Seit etwa zwei Jahren laden der Galerist Olaf Stüber und der Sammler IvoWessel zu „Videoart at Midnight“ ein. Der Dezember gehört in diesem Jahr Oliver Pietsch, der sein neuestes Werk „From Here to Eternity“ zeigt. Pietschs Arbeiten sind keine Filme, auch wenn es den materiellen Anschein hat. Aus tausenden von ...
Oliver Pietsch' From Here to Eternity explores the theme of death in the history of cinema; the artist addresses with a hint of humor the idea of immortality interpreted by actors through the course of time. The film is composed of three chapters inviting the viewer to step into a mental wandering, and provoking feelings of recognition and empathy that ultimately lead to narrative re-interpretations rooted in our personal concerns.
Art is a game of the possible. Anyone can always change his decisions, all can be seen, represented, told in a different way, and this game has no serious consequences at first. This allows one to try out experiments with a radical approach that could spell disaster in real life.
Chris Newman presents videos & songs (live!) both date either from the mid-1980s or from the last couple of years (or months). They are existential in nature and have to do with making specific the phenomenon of the act of perception. The songs are performed by Miss Moth in their first public Berlin performance.
Mario Pfeiffer's work explores representational structures and conventions in the medium of film, in locations ranging from Mumbai to California to the Western Sahara. Conceiving each project out of a specific cultural situation, he researches social-political backgrounds and weaves further cross-cultural art historical, filmic and political references into a richly layered practice.
Marc Aschenbrenner and Knut Klaßen became friends during their collaboration with the "early" John Bock (1998-2004). Since this time they have working together in diverse projects: Knut was DoP for Marc, Marc was editor for Knut's films.
With this screening - a cooperation with »basis«, Frankfurt - we are pleased to return to very beginnings of video art. We show early works by the legendary collective Ant Farm.
Through their spontaneous and integrated use of all media, almost in the way of a performance, BitteBitteJaJa create a poetic interpretation of social drama: Where do we come from? Where are we going? What is going on? Unimpressed by criticism and formal deconstruction they create art that ignores false hopes, artistic boredom and intellectual blockades.
The emancipation of voice is a driving force of feminist theories and acts. Ter Heijne both adheres to such incentives while also exposing criticism for the specificity of such gender politics. Motivated by a contemporary relationship to feminist thought in which the individual is not restricted to a proclaimed singular identity but can identify with a diversity of principles and phenomena, she works performatively with these questions.
Alternatively as accomplice, rival, and/or companion of “people on the verge of a crisis,” like those that have an interest in the relationship of an individual to society, Ulf Aminde develops images together with them that negotiate questions of identity, social roles, and, thus, his own position as artist.
In works involving installation and documentation, Reynold Reynolds creates images of disintegration, consumption, and de-composition. A cycle of disintegration also becomes visible in the intimate portraits in Six Apartments. On a split screen, using primarily horizontal and vertical tracking shots as well as stills, the film feels its way through ...
Gelitin inspires laughter and sheepish grins—a reaction not unlike that of gasping crowds mortified by children yelling “P*nis!” in public. Gelitin is notorious for their bold performances in which they involve friends and the audience.
Ulrich Polster’s artistic practice finds its roots in the experimental filmmaking that developed in East Germany in the 1980s as an informal, cultural space for critical reflection and distance. In the early 90s it repeatedly became a site for a reformulation of artistic and media positions. Ulrich Polster’s contemporary installations ...
Dealing with on a very personal and poetic manner the being in between times and spaces, between Europe (Estonia) and Russia, between the small towns of Narva and Ivangorod, with the working situation of the inhabitants of the border region, at the very edge of Europe.
Since the turn of the millennium we find ourselves at the turning point of a historic sea change in the media. Such times – recurring as they are through the ages – witness the development of a radically altered concept of a subject. At the transition from the analogue to ...
We are different. We are artists. We are the art. Knut — Have you just seen this? Jette — What? Knut — There was someone sitting. Jette — Where? Knut — By the side of the road. Jette — Crass. Knut — At the ...
On abandoned planets and lost posts, on orbits around nothing: the cephalopods and snowmen, the hikers and bikers, the algaed, golden, sweating figures, the snailish, insectlike, narrowly wound beings from the cosmos of Marc Aschenbrenner move in spaces devoid of history. They are isolated: they have sensation, but feelings are ...
Annika Larsson and Samuel Nyholm celebrate together with their cast and crew the premiere of Scenografi, 2008, 65:00 min Scenografi, shot in Berlin, partly on 16mm, follows the construction of a set design in wood, inspired by the typical kind of rudimentary cartoons you find in the marigin of newspapers ...
Ein neues Videoprogramm im Kino Babylon Mitte Wenn fünf sich zusammentun, können sich 500 freuen. Zumindest rechnerisch. Die Künstler Bjorn Melhus und Sven John eröffnen ein Videoprogramm mit Uraufführungen, das sich der Sammler Iwo Wessel und der Galerist Olaf Stüber ausgedacht haben. Fünfter im Bunde ist das Kino Babylon Mitte ...