The Challenge

© Yuri Ancarani

25/03/20 — 8:30 p.m. | CANCELLED DUE TO COVID-19
Theatiner Filmkunst

FRA, ITA 2016 | 70 min | Arabic with English subtitles | D: Yuri Ancarani
TALK: Heinz Peter Schwerfel (Artistic director, KINO DER KUNST), Daniel Sponsel (Artistic director, DOK.fest)
In cooperation with the DOK.fest München

The falcon travels in a private jet, the cheetah in a Lamborghini as sheiks from Qatar head off into the desert with their exotic pets. A falconry contest is on the agenda. The young men in their dazzling white thawb robes represent a world of absurd wealth, luxurious hobbies and splendid idleness. Secretly, however, they are driven by a yearning for the adventuresome life of their Bedouin ancestors. In the endless sand dunes, far away from civilization, they stage a trial of strength and endurance that keeps the thousand-year-old tradition of falconry alive.

In sublime cinemascope images, the Italian artist Yuri Ancarani (*1972, exhibitions at the Guggenheim Museum, NY, among others) has created a modern aristocratic portrait of the super rich that conjures up a neo-romantic image of the Orient – simultaneously strange and fascinating.

PROLOGUE 20 | Masbedo | Cancelled due to Covid-19

Welcome Palermo

© Masbedo & Inbetweenartfilm

01/04/20 — 8:30 p.m. | Cancelled due to Covid-19
Theatiner Filmkunst

IT 2019 | 75 min. | Italian with English subtitles | Directed by: MASBEDO | GUEST: MASBEDO (Nicolò Massazza & Iacopo Bedogni) | TALK: Heinz Peter Schwerfel (Artistic Director, KINO DER KUNST)

An intermedia art project for Manifesta 12 in Palermo, in which the Italian artist duo MASBEDO – Nicolò Massazza (* 1973) and Iacopo Bedogni (*1970) – recall one of the iconic cities of Italian cinema. For it is here that Luchino Visconti filmed Il Gattopardo, Francesco Rosi the mafia film Salvatore Giuliana and Michelangelo Antonioni parts of L’Avventura.
For their interactive video installation, MASBEDO converted a minivan into a “video-mobile” – a combination of mobile stage, production studio and open-air cinema – that made stops at the city squares in Palermo. The artists spoke with the residents, the mayor and the Sicilian princess Vicky Alliata about the meaning of cinema and initiated readings and performances. The resulting documentary film Welcome Palermo depicts the video-mobile as an installation-like space of memory that artistically stages the film history of the city.

PROLOGUE 20 | Marina Abramović | Cancelled due to Covid-19

Waiting for the Artist

Cate Blanchett as Izabella – Documentary Now! _ Season 3, Episode 4 – Photo Credit: Rhys Thomas/IFC

08/04/20 — 8:30 p.m. | Cancelled due to Covid-19
Theatiner Filmkunst

USA 2016 | 26 min. | English | Directed by: Alex Buono & Rhys Thomas | With Cate Blan­chett, Fred Armisen | Afterwards: Surprise film by Marina Abramović | GUEST: Marina Abramović | TALK: Heinz Peter Schwerfel (Artistic Director, KINO DER KUNST)
In cooperation with the Bayerische Staatsoper

None other than Cate Blanchett plays the great Marina Abramović in this satiric “mockumentary” of the U.S. series Documentary Now! As the fictional performance artist Izabella Barta (Cate Blanchett) prepares for a large retrospective of her work, she must make amends with her former lover Dimo alias Ulay (Fred Armisen), a notorious artworld provocateur. The blueprint for the satire is Matthew Aker’s Emmy Award-winning documentary film The Artist is Present (2012). Many of the Serbian artist’s performances, including her sensational MoMA show in 2012, are parodied with relish by Blanchett. Abramović, whose operatic project 7 Deaths of Maria Callas premiers on April 11, 2020 at the Munich State Opera, demonstrates humor by attending the film screening at the Theatiner in person: the artist is present.

PROLOGUE 20 | Thierry Mugler | Cancelled due to Covid-19

Acción Mutante

© Alex de la Iglesia/TF1

15/04/20 — 8:30 p.m. | Cancelled due to Covid-19
Theatiner Filmkunst

ES 1993 | 91 min. | Spanish with English subtitles | Directed by: Álex de la Iglesia | With Antonio Resines, Alex Angulo, Frédérique Feder | Costume design: Thierry Mugler | INTRODUCTION: Dunja Bialas (Film Critic)
In cooperation with the Kunsthalle München
The French fashion designer Thierry Mugler (*1948) is one of the most visionary craftsmen of his trade. He combines glamour with eroticism and science fiction, breaks codes and defies conventions in creations that are sensual universes full of dramatic feelings. For Álex de la Iglesias’ cult film Acción Mutante, Mugler has created costumes with protruding shoulder pads and metallic bras as well as futuristic uniforms. This sci-fi grotesque by comic fan De la Iglesia revolves around the terrorist unit Acción Mutante that has shattered the world of the beautiful and rich. The film was produced by Pedro Almodóvar. De la Iglesia (*1965) is associated with the work of David Lynch and Quentin Tarantino and is considered the enfant terrible of Spanish film. A cinema evening in conjunction with the exhibition Thierry Mugler: Couturissime on view from April 3 – August 30, 2020 in the Kunsthalle München.

Interlude 18/19

Utrecht, Caravaggio & Europa
Friedrich Wilhelm Murnau & Reynold Reynolds

© Reynold Reynolds 'Die Verlorenen' (2012)
© Reynold Reynolds ‘Die Verlorenen’ (2012)

09/06/19 — 11 a.m.
Theatiner Filmkunst

Murnau’s lasting black and white orgy from the shadow world ‘Nosferatu’, complemented by the homage to the silent film ‘The Lost’ by Reynold Reynolds, who lives in Amsterdam.
Introduction: Patrick Kammann, Bavarian State Painting Collections, Munich

Reynold Reynolds | THE LOST | DE 2012, 16 min
Friedrich Wilhelm Murnau | NOSFERATU | DE 1922, 94 min (German OV)
With Max Schreck

Interlude 18/19

Utrecht, Caravaggio & Europa
David Lynch & Julian Rosefeldt

© Julian Rosefeldt, Deep Gold (2014)
© Julian Rosefeldt, Deep Gold (2014)

26/05/19 — 11 a.m.
Theatiner Filmkunst

David Lynch’s rich orgy of eroticism and violence ‘Blue Velvet’ meets Julian Rosefeldt’s ‘Deep Gold’, a cinematic nightmare between avant-garde and apocalypse of the late Weimar Republic.
Introduction: Bernd Ebert, Bavarian State Painting Collections, Munich

Julian Rosefeldt | DEEP GOLD | DE 2014, 18 min
David Lynch | BLUE VELVET | US 1986, 121 min (Engl OV German Subs)
With Isabella Rossellini and Dennis Hopper

Interlude 18/19

Utrecht, Caravaggio & Europa
Paolo Sorrentino & Luca Trevisani

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

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

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

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

Interlude 18/19

Utrecht, Caravaggio & Europa
Hitchcock & Melhus

© Bjørn Melhus: The Bathroom (2011)
© Bjørn Melhus: The Bathroom (2011)

02/06/19 — 11 a.m.
Theatiner Filmkunst

Hitchcock’s classic ‘Psycho’, taken up again and again by contemporary artists, is introduced by Bjørn Melhus’ exuberant ‘Bathroom’, in which the artist leads Hitchcock’s original voice – with a cute accent – through a contemporary villa.
Introduction: Lars Zieke, Bavarian State Painting Collections, Munich

Bjørn Melhus | THE BATHROOM | DE 2011, 5 min
Alfred Hitchcock | PSYCHO | US 1960, 109 min (Engl OV German Subs)
With Anthony Perkins and Janet Leigh

Interlude 18/19


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

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

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


Bjørn Melhus

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

21/03/2019 – 6.30 p.m.

Pinakothek der Moderne | Auditorium

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

Interlude 18/19

La Ferdinanda: Sonata for a Medici-Villa
Rebecca Horn

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

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

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

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

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

Interlude 18/19

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

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

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

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

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

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

Zwischenspiel 18/19

Controfigura (The Stand-in)
Rä di Martino

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

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

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

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

Zwischenspiel 18/19

Visages Villages (Faces and Places)
Agnès Varda

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

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

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

Agnès Varda will be honoured with the Berlinale Camera 2019.

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

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

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

Interlude 18/19

Short film program
Matthias Müller & Christoph Girardet

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

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

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

Interlude 18/19

Exit Through the Gift Shop

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

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

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

Interlude 18/19

Alejandro Jodorowsky
Poesía sin fin (Endless Poetry)

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

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

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

Interlude 18/19

Thank you, Gilbert and George!

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

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

Interlude 18/19

Film series
Cinema Dreams in Artists Cinema

Special Opening

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

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

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

Interlude 18/19

Film Series
Cinema Dreams in Artists Cinema

Alejandro Jodorowsky, POESIA SIN FIN © Steppenwolf

09/01/19 – 27/02/19
Filmmuseum München

On show are films by the British street artist Banksy, the surrealist eccentric Salvador Dalí, filming media artists such as Matthias Müller, Christoph Girardet and Rä di Martino, the sculptor Rebecca Horn, the photographer Agnès Varda and the performers Gilbert & George.
Their unique, emphatically idiosyncratic form unites the artists, as different as they may be. The thinking of the narrative image into new dimensions. The destruction of every linear narration. And – last but not least – the leap out of the drawer of any order fanatic cataloguing.

Interlude 18/19


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

04/12/2018 — 8 p.m.
Harry Klein

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



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

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

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



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

20/07 – 29/07/18


In Cinemas 18


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

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

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

Read more

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

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

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


Interlude 16/17

Neues Museum Nürnberg
The View

©Neues Museum Nürnberg
©Neues Museum Nürnberg

06/10/16 – 02/04/17

Neues Museum Nürnberg in cooperation with KINO DER KUNST will offer a different art film programme every month – until April 2017.
Heinz Peter Schwerfel, Artistic Director of KINO DER KUNST, Franziska Stöhr, Curator of the film program, and Eva Kraus, Director of Neues Museum, discussing on current development in narrative art films.
Neues Museum Nürnberg: The View

Interlude 16/17

Artist Talk
Igor Simic

Still from „Cost-Benefit-Love“, 2014 Foto: Igor Simic
Still from „Cost-Benefit-Love“, 2014 Foto: Igor Simic

28/10/2016, 7 p.m.
Kunstverein München

Shortly after obtaining his degree in film science and philosophy at Columbia University in New York City, the Serbian shooting star attracted international attention and was distinguished with multiple awards for his short film Shelter (2009). In his work, Simic grapples with special phenomena of modern society. After his much-noted Thinker in the Supermarket (2012), a contemporary variant of Auguste Rodin’s world-famous sculpture, he presented his film Our Guardians (2015), which he had produced in Paris, at the last b3 Biennale in Frankfurt. In 2016, his most recent film, Melanchonic drone won First Prize of the Loop Festival Barcelona.
Website Igor Simic

Interlude 16/17

Artist Talk
Johan Grimonprez

Johan Grimonprez, "Looking for Alfred", 2005, Super 16mm-Film, digitalisiert. Foto: Courtesy Johan Grimonprez
Johan Grimonprez, “Looking for Alfred”, 2005, Super 16mm-Film, digitalisiert. Foto: Courtesy Johan Grimonprez

25/11/2016, 8.00 PM

The Belgian artist, honoured with numerous awards, became known through his film essay Dial H-I-S-T-O-R-Y, which was shown in 1997 in Paris and at the documenta X in Kassel. The film anticipated at an early date the tragic events of September 11. Since then, Grimonprez’s works are found throughout the world at film festivals and in museums. Over and over, he focuses and criticises media manipulation. Solo exhibitions, including at the Pinakothek der Moderne in Munich (2007) and in SMAK in Ghent (2011-12). His most recent film, Shadow World, was recognised as the best documentary film at the International Film Festival Edinburgh 2016.
Website Johan Grimonprez

Interlude 16/17

Artist Talk
Clare Langan

10/02/2017, 7 p.m. – Kunstverein München

With great sensitivity for breath-taking pictures, the Irish filmmaker – who worked in the 1990s for artist James Coleman and as Art Director for renowned film productions such as Mel Gibson’s Braveheart – tells of a world in flux, whose beauty lies above all in the tragedy of change. In 2007, her film Metamorphosis was honoured with the main prize of the Short Film Festival Oberhausen. The Floating World, which premiered at the 2013 KINO DER KUNST, won a prize at the French festival VIDEOFORMES in 2014.
Website Clare Langan

Interlude 16/17

Film Series

Młyn i krzyź, Polen2011, Regie: Lech Majewski

11/01/2016 – 22/02/2016

From the fictional to the documentary treatment of the act of painting, from the biopic to the analytical essay – how film attempts to grasp as well as comprehend painting is illustrated by the series “Kino und Malerei” (Cinema and Painting), using cinema films from recent decades that are both outstanding and unique in their approach. The films will be accompanied by personal introductions from art historians or artists.

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11/01/2017 – Młyn i krzyź (The Mill and the Cross)
PL 2011, 95’, original version with German subtitles
Directed by: Lech Majewski, Starring: Rutger Hauer, Michael York, Charlotte Rampling
Introduction: Bernhard Maaz (General Director of the Bayerische Staatsgemäldesammlungen)

18/01/2017 – Studien zu Monet (Im imaginären Museum)
DE 2014,103 min. Directed by: Klaus Wyborny
Introduction: Klaus Wyborny (Filmemacher)

25/01/2017 – Caravaggio
GB 1986, 93 min, OmU. Directed by: Derek Jarman, with: Nigel Terry, Sean Bean, Tilda Swinton
Introduction: Ulrich Pfisterer (Director of Zentralinstitut für Kunstgeschichte)

01/02/2017 – Love is the Devil (Studie für ein Portrait von Francis Bacon)
GB 1998, 90 min, OmU. Directed by: John Maybury. With: Derek Jacobi, Daniel Craig, Tilda Swinton
Introduction: M+M (artist duo)

08/02/2017 – Frida Kahlo – Naturaleza Viva (Frida Kahlo – Es lebe das Leben)
MX 1983, 108 min, OmU. Directed by: Paul Leduc. With Ofelia Medina, Juan José Gurrola, Salvador Sánchez
Introduction: Heinz Peter Schwerfel (Artistic Director, KINO DER KUNST)

15/2/2017 – El Sol del Membrillo (Dream of Light)
ES 1992, 133 min, OmeU. Directed by: Viktor Erice. With Antonio López, María Moreno, Enrique Gran, María López, Carmen López
Introduction: Franziska Stöhr (Curator, KINO DER KUNST)

22/02/2017 – Pollock
USA 2000, 122 min, OmU. Directed by: Ed Harris. With: Ed Harris, Marcia Gay Harden, Jennifer Connelly
Introduction: Carsten Fock (painter)

Interlude 16/17

Reality, realism, authenticity
Strategies of cinematic representation in art and documentary film

Christoph Faulhaber, 2015, Foto: © Katharina Bühler
Christoph Faulhaber, 2015, Foto: © Katharina Bühler

10/11/2016, 19.00

How does an artistic documentary film differ from a documentary artist’s film? What does media authenticity mean and how can it be achieved? How can audiences distinguish between authenticity and lack of authenticity?
No discipline other than film has come so far in depicting a supposed reality. But while in a documentary film, the relationship to reality is seemingly obvious and viewers assume that the depicted events have actually occurred, art likes to leave things unclear.

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In this panel discussion, filmmaker Andres Veiel, media artist Christoph Faulhaber, the artistic director of KINO DER KUNST Heinz Peter Schwerfel and the director of the International Documentary Film Festival Munich Daniel Sponsel will discuss the different strategies for dealing with reality, both in front of and behind the camera.
Moderation: Nan Mellinger

Interlude 16/17

Highlights 13/15
22/03/2017, 9.00 PM

Jochen Kuhn

Jochen Kuhn, „Sonntag 3“, 2012, 14 Min.
Jochen Kuhn, „Sonntag 3“, 2012, 14 Min.

Sonntag 3

The third part of a series of films about Sunday outings. In Sonntag 3 the main character has a blind date with an suprisingly well known woman at the Grand Café in Berlin.

Almagul Menlibayeva

Almagul Menlibayeva, „Transoxiana Dreams“, 2011, HD, 23’, Courtesy Priska C. Juschka Fine Art, New York
Almagul Menlibayeva, „Transoxiana Dreams“, 2011, HD, 23’, Courtesy Priska C. Juschka Fine Art, New York

Transoxiana Dreams

As seen through the eyes of a fisherman’s young daughter, the film illustrates the dramatic environmental changes in the Aral region where bizarre creatures, half horse, half human, are suddenly romping around. A tribute to the nomadic past of its people.
KINO DER KUNST Main Award 2013

Till Nowak

Till Nowak, „The Centrifuge Brain Project“, 2011, HD, 6 Min. 35 Sek.
Till Nowak, „The Centrifuge Brain Project“, 2011, HD, 6 Min. 35 Sek.

The Centrifuge Brain Project

Since the 1970s, scientists have been conducting research to study the effects of amusement park rides 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.
KINO DER KUNST 2nd Main Award 2013

Pierre Huyghe

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.
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.

Untitled [Human Mask]

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…
KINO DER KUNST Main Award 2015

Hu Wei

Hu Wei, „Butter Lamp“, FRA/CHN 2013, 16’
Hu Wei, „Butter Lamp“, FRA/CHN 2013, 16’

Butter Lamp

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.
KINO DER KUNST 2nd Main Award 2015

Bjørn Melhus

Bjørn Melhus, „Freedom & Independence“, DEU 2014, 15’, Limboland Productions, Berlin
Bjørn Melhus, „Freedom & Independence“, DEU 2014, 15’, Limboland Productions, Berlin

Freedom & Independence

Money and faith, religion and capitalism, the bold of theses of the self-proclaimed inventor of American Objectivism, Ayn Rand, and the half-baked sermons of today’s cult gurus. A mix of musical and science fiction, elaborately filmed in Istanbul model settlements and a Berlin morgue.

Interlude 14/15

Between reality and fiction

Artist Talk

Bjørn Melhus, I’M NOT THE ENEMY, HD VIDEO, 13:30 min, 2011, Production Still (Photo: Ben Brix)

Academy of Fine Arts Munich

Janis Joplin and James Dean, but also Dorothy from the “Wizard of Oz”, a talk-show host who resembles a priest, or a war veteran haunted by his memories – these are the more or less heroic protagonists in the cosmos of German-Norwegian artist Bjørn Melhus (*1966), all played by himself. Melhus makes films of a slightly different art: they could easily be called extraterrestrial, but they always remain close to our pop-cultural reality. Ironically, he uses plots and action schemataund in the mass media and investigates their relationship to the viewer. He always stages moving images to self-arranged composite soundtracks of found footage material from movies and television. While in “Again&Again” (1998) he offers clones for purchase and caricatures telesales, and in the wonderfully strange “Auto Center Drive” (2003) he lets icons of American pop meet, in “Deadly Storms” (2008) he stages a news show in which the viewer is informed about an alleged danger until he finally understands that this is primarily a media strategy to keep him sitting in front of the screen. In the past few years, Melhus has dealt especially with war and its consequences, for example in “I’m Not the Enemy”, which received the German Short Film Award in 2011.

Originally from the experimental film world, his works are shown at film and media festivals such as the International Short Film Festival Oberhausen or the European Media Art Festival in Osnabrück as well as in museums such as the Museum of Modern Art in New York, the Serpentine Gallery in London or the Museum Ludwig in Cologne. Melhus has won numerous awards, including the Marler Video Art Award (1998), the HAP-Grieshaber Prize from VG Bild Kunst (2003) and the Prize of the Cinema Jury of the International Short Film Festival Oberhausen (2009).


Interlude 14/15

Between reality and fiction

Artist Talk

© SALLA TYKKÄ- Airs Above the Ground (2010)
© SALLA TYKKÄ- Airs Above the Ground (2010)

Academy of Fine Arts Munich

The questionable perfection of beauty, the hard physical drills, the artificial female role templates and our cultural subconscious shaped by the cinematic images of Hollywood all belong to the leitmotifs of artist Salla Tykkä, who lives and works in Helsinki. Since 1998, Tykkä (b. 1973) has been shooting short films that are presented in exhibition spaces and film festivals and that laconically abstain from any commentary. At times as staged dramas, at other times as documentary observations, these films analyze our collective memory through the cliché situations imparted on us by mass media. Films like ‘Lasso’, ‘Cave’ or ‘Zoo’ (2006) depict leading female characters in fictitious key scenes derived from horror to Hitchcock film classics. Recent works, such as ‘Air Above the Ground’ (2010) about the dressage cruelty inflicted on the Lipizzaner horses, or ‘Victoria’ (2008), a time lapse of an only nocturnally and very briefly blooming water lily, use the supposedly objective documentary vantage point in order to question the idea of beauty. Tykkä most recent work, ‘Giant’ (2013), a cinematic visit to the training location of Romanian gymnasts who were once legendary for their grace, was honored at this year’s International Film Festival Rotterdam with the Tiger Award for the best short film.

Interlude 14/15

Between reality and fiction

Artist Talk

Clemens von Wedemeyer: Afterimage, 2013. Installation view “The Cast”. Foto: Matteo Monti (MAXXI) Courtesy Galerie Jocelyn Wolff, Paris; KOW, Berlin
Clemens von Wedemeyer: Afterimage, 2013. Installation view “The Cast”. Foto: Matteo Monti (MAXXI) Courtesy Galerie Jocelyn Wolff, Paris; KOW, Berlin

Academy of Fine Arts Munich

Blurring the boundaries between the documentary and the staged, the question of the veracity of stories’ images and narratives, as well as the cinema as a real and conceptual place, are common themes in Clemens von Wedemeyer’s work. The early stages of his work are often characterized by an exploration of concrete locations and inspiration from film history. In ‘Silberhöhe’ (2003-2004), for example, this leads to the camera’s observation and migration through the empty housing Halle-Silberhöhe that was inspired by Michelangelo Antonioni’s film ‘L’eclisse’ (1962) and in which the houses resemble a film set. Other works like ‘Against Death’ (2009), which focuses on an immortality ritual, or ‘Muster/Rushes’ (2012), which, on three different temporal levels, deals with the history of the Breitenau monastery near Kassel, are complex and circular narratives without a beginning or end. Born in 1974, von Wedemeyer has received numerous awards and is represented with his works at both film festivals and exhibitions. In 2006, his film ‘Rien du tout’ (made in collaboration with Maja Schweizer) was honored at the International Short Film Festival Oberhausen as the best German film. That same year, von Wedemeyer was awarded the Karl Schmidt-Rottluff Scholarship. Solo exhibitions of his work have been presented at the Kölnischer Kunstverein, MoMA PS1 in New York (both 2006), the Barbican Art Centre in London (2009) and the Frankfurter Kunstverein (2011). In 2012, he participated in (d)OCUMENTA 13.