Courtesy Priska C. Juschka Fine Art, New York
Nassiri, Arash
Arash Nassiri, born in 1986, lives in Paris. Several prizes, incl. the Short Film Award RISC, Marseille, France Art Video Grand Prize of Côté-Court, Paris (both 2014). Exhibitions in the Panorama 15 & 16 at Le Fresnoy, Tourcoing 2013 and 2014; 5th Triennal of young creation, Istanbul 2010 et al.
Tehran-geles (FRA/IRN 2014, 18’ 9’’, Farsi)
Two large cities, Tehran and Los Angeles, are superimposed in the truest sense of the word: While the camera flies over the nightly behemoth that is Southern California, Iranian emigrants talk about their homeland. The past of the Middle East overlaps with a vision of the future Western world.
MY BBY 8L3W (FRA 2014, 3’, English)
Split screen collage using photos found on the Internet of women with their favorite four-legged friend: the so-called lapdog.
NEOZOON, „MY BBY 8L3W“, FRA 2014, 3’
Neshat, Shirin
Shirin Neshat, born in 1957 in Qazvin, Iran, lives in New York. She first became known from her photo series Women of Allah and video installations such as Turbulent (1998) or Rapture (1999). She has won numerous prizes and had many solo exhibitions, e.g. at the Museo Correr, Venice (May 2017); Robert Rauschenberg Foundation, New York 2016; Hirshhorn Museum, Washington 2015. Participation in the documenta 11 (2002). Selected films: Illusion and Mirrors (2013, KdK 2015), Women without Men (2009, Silver Lion at the Venice Film Festival)
Illusions & Mirrors (USA 2013, 12’ 9’’, no dialogue) German Premiere A black and white cinematic poem photographed by the great DoP Darius Khondji: On Long Island beach, a young woman (Natalie Portman) follows a man dressed entirely in black as he wanders through the dunes to an nearly empty house. Strange things happen: An old woman combs another woman’s hair. Her own doppelganger? And who is running outside on the beach? She herself?
Roja (USA 2016, HD, 15’20’’, English)
Song: Anohni
GERMAN PREMIERE
Nightmarish black-and-white film about the dilemma of a young woman torn between a foreign – in this case, western – culture, and her own culture – embodied by her mother. She experiences aggression and rejection from both.
Shirin Neshat, Untitled, from Dreamers series, 2016; Courtesy of the artist and Gladstone Gallery, New York and Brussels
Nguyễn, Jacqueline Hoàng
Jacqueline Hoàng Nguyễn studied at the Concordia University, Malmø Art Academy and in the Whitney Independent Study Program. She lives in Brooklyn and Stockholm. Group exhibitions included ICA, Philadelphia; Gasworks, London; Rooseum Museum of Contemporary Art, Malmø. Solo exhibitions since 2005 included VOX, Montreal; Skånska Konstmuseum, Lund; AXENEO7, Ottawa.
1967: A People Kind of Place (USA/CAN/SWE 2012, HD, 19 Min., English) European Premiere To mark the 100-year anniversary of the Confederation, the small Canadian town of St. Paul built the world’s first UFO landing pad to symbolically welcome everybody – even extra-terrestrial beings – to Canada, thereby promoting an image of hospitality, tolerance, diversity and unity.
Jacqueline Hoàng Nguyễn, „1967: A People Kind of Place“, 2012, HD, 19 Min.
Nguyen Trinh Thi
Nguyen Trinh Thi, born in 1973, studied journalism, photography and film at the universities of Iowa and San Diego. She lives in Hanoi. Participation in the International Short Film Festival Oberhausen; Arthub, Bangkok. Exhibitions a.o. at the Tate Modern, London; Stenersen Museet, Oslo. Solo exhibitions a.o. at NhaSan Studio, Hanoi; Kuandu Biennale, Taipei.
Song to the Front (VNM 2011, HD 5 Min. 14 Sek., viOmeU) German Premiere The first film from the “Vietnamese Classics Re-Cut Series”, in which the artist takes a historical Vietnamese war film from 1973, turns this rarely seen black and white feature into a small vignette and dismantles the aesthetic and romantic elements of the social-realist melodrama. The young soldiers who gave their lives for their country become the pagans sacrificed to the god of war.
Nguyen Trinh Thi, „Song to the Front“, 2011, HD, 5 Min. 14 Sek., Courtesy Sàn Art, Ho Chi Minh City
Nikoozad, Faezeh
FAEZEH NIKOOZAD, born in 1984 in Tehran, lives in Germany (since 2009). Her work encompasses themes such as absence, displacement, home, family and childhood. Selected films: Missed Embrace (2019), DogMe (2015, KDK 2015), Pixelated Memories (2014) and Stillleben (2013). faezehnikoozad.com
KINO DER KUNST 2020
Asb
DEU 2017, 16MM, 7’53’’, FARSI
A mother combs the hair of her young daughter in a house that imperceptibly shifts from Iran to the German woods. The atmosphere is completely still, full of unanswered questions about an absent father. The girl goes outside, begins to run. A story about movement and standing still, escape and waiting, massacre and displacement.
DogMe (DEU 2014, 16mm, digitalisiert, 6’, no dialog)
World Premiere
While making the bed in the morning, dream sequences and fragmented memories flash through a woman’s head…
Faezeh Nikoozad, „DogMe“, DEU 2014, 6’
Novicheva, Yulia
Yulia Novicheva, born in 1987 in Ekaterinburg, studied composition, drawing, painting, and photography in the department of industrial design at the Ural Academy of Architecture and Film at the Russian State University of Cinematography S. A. Gerasimov (VGIK). She lives in Moscow.
Dance of the Death (RUS 2012, HD, 3 Min., enOF) European Premiere Dance of Death shows the whole life of a man, from birth until death, in only three minutes… A rushing dance of the death that makes clear how short and breathless life can be and that we basically don’t control anything, even though we always like to believe we do.
Yulia Novicheva, „Dance of the Death“, 2012, HD, 3 Min.
Nowak, Till
Till Nowak, born in 1980 in Bonn, studied media design in Mainz and lives in Hamburg. He participated in the Seoul Media Art Biennial, 2012. Exhibitions included Forum Caixa, Barcelona; SIGGRAPH Gallery, Boston; Museum of Modern Art, Rio de Janeiro. Light installations in Berlin, Naples, Hamburg. Solo exhibitions since 2011 included Galerie Rudolf Budja, Salzburg; Kunstforum Markert, Hamburg.
The Centrifuge Brain Project (DEU 2011, HD, 6 Min. 35 Sek., enOF) Second Main Award KINO DER KUNST 2013 The Centrifuge Brain Project is a mockumentary about scientific experiments involving amusement park rides. Since the 1970s, scientists have been conducting research to study their effects on the human brain. Adapting the aesthetics of a television documentary, this film takes a tongue-in-cheek look at humanity’s confusing search for bigger, better, faster and higher ways to happiness.
Till Nowak, „The Centrifuge Brain Project“, 2011, HD, 6 Min. 35 Sek.
Op de Beeck, Hans
Hans Op de Beeck, orn in 1969 in Turnhout, Belgium, lives in Brussels. He is both a painter and sculptor as well as a theater and film director, composer and writer. Solo shows at the Kunsthalle Krems (2019), Scheepvaartmuseum, Amsterdam (2018), Kunstmuseum Wolfsburg (2017) and Sammlung Goetz, Munich (2014), among others. Selected group exhibitions: Reina Sofia Madrid, Towada Art Center, ZKM Karlsruhe , Whitechapel Art Gallery London, MoMA PS1, New York, Centre Pompidou Paris. Participa-tion in the Venice Biennale, Shanghai Biennale and Aichi Triennale. Selected films: Staging Silence (2019) and Night Time (2014, KDK 2015).
The Girl
EL 2017, HD, 16’, ENGLISCH/ENGLISH
CAST: Elsa Houben
MUSIK/MUSIC: Tom Pintens, featuring Pitou
A Sleeping Beauty castle veiled in misty loneliness. As if in a fairytale, the world seems to have been abandoned suddenly and left to decay—except for a sleeping girl on a raft, with puncture wounds on her arms and cheek. She lies there in the fog, strange, peaceful and mysterious, while all around her a sickly coziness prevails: a campfire in front of an old mobile home, a deer between dark tree trunks, the smokestacks of an illuminated factory in the distance. A cryptic dream/space of collapse enhanced by the ethereal voice of the singer Pitou
Courtesy the artist and Galerie Ron Mandos
KINO DER KUNST 2015
Night Time (BEL 2014, 15’30’’, no dialogue) German Premiere A timeless, mysterious journey to nocturnal scenes. Some are deserted landscapes, others inhabited by anonymous figures. The Belgian artist simultaneously uses this cinematic journey to revisit his own work, taking numerous recent watercolors and refashioning them in this animated film to create a new story.
Hans Op de Beeck, „Night Time“, BEL 2014, 15’30’’
Olde Wolbers, Saskia
Saskia Olde Wolbers, born in 1971 in Breda, The Netherlands, lives in London. Solo shows at the Van Gogh House, London (2019), Viewmaster Foundation, Maastricht, Fondation Vincent van Gogh, Arles (2017) and Sammlung Goetz, Munich (2010), among others. Selected group exhibitions: The Onassis Foundation, Athens, The Bonnefanten Museum, Maastricht (2020), S.M.A.K., Ghent (2019) and Ota Fine Arts, Shanghai (2018). Other films include: Yes, These Eyes Are the Windows (2015, KDK 2015).
Pfui – Pish, Pshaw / Prr
GRC 2018, HI-8 ARCHIVE, HD, SONAR, 20’, ENGLISCH/ENGLISH
VOICE OVER: George Chalkias
MUSIK/MUSIC: Daniel Pemberton
DEUTSCHE PREMIERE/GERMAN PREMIERE
Dreamlike memories of the shipwrecks that have left behind oil spills and secrets in the world’s oceans as well as interviews with Theodosis Alifrangis, the longest-serving employee of a Greek company for toxic waste management, are the raw material for the fictitious confessions and heroic anecdotes of a shipwreck enthusiast. Alifrangis’ Hi8 video-takes, made at work during the 1980s and ’90s, as well as sonar images of the cruise ship Sea Diamond lying aground off the coast of Santori, provide pictures of a time that is truly lost.
Yes, These Eyes Are The Windows (GBR 2015, 18’, English) World Premiere Funded by the Mondrian Fund, Arts Council England, the Elephant Trust In 1873 Vincent van Gogh lived in a house in Brixton, London. The artist has created a fictional narrative that traces how his ghostly presence influenced the destiny of the house and its owners. The story is told by the run down building itself and is filmed both on location and in model sets.
Saskia Olde Wolbers, „Yes, These Eyes Are the Windows“, GBR 2015, 18’, Courtesy of Maureen Paley London and Stigter van Doesburg Amsterdam
Page, Clement
Clement Page, born in 1967, lives in Berlin. Since the 1990s film and installation. Group exhibitions in the Pinakothek der Moderne, Munich 2015; Akershus Kunstsenter, Lillestrøm 2014, Haus der Kunst, Munich 2012 et al.
Light That Obscures (DEU 2014, 18’40’’, no dialogue)
German Premiere
The young artist Isabella, who likes to experiment with optical instruments, gradually develops an ever-increasing light phobia and fear of going blind. She imprisons herself in the dark more and more; her only contacts with the outside world are phone calls with her father.
Clement Page, „Light that Obscures“, DEU 2014, 18’40’’, International Studio of Clement Page
Paiva, Margarida
Margarida Paiva, born in 1975, lives in Oslo. Solo exhibitions Akershus Kunstsenter, Lillestrøm et al. Group exhibitions in the Torrance Art Museum 2014; Tromsø Kunstforening 2012; 2nd Baltic Biennale, St. Petersburg 2010. In 2014 Award at the FOKUS Festival in Nikolaj Kunsthal for “Every Story Is Imperfect”.
The Day I Wasn’t There (NOR 2014, 12’, English)
German Premiere
One at a time, three women share their memories of a train accident they experienced. But did this incident really take place? Or are the train accident and its horrors only symbols for pain they have inflicted on themselves? Little by little, a story takes shape…
Margarida Paiva, „The Day I Wasn’t There“, NOR 2014, 12’
Parker, Kayla
Kayla Parkers films have been broadcasted by BBC and Channel 4 as well as in museums such as Tate Modern or the Saatchi Gallery in London. She is a lecturer in Media Arts at Plymouth University and also works as a curator.
Heaven Is a Place (GBR 2014, 16’30’’, french)
German Premiere
Choreographed encounters of very personal experiences about desire, love and loss, collected in the gay, lesbian and transvestite communities in the British city of Plymouth and narrated in the city´s old harbor buildings and bars. Freely adapted from Jean Genet.
Kayla Parker, „Heaven Is a Place“, GBR 2014, 16’30’’, Stuart Moore, Sundog Media, Plymouth
Pietsch, Oliver
Oliver Pietsch, born in 1972, lives in Berlin. Solo exhibitions at MM Projects, Karlsruhe; Myymala2, Helsinki; Goff+Rosenthal, New York et al. Group exhibitions at Carroll / Fletcher, London 2014; Coreana Museum of Art, Seoul 2011; Kunstverein Hildesheim 2010 et al. Films regularly presented at international film festivals.
Tales of Us (DEU 2014, 28’, English)
Love, lust and passion, as the cinema sees it. From adolescents to adults to the elderly, film excerpts ranging from “film d’auteur” to Hollywood movies show us their deep emotions.
Oliver Pietsch, „Tales of Us“, DEU 2014, 28’
Pink Twins
The duo Pink Twins consists of the visual artist Juha (born 1978) and the electro-musician Vesa Vehviläinen (born 1974). The brothers live in Helsinki and have been testing the boundaries between visual art and music since 1997.
Parametronomicon (FIN 2015, 9’, no dialog) European Premiere Techno-aesthetics and music : A kind of animated video clip with music by the artists, covering the topics of birth, reproduction, death and the reincarnation of an enigmatic biomechanical organism.
Pink Twins, „Parametronomicon“, FIN 2015, 9’
Polska, Agnieszka
Agnieszka Polska, born in 1985 in Lublin, studied photography at the Academy of Fine Arts in Krakow and at the Berlin University of Arts. She lives in Krakow and Berlin. Exhibitions since 2007 included Calvert 22 Gallery, London; KW, Berlin; Tate Modern, London.
Hair / Włosy (POL/IND 2012, HD, 46 Min., plOmeU) German Premiere Aga and Andrzej live in a community in Krakow in the 1970s. Although strongly inspired by the american hippie movement, the reality in socialistic Poland makes it a completely different story: anti-consumerism is obsolete because the shops are empty, their religion is Catholicism and what they find when they are finally able to travel to India doesn\’t meet their expectations.
Agnieszka Polska, “Włosy” / „Hair“, 2012, HD, 46 Min.
Prouvost, Laure
LAURE PROUVOST, born in 1978 in Croix-Lille, lives in Antwerp or in a mobile trailer. In 2013, she was awarded the Turner Prize. Selected solo exhibitions: Les Abattoirs Toulouse (2020); Galerie carlier | gebauer, Berlin; Museum of Contemporary Art, Antwerp (2019); Palais de Tokyo, Paris; BASS Museum, Miami; Lisson Gallery, New York (2018); SALT Galata, Istanbul; Witte de With, Rotterdam (2017); Haus der Kunst, Munich (2015). Selected films: How to Make Money Religiously (2014, KDK 2015), After After the End (2014), Pink Cloud (2013) and The Artist(2010). Website Laure Prouvost
KINO DER KUNST 2020
They Parlaient Idéale
FRA, BEL, ITA 2019, HD VIDEO, 28’80’’, ENGLISCH, FRANZÖSISCH/ENGLISH, FRENCH KAMERA/CINEMATOGRAPHY: Laure Prouvost, Ciaran WoodCAST: Arnaud Arini, Alexandre Boumbou, Kader Bueno u. a.MUSIK/MUSIC: Flavien Berger, Lafawndah
Colorful and socially diverse, a cheerful cast of performers embark on a trip to the Venice Biennale. Along the way, they meet up with raspberry-killing sturgeons, octopuses that wander across the pavement and flesh-eating tulips: identities undergoing transformation. By car, thanks to levitation, and on horseback, the group progresses quickly, all the while accompanied by wordplays and cheeky commentaries—a surreal filmic journey towards Utopia. The film was part of Prouvost’s solo exhibition Deep See Blue Surrounding You / Vois ce bleu profond te fondre for the French Pavilion at the 58th Venice Biennale in 2019.
How to Make Money Religiously (GBR 2014, 8’43’’, English)
Consumption, possession, power – Turner Prizewinner Laure Prouvost nimbly and humorously tells two stories about the importance of money in today’s society. Although these stories vary only slightly, the differences are decisive. Déjà-vu or communication gone haywire?
Laure Prouvost, „How to Make Money Religiously“, GBR 2014, 8’43’’, Courtesy of Laure Prouvost and LUX, London
Reynolds, Reynold
Reynold Reynolds, born 1966, studied physics in Colorado and art in New York, lives in Berlin. In 2011 he participated in the Videonale Bonn and Transmediale Berlin. Exhibitions a.o. Sprengel Museum, Hannover; MOMA, New York; Wrocław Contemporary Museum. Solo exhibitions since 2004 a.o. Videotage, Hong Kong; Kunsthalle Wien; Haus der Kulturen der Welt, Berlin.
Lost Scene Number Six: Reanimations-Experiment 1. Versuch am Menschen (DEU 1933/2013, HD, 8 Min., deOF) World Premiere The scene is taken from the film “Die Verlorenen” (1933) and shows how a young woman who has just been murdered, is being resurrected. The material was recently uncovered in Siberia and was intended to become a commercial Vampire-movie. It has now become part of a restoration- and art-project, entitled “The Lost”, which preoccupies Reynold Reynolds since 2011.
Reynold Reynolds, „Lost Scene Number Six: Reanimations-Experiment 1. Versuch am Menschen“, 1933/2013, HD, 8 Min.
Robinson, Michael
Michael Robinson, born in 1981, studied at the Ithaca College and the University of Illinois, Chicago and lives in New York. Winner of the Kazuko Trust Award, New York Film Festival, 2012. He participated in the Whitney Biennial, 2012. Exhibitions included The Walker Art Center, Chicago; MoMA P.S.1, New York; Whitechapel Art Gallery, London; Tate Modern, London.
Circle in the Sand (USA 2012, 16mm, 46 Min., enOF) German Premiere In a ruined near-future, a band of listless vagabonds ambles across a war-torn coastal region. Rummaging, stuttering and smashing through the leftovers of Western culture, these ragged souls conjure up an unstable magic. Suspicion, boredom, garbage and glamour conspire in the languid pageantry of ruin. Feel the breeze in your hair and the world crumbling through your fingers.
Michael Robinson, „Circle in the Sand“, 2012, 16mm, 46 Min.
Rosefeldt, Julian
Julian Rosefeldt, born in 1965, lives in Berlin. Since 2013 professorship for for digital and time-based Media at the Academy of Fine Arts Munich. Recent solo exhibitions a.o. at the Nikolaj Kunsthal, Copenhagen; École des Beaux Arts de Paris; Villa Stuck, Munich; Rödasten Konsthall, Gothenburg; Park Avenue Armory, New York (all 2017), Ruhrtriennale Duisburg; Art Gallery of New South Wales, Sydney; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Sprengel Museum Hannover (all 2016); Kunsthalle Wien 2012; Taipei Fine Arts Museum 2012; British Film Institute, London 2010. Group exhibitions a.o. in the Pushkin State Museum of Fine Arts, Moskau 2016; CAFA Art Museum, Peking 2016; Museum Villa Stuck, Munich 2014, Tate Modern, London 2014. Selected Works: American Night (2009), Trilogie des Scheiterns (2004/05), Asylum (2002)
Deep Gold (DEU 2014, 18’12’’, English) 5th part of the artists’ CO-production “The Scorpion’s Sting”, initiated by M+M An homage to Luis Buñuel’s surrealist masterpiece (and at its time of creation scandalous film) “L’âge d’or”, relocated to the roaring 1920\’s in Berlin. In the film which functions as a fictional insert into the original movie the protagonist, overwhelmed by an omnipresent sexual energy, gets lost in the nightclub „Deep Gold”, where a world full of lust and desire awaits him.
Julian Rosefeldt, „Deep Gold“, DEU 2014, 18’12’’, Julian Rosefeldt; Barbara Gross Galerie, München
MANIFESTO (DEU 2016, 2K, 94’20’’, English)
GERMAN PREMIERE (Single-Channel-Version)
Cast: Cate Blanchett KINO DER KUNST Main Award 2017
KINO DER KUNST Audience Award 2017
A tribute to the literary beauty of artist manifestos written throughout the 20th century, and at the same time a plea for political awakening. In contemporary settings, Cate Blanchett re-enacts a text collage of milestones of manifestos – among others pamphlets from artist groups such as the Futurists, the Dadaists, the Suprematists and the Situationists. The film reveals both the performative element and the political significance of these declarations, which were often written as a provocative call to action.
Judy Ross, born in 1978 in Germany, studied at the Berlin University of the Arts and at the Royal Danish Academy of Fine Arts, Copenhagen. She lives in Berlin. She participated in the Stuttgarter Filmwinter, 2006. Solo exhibitions since 1999 included Banff Centre, Canada; TÄT, Berlin; KunstWerk, Cologne; Gallery Maurer, Frankfurt.
Where Ideas Come to Die (USA 2012, HD, 6 Min. 9 Sek., enOF)
A parody of the film noir genre and at the same time a paraphrase of Walter Benjamin’s ideas of the aura. Retired but spirited diva Gloria, upset at finding a young starlet dead in her swimming pool, hires a detective to investigate the girl’s identity. A choreography of light and shadow composed of static vignettes and talking heads, this film revolves around Los Angeles.
Judy Ross, „Los Angeles, Where Ideas Come to Die“, 2012, HD, 6 Min. 9 Sek., Courtesy Galerie Maurer, Frankfurt
Saiyar, Azar
Azar Saiyar, born in 1979, lives in Helsinki. Solo exhibitions in the Galleria Huuto Jätkäsaari, Helsinki; Titanik-galleria, Turku. Group exhibitions and Festivals incl. Tampere Film Festival 2010; Short Film Festival Kettupäivät, Helsinki 2009; MECAL Short Film Festival of Barcelona 2009 et al.
Primus Tempus (FIN 2014, 5’17’’, no dialogue)
A sequence of ad excerpts changes function, suddenly telling more about consumer habits than about the product the ads are selling.
Azar Saiyar, „Primus Tempus“, FIN 2014, 5’17’’
Sanhueza, Mauricio
Mauricio Sanhueza, born in 1978 in Peru. His work has been exhibited in group exhibitions at the Rome Art Week (2018) and Biennale der Kunstgrafik ICPNA (2008), among others. He has parti-cipated in numerous video-art and experimental film festivals including Instants Vidéo, Marseille (2019), Open Eyes Filmfest, Marburg (2017), International Digital Art Festival (2015), Bardhaman Short Film Festival, India (2017) and Babel International Video Festival, Peru (2012). Other films include: The House (2018), Parasite(2016), Calico (2012, KDK 2013) and The Red Dress (2004).
KINO DER KUNST 2020
The Magic Bullet
PER 2018, HD VIDEO, 3’06’’, ENGLISCH/ENGLISH
WELTPREMIERE/WORLD PREMIERE
According to the theory of the “magic bullet,” John F. Kennedy was assas-sinated by a single bullet issued from the gun of a lone sniper, Lee Harvey Oswald. The procession of Kennedy’s open-roofed presidential limousine, just moments before his murder, returns in various settings via images from Pablo Larraíns feature film Jackie (2016), pictures that can barely be differentiated from the original historical material. Excerpts from historical television commercials interrupt the study. The indiscriminate juxtaposition of reenactment, news broadcasts and commercials softens the sense of reality which, in turn, is enhanced by a fascination of the Kennedys whose aura turned the White House into a mythical Camelot
Calico (PER 2012, HD, 3 Min. 39 Sek., no dialogue) German Premiere Over the years much has been said about dreams and their influence on our life. In many cultures dreams serve to predict the future and in many cases to explain the present as well. Based on the myth of Perseus, Calico was shot entirely in Peru and shows the main character’s search for the key to his sad fate.
Mauricio Sanhueza Granda, „Calico“, 2012, HD, 3 Min. 39 Sek
Sassi, Pekka
Pekka Sassi, born in 1969, lives in Helsinki, works with video and sound. Since 1995, he has produced 116 films. In 2006, he won the AVEK prize for audio-visual art.
After Everything (FIN 2014, 29’, English / Finnish)
European Premiere
Apocalyptic images from the last days, when violence and boredom lead two young men working at an isolated construction site to commit a hideous crime. But doesn’t even the Last Judgement mean a new beginning?
Pekka Sassi, „After Everything“, FIN 2014, 29’, Marja-Leena Hukkanen, Crystal Eye, Helsinki
Schweiger, Michaela
Michaela Schweiger, studied at the Berlin University of the Arts and at the Academy of Media Arts Cologne. Since 2011, professor for time-based art at the University of Arts and Design Halle. She lives in Berlin and Halle. Solo exhibitions since 2000 included Skulpturenmuseum Glaskasten, Marl; Centre d\’art La Passerelle, Brest; Weserburg, Museum of Modern Art, Bremen; Galerie Walbröl, Düsseldorf.
Trabanten / Satellites (DEU 2013, HD, 68 Min., deOmeU) World Premiere Trabanten shows fragmentary glimpses into the lives and living spaces of women from two generations as mirrored by contemporary media. From just a few episodes of everyday life arise almost surreal scenes that refer to small escapes, actual liberties and utopias.
Marcus Shahar, born in 1971 in Petach Tikva, studied linguistics and art history at the University of Tel Aviv. He lives in Tel Aviv. In 2009 he participated in the Moscow Biennial and Nuit Blanche, Paris. Solo exhibitions since 2004 included MOCA Hiroshima; The Petach Tikva Museum of Art; G.D.K Gallery, Berlin.
The Curator (ISR 2011, HD, 4 Min. 25 Sek., enOF) German Premiere The Curator draws a glamourous and grotesque picture of the art world, where the curator reigns supreme. The film offers a “behind-the-scenes” look into an impulse-ridden world that is often perceived as a detached, elitist bubble dominated by people who wish to gain prestige by means of artworks and artists.
Marcus Shahar, „The Curator“, 2011, HD, 4 Min. 25 Sek., Courtesy G.D.K Galerie, Berlin
Shawky, Wael
Wael Shawky, born in 1971, lives in Alexandria. Studied in Alexandria and Pennsylvania. Famous for his trilogy “Cabaret Crusades”. Several awards, Schering Award 2011 and Award for the Filmic Œuvre at KdK 2013 et al. Solo exhibitions at MoMA PS1, New York 2015, Serpentine Gallery, London 2013 et al.
In 2013 he won the KINO DER KUNST Award for the Filmic OEuvre.
Al Araba Al Madfuna II (EGY 2013, 33’, Arabic)
After two short stories by Egyptian writer Mohamed Mostagab (1938–2005). In “The Offering”, an entire village loses its ability to speak and, after an initial struggle to find a cure, adapts to survive and prosper by other means. “Horsemen Adore Perfumes” describes the failed attempts of successive horsemen to overthrow a society’s despotic ruler. Shot in Upper Egypt, children dressed as adults are dubbed with adult voices, recounting the events in classical Arabic.
Wael Shawky, „Al Araba Al Madfuna II“, EGY 33’, 2013, Sfeir-Semler Gallery, Beirut/Hamburg
Sherman, Cindy
Cindy Sherman, born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. She is best known for “Complete Untitled Film Stills,” a series of 69 black-and-white photographs which were meant to subvert the stereotypes of women in media (namely arthouse films and popular b-movies). In the 1980s, Sherman used color film and large prints, and focused more on lighting and facial expression. In 1995, Sherman was the recipient of a MacArthur Fellowship. In 2013 she received an honorary doctorate degree from the Royal College of Art, London.
Office Killer USA 1997, 82 min.
Dorine Douglas, a mousey copy editor who has been one of the back-office copy editors for Constant Consumer magazine for 16 years, is downsized into a part-time work-at-home employee and is faced with tending more for her invalid mother. When Dorine is called into the office late one night to help demanding writer Gary Michaels fix his computer she is shocked when he is electrocuted trying to jimmy the wires. To assuage her loneliness Dorine decides to take the dead body home to the basement of the house. When chain-smoking publisher Virginia commands Dorine to team up with the pushy Kim Poole to re-write Gary\’s lead story in time for press, Dorine decides to add to the dead bodies in her basement and Virginia\’s body joins Gary’s….
Cindy Sherman “Office Killer”, 1997, 82 min.
Singh, Alexandre
Alexandre Singh, born in 1980 in Bordeaux, lives in New York and Paris. After numerous installations, performances and a filmed play (The Humans, Brooklyn Academy of Music, New York, 2013 and KDK 2015), The Appointment is his first film. Selected solo exhibitions: Legion of Honor Museum, San Francisco; Metro Pictures, New York; Fine Arts Museum, San Francisco (2019); Galerie Art: Concept, Paris (2018); Sprüth Magers, Berlin (2016)
KINO DER KUNST 2020
The Appointment
GBR 2019, 4K, 19’45’’, ENGLISCH/ENGLISH
CAST: Sam Crane, David Bamber, Harriet Thorpe
KAMERA/CINEMATOGRAPHY: Antonio Paladino
MUSIK/MUSIC: Gerry Arlin
Henry Wallace, a humorless writer, looks at himself in the mirror. Something is not right. Why is his arm broken? And what is this unusual mustache that has grown over his upper lip? He shaves and then inspects his calendar. It says: 12 o’clock, La Folie. But who should he be meeting at this restaurant? This is the start of a mysterious Gothic tale for which the Indian-French artist was inspired by the films of Powell and Pressburger and the stories of E.T.A. Hoffmann and Roald Dahl. Like the story, his pictures are surreal and con-spiratorial, enigmatic and yet precise—an uncanny exoticism.
Alexandre Singh, Film still from ‘The Appointment’, 2019. Film, duration: 19:45. Courtesy of the artist, Sprüth Magers, Metro Pictures, Galerie Art : Concept, and Monitor
KINO DER KUNST 2015
The Humans (USA 2014, 173’, English)
A drama of ancient Greek proportions about the eternal feud between the Apollonian-conceptual and the Dionysian-excessive in Western art from antiquity to the present day. Aristophanes, William Shakespeare, Woody Allen, George Grosz, Oscar Wilde, François Rabelais and Honoré Daumier as well as the Cubists or Paul McCarthy appear in this film version of a play premiered in a museum, which includes spectacular screenshots and much original music.
Susanne Steinmassl was born in 1987, lives in Munich. Filmmaker and visual artist. After studying philosophy, literature and politics, studies in film directing at the HFF Munich. Her works are regularly shown in exhibitions and festivals. Her film An Ton Kaun won the 3sat Promotional Award at 61th International Short Film Festival Oberhausen in the German Competition in 2015. Since 2017 scholarship by the Kirch Foundation for her media art work „The Future Is Not Unwritten“. Selected films: The Future Is Not Unwritten (2017), An Ton Kaun (2014), Manchmal hört es auf, wie es begonnen hat (2012)
Julia Fuhr Mann was born in 1987. She is a filmmaker, curator and queer feminist activist and lives in Munich. Studies in film directing at the HFF Munich. Her other films include Die Liebe der Mutter (2014).
THE SHOW SHOW (DEU/UKR 2016, HD, 26’, GERMAN)
A profound and absurd one-man-show by a nerve-racking moderator, repeatedly interrupted by images of the Ukraine, a country in civil war, which seems strangely calm and peaceful in the film. A self-deconstructing filmic meditation about meaninglessness and overload in a world defined by social media.
John Stezaker, born in 1949, lives in London. Solo exhibitions in The Approach, London; Petzel Gallery, New York; Museum of Art, Tel Aviv; Whitechapel Gallery, London et al. Group exhibitions The New Art Gallery Walsall 2015; Tate Britain, London 2014; Galerie Thaddaeus Ropac, Paris 2013 et al.
Crowd (GBR 2013, Loop, no dialogue) Co-Director: Marcia Derraik A slight film on a major issue: Film. A random sequence of several thousand still photographs of crowds, each visible for only one frame, i.e. one twenty-fourth of a second. A duration that the human brain cannot cope with, and everyone in the audience thus experiences a different film. A cinema of discontinuity, in contrast to conventional, continuous narrative forms.
John Stezaker, „Crowd“, GBR 2013, Infinite loop, John Stezaker, Courtesy the Approach, London
Sun Xun
Sun Xun, born in 1980 in Fuxin Liaoning Province, China lives in Hangzhou. He studied printmaking at the China Academy of Fine Arts. In 2006 he founded his own animation studio. He participated in several festivals, a.o. Ars Electronica, 2009, Transmediale, Berlin, 2010; the 7th China Independent Film Festival, 2010; Solo exhibitions included the Hammer Museum, Los Angeles; the Drawing Center New York; Platform China; Kunsthaus Baselland, Basel.
Lie (CHN 2006, Video, 7 Min. 20 Sek.)
The animation Lie is cut and spliced with staged 1950’s news footage depicting China’s progress in rocket exploration; historical fact and fiction is again thrown into question.
Sun Xun, „Lie“, 2006, Video, 7 Min. 20 Sec., Courtesy ShanghArt Gallery, Shangahi
Tao Hui
Excessive (CHN 2015, 4K, 19‘32’’, Chinese)
Very aesthetically told studio production of the parable of a couple whose daughter grows up with a strange physical deformation. Due to her condition, the family slowly breaks apart – until the daughter makes a drastic decision.
Tao Hui, Excessive, HD video, color, sound, 19’32’’, 2015. Courtesy of the artist
Téllez, Javier
Javier Téllez, born in 1969 in Venezuela, lives in New York and Berlin. Participation in the Lyon Biennale, 2011, and in the documenta, 2012. Exhibitions a.o. at the Palazzo Grassi, Venice, Kunsthalle Wien and Deichtorhallen Hamburg. Solo exhibitions since 1996 u.a. at the S.M.A.K., Ghent, Kunstverein Braunschweig, Fundação Calouste Gulbenkian, Lisbon; Galerie Figge von Rosen, Cologne/Berlin.
The Conquest of Mexico (MEX/USA/DEU/CHE 2012, HD, 45 Min., esOmeU)
Inspired by Antonin Artaud’s legendary trip to Mexico in 1936 and his text “The Conquest of Mexico”, Javier Téllez collaborated with outpatients of a psychiatric hospital in Mexico. They are co-writers of the script, play their own parts in the film and also appear as characters from Mexican history, like the ancient ruler Moctezuma, the conqueror Hernan Cortés and the French writer Antonin Artaud.
Javier Téllez, „The Conquest of Mexico“, 2012, HD, 45 Min., Courtesy Galerie Figge von Rosen, Köln/Berlin
Tess, Rebecca Ann
Rebecca Ann Tess, geboren 1980, studierte Kunst an der Städelschule, Frankfurt, am Chelsea College of Art and Design, London und an der Universität der Künste, Berlin. Sie lebt in Frankfurt. Ausstellungen u.a. im ZKM Karlsruhe und im National Museum of Contemporary Art, Seoul. Seit 2010 Einzelausstellungen im Nassauischen Kunstverein, Wiesbaden; Lampione, Frankfurt; Figge von Rosen Galerie, Köln/Berlin.
Home Time Show Time (ITA/DEU 2012, HD, 15 Min., deOmeU)
In Home Time Show Time sehen ein paar Freunde fern und zappen sich durch verschiedene Serien. Dann verwandelt sich das Wohnzimmer in das Studio einer fiktiven Talkshow, doch läuft diese gleichzeitig auch auf dem Fernseher im Wohnzimmer. Beide Räume vermischen sich immer mehr. Am Ende betritt der Showmaster das Wohnzimmer und enttarnt die Runde als Realityshow.
Rebecca Ann Tess, „Home Time Show Time“, 2012, 15 Min., Courtesy Figge von Rosen Galerie, Köln/Berlin.
Trubkovich, Kon
Kon Trubkovich, born in 1979, lives in New York. Solo exhibitions in the OHWOW, Los Angeles; Marianne Boesky Gallery, New York et al. Group exhibitions in the Zach Feuer Gallery, New York 2013; Macro Future Museum, Rome 2009; 2nd Biennial of Contemporary Art, Athens 2009 et al.
Snow (USA 2014, 4’33’’, no dialogue)
European Premiere
A cinematic “sculpture” with an original score by Menlo Park Music, created from old amateur video recordings of the artist’s family that were copied to 35mm and then hand painted. The personal and collective memory becomes an artifact; the documentary film becomes fiction.
Guido van der Werve, born in 1977 in the Netherlands, studied music, industrial design, archeology and art. He lives in Finland and Amsterdam. Participation in the Performa, New York, 2011 and the Sydney Biennial, 2012. Solo exhibitions since 2003 a.o. at the Secession, Vienna; Künstlerhaus Bethanien, Berlin; La Maison Rouge, Paris; Stedelijk Museum, Amsterdam; Monitor Gallery, Rome.
Number fourteen, home / Nummer veertien, home (NLD 2012, 4k DCP, 54 Min., enOF) German Premiere In his film Nummer veertien, home, Dutch artist, composer and Iron Man Guido van der Werve swims, bikes and runs nearly 1,200 miles following Frédéric Chopin’s steps, from Warsaw’s Church of the Holy Cross to the Père Lachaise cemetery in Paris. A cinematic vision about longing, homesickness and death, gorgeously melancholy, occasionally flakey, intermittently batty.
Guido van der Werve, „Nummer veertien, Home“ / „Number fourteen, home“, 2012, 4k DCP, Courtesy Guido van der Werve / Galerie Juliette Jongma
van Lieshout, Erik
Erik van Lieshout, born in 1968, lives in Rotterdam. For 25 years his work has been part of many important exhibitions worldwide. Solo exhibitons a.o. at Kunstverein Hannover; WIELS, Brussels; Kunsthalle Wien; MMK Frank furt; Hammer Museum, Los Angeles. Participation in Thessaloniki Biennale 2015, Moscow Biennale 2013, 55th Venice Biennale 2011 et al. Selected Films: The Basement (2013), JANUS (2012), Sex ist sentimental (2009)
Die Insel (NLD 2016, HD, 38’, Dutch-German-English) KINO DER KUNST Main Award 2017
Art eccentric Erik van Lieshout uses his contribution to the exhibition Emscherkunst 2016 in the Ruhr Region, curated by Munich art professor Florian Matzner, to create a clownish parody about selfdiscovery and the infi ltration of government agencies. Every day for four months, he visits a small island in the middle of Dortmund‘s Phoenix Lake, a surreal environment consisting of the lake, expensive apartment buildings, workers‘ quarters and office blocks. He is accompanied only by Ahmad, a Syrian refugee, whose biography he simultaneously tells.
Erik van Lieshout, Die Insel (The Island), 2016, 38’. Commissioned for Emscherkunst 2016
Vanzo, Marcella
Marcella Vanzo, born in 1973, studied anthropology at University College, London and art at Accademia di Brera. She lives in Milan. She participated in the Performa in New York, 2009 and the Prague Biennial, 2011. Solo exhibitions since 2003 included Galleria Continua, San Gimignano; Castello di Ama per l’arte contemporanea, Siena; Italian Academy at Columbia University, New York.
Rumors (ITA 2012, HD, 19 Min. 46 Sek., itOmeU) World Premiere Based on the Greek myth of Medea, Rumors depicts a mythical woman by interviewing the people in her surroundings: these are shameless portraits of members of the royal court as well as stereotypes of our contemporary society. The characters are played and voiced by actors and laypersons. A Grand Hotel serves as the kingdom.
Marcella Vanzo, „Rumors“, 2012, HD, 19 Min. 46 Sek.
Venkov, Dimitri
Dimitri Venkov studied at the University of Oregon and the Rodchenko Art School, Moscow. He lives in Moscow. Since 2007 he has produced documentary and narrative films as well as video and mixed media works, which have been exhibited at various shows and festivals. His film Mad Mimes was awarded the Kandinsky Prize Young Artist of the Year in 2012 and shown at anthropology and documentary festivals.
Mad Mimes / Bezumnye podrazhateli (RUS 2012, DV, 30 Min., ruOmeU) German Premiere In a thin forest along the Moscow Ring Road, anthropologists discover artifacts of a pagan tribe. The tribe must have been entirely dependent on roadside trash collected along the highway: Discarded items, road signs and car parts were used and integrated in rituals that symbolically reflect the life of the road.
Wang Jianwei, born 1958 in Sichuan Province, China, and lives in Beijing. Participation in several film festivals and exhibitions, a.o. Kunsten Festival des Arts, Brussels, 2000, 2002; Venice Biennale, 2003; Solo exhibitions included Hong Kong Art Center; Walker Art Center, USA; Chambers Fine Art, New York and Ullens Center for Contemporary Art, Beijing.
Gaze (CHN 2009, 13 Min. 24 Sek.)
In Gaze Wan Jianwei cinematically orchestrates and merges historical scenes from Chinese history, creating a tableau of ‘characters’, layered onto a stage exposing inherent commonalities despite different sartorial appearances.
Wang Jianwei, „Gaze“, 2009, HD, 13 Min. 24 Sek., Courtesy Long March Space, Beijing
Weinman, Max
Max Weinman, born in New York, studied film at Bard College. Winner of the Maya Deren Award for Excellence in Cinema in 2011 and the Maverick Movie Award 2012. He participated, among others, in the Cambridge Film Festival; Anthology Film Archives, New York; WILLifest, New York. He exhibited at Tama Art University, Tokyo, 2012.
Apsis (USA 2012, 16mm, 13 min. 30 sec., no dialogue)
Through the brief encounter with another, a demon lost in the limitless expanse of another world comes to realise his own existence.
Max Weinman, „Apsis“, 2012, 16mm, 13 Min. 30 Sek.
Wekua, Andro
Andro Wekua, born in 1977 in Georgia, studied philosophy and art in Tbilisi and Basel. He lives in Berlin. He participated in the Venice Biennale, 2011. Solo exhibitions included Kunsthalle Wien; Museum Friedericianum, Kassel; Castello di Rivoli, Turin; Le Magasin, Grenoble; Kunstmuseum Winterthur; Museum Boijmans van Beuningen, Rotterdam; Barbara Gladstone Gallery, New York / Brussels.
Never Sleep with a Strawberry in Your Mouth II (CHE 2012, HD, 6 Min. 20 Sek., EOV) European Premiere Never Sleep with a Strawberry in Your Mouth II is the result of months of labour-intensive set building, filming, directing, editing, and digital manoeuvering. Situated between the sincerity of self-reflection and the synthetic imagery of pop culture, Wekua’s animations create pictorial representations of the past that help us better comprehend and grapple with the present.
Andro Wekua „Never Sleep With a Strawberry in Your Mouth II“, 2010/2012, Single channel projection, full HD, 6 Min. 20 Sek., Courtesy Gladstone Gallery, New York/Brüssel
Wong, Ming
Ming Wong, born in 1971 in Singapore, studied fine art in Singapore and London and lives in Berlin. Participation a.o. in the Venice Biennale, 2009, and the Singapore Biennale, 2011. Exhibitions a.o. at the Singapore Art Museum; Haus der Kulturen der Welt, Berlin. Solo exhibitions since 2000 a.o. at Redcat, Los Angeles; Künstlerhaus Bethanien, Berlin; MK Galerie, Rotterdam/Berlin.
After Chinatown (DEU 2012, HD, 10 Min., no dialogue)
In an existential search, a couple travels to famous locations of the classic film noir, such as the Chinatowns of Los Angeles, San Francisco and Hong Kong, following the traces of cinema, but also of the journeys taken by early Chinese immigrants who left Hong Kong for California. What do we carry on our backs, and how strongly does it filter our view?
Ming Wong, „After Chinatown“, 2012, HD, Publicity still 7 Min. 9 Sek., Photo: Carlos Vasquez, Courtesy: carlier | gebauer
Wong Ping
WONG PING, born in Hong Kong in 1984, founded Wong Ping Animation Lab in 2014. Numerous commissions for institutions and companies including M+ Museum, Hong Kong, Nowness and Prada. Recipient of the PerspectiveUnder 40 Award for young art. Selected exhibitions: Kunsthalle Basel, CAPRI, Dusseldorf, Guggenheim Museum and New Museum, New York. Participation in the International Film Festival Rotterdam, Trickfilmfestival, Stuttgart, London Short Film Festival and Sundance Film Festival
KINO DER KUNST 2020
Wong Ping’s Fables 2 CHN 2019, 4K, 13’30’’, KANTONESISCH/CANTONESE
Behind the bright retro-pop colors and grating sound effects of video games, Wong Pings’ animated fables reveal the social fabric of Hong Kong. They satirically depict the agony of a democratic society moving towards hyper-consumption and the formation of a police state. Made before the out-break of the pro-democracy protests of 2019, the dark twists and turns in the life of a former activist vegetarian cow and a three-headed rabbit show what could have caused the tensions to boil over.
JUNGLE OF DESIRE (HKG 2015, HD, 6’50’’ CANTONESE)
GERMAN PREMIERE
Funny, brightly coloured animated film on strange marital sex behaviour and other obscure contemporary phenomena, told by a hitherto happy married man whose wife begins prostituting herself – and brings her customers home.
Wong Ping, Jungle of Desire, 2015, 6’50’’. Courtesy of the artist and Edouard Malingue Gallery, Hong Kong
Yang Fudong
Yang Fudong, born in 1971 in Beijing, studied painting at the Academy of Hangzhou. Participation in the Venice Biennale, 2007. Exhibitions a.o. at the Museum of Fine Art, Houston; The National Art Museum of China, Beijing; Minsheng Art Museum, Shanghai. Solo exhibitions since 2006 a.o. at Parasol, London; Hara Museum, Tokyo; Marian Goodman Gallery New York/Paris.
The Nightman Cometh / Ye Jiang (CHN 2011, HD, 19 Min. 21 Sek., zhOmeU) The Nightman Cometh / Ye Jiang brings us to the realm of historical fantasy. An ancient warrior is seen wounded and forlorn after battle: he is in conflict about his path in life. Three ghost-like characters appear. They are symbols for the conflicting feelings and thoughts in the warrior\’s heart and mind when he has to decide whether to give up or continue fighting.
Yang Fudong, „Yejiang / The nightman cometh“, 2011, 35mm transferred to HD, 19 Min. 21 Sec., Courtesy Marian Goodman Gallery, New York/Paris, Courtesy ShanghArt Gallery, Shanghai
Zack, Maya
Maya Zack, born in 1976, studied at the Tel Aviv University, the Academy of Art Jerusalem and at the Kunsthochschule Berlin-Weißensee. She lives in Tel Aviv. Participation in the Moscow Biennial for Young Art 2012. Solo exhibitions since 2001 included The Jewish Museum, New York; Alon Segev Gallery, Tel Aviv; Galeria Marie-Laure Fleisch, Rome; Galerie Natalie Seroussi, Paris.
Black and White Rule (ISR 2011, 4K (RED), 17 Min. 45 Sek., no dialogue) Black and White Rule deals with the human attempt to impose order and form onto reality through training and discipline. On an oversized chessboard, two poodles submit to the orders of their trainer while their actions are monitored by a camera obscura in an adjacent office. Suddenly the controlled routine is disrupted…
Maya Zack, „Black and White Rule“, 2011, 4K, 17 Min. 45 Sek., Courtesy Galerie Natalie Seroussi, Paris
Zhou Tiehai
Zhou Tiehai, born in 1966 in Shanghai, studied at the Fine Arts School of Shanghai University and lives in Shanghai. 1998 First Prize of the Contemporary Chinese Art Award, (CCAA Association, Switzerland). Exhibitions included a.o. the Akademie der Künste, Berlin, Minsheng Art Museum, Shanghai; Asian Art Museum, San Francisco. Solo exhibitions a.o. MoCA, Shanghai; Galerie Frank Schlag & Cie., Essen, Marella Arte Comtemporanea, Milan.
Will/We Must (CHN 1996, Video, 9 Min. 17 Sek.) Will/We Must portrays the artists´ collective in 1997 in Beijing as a stylized silent film from the dawn of cinema. At once witty and prescient, Will/We Must is familiar to anyone engaged in the art world, almost as the script of the verisimilitude and dramaturge performed by the art-players of today.
Zhou Tiehai „Will/We Must“, 1996, 35 mm, 9 Min. 17 Sec., Courtesy ShanghArt Gallery, Shangahi
Zhou Xiaohu
Zhou Xiaohu, born in 1960 in Changzhou, China. He studied sculpture at the Suzhou Art Institute and painting at Sichuan Academy of Fine Arts. In 1997 he first began working in video. Exhibitions included the Walsh Gallery, Chicago, 2008; Palais des Beaux Arts, Brussels; Gwangju Biennial, 2010; Tate Modern, London; National Art Museum of China, Beijing and the Long March Space, Beijing.
Montage Structure (CHN 2010, 5 Min. 17 Sek.) Montage Structure is a stop motion animation made with ceramic figures. It tells a story of assassination, a recurring theme in Zhou’s work, consciously thinking/adopting a classic film language, montage.
Zhou Xiaohu, „Montage Structure“, 2010, Video, 5 Min. 17 Sek., Courtesy Long March Space, Beijing
Zhu Jia
Zhu Jia, born in 1963 in Beijing and lives there. He graduated from China Central Academy of Fine Arts. Exhibitions included a.o. the Museum for Contemporary Art, Sydney; Hamburger Bahnhof, Berlin; MoMA, New York; Venice Biennale, 2003; Istanbul Biennial, 2007, ShanghART Beijing, 2012. In 2008 his work was exhibited in a solo exhibition in ShanghARTH-Space, Shanghai.
Zero (CHN 2012, Video, 15 Min.)
Clothes are used as a strategy for historical identification in Zero. The time continuum is inverted by depicting a woman whose age and various life stages are defined by the historical era of her dress. There is a sense of aging process without sequential continuity. Mirrored backdrops are utilized throughout the film as reflection while suggesting the illusion of progression.
