Akademie der Künste, Berlin
Kino wie noch nie
An exhibition about film that does't exhibit films. That doesn't turn the
art space into a cinema.
An exhibition in which images comment, transform and translate images.
a laboratorium of cinema, more a editing room than a seminar.
With works by
Hartmut Bitomsky, Gustav Deutsch, Antje Ehmann, Harun Farocki, Isabell Heimerdinger, Astrid Küver, Sascha Reichstein, Èric Rondepierre, Julian Rosefeldt, Constanze Ruhm, Krassimir Terziev, Nadim Vardag, Klaus Wyborny, Stephen Zepke.
Filmmuseum, Vienna | Austria
As in a Mirrow (Films about Films)
Federico Fellini, Otto e mezzo, I 1963
Abbas Kiarostami, Quer durch den Olivenhain, IRN 1994
Luchino Visconti, Bellissima, I 1951
Vincente Minelli, The Bad and the Beautiful, USA 1952
Preston Sturges, Sullivan's Travels, USA 1941
Jean-Luc Godard, Le Mèpris, F 1963
Rainer Werner Fassbinder, Warnung vor einer heiligen Nutte, D 1971
Phillipe Garrel, Sauvage Innocence, F 2001
Jean-Luc Godard, Passion, F 1982
P. P. Pasolini, La Ricotta, I 1961
Andrzej Wajda, Alles zu verkaufen, PL 1961
Ann Hui On-wah, The Stunt Woman, CHN 1996
Brian de Palma, Blow Out, USA 1981
Abel Ferrara, The Blackout, USA 1997
Generali Foundation, Vienna
Cinema like never before
We want to bring film into the exhibition space, but not to turn the art space into a new cinema. We see it as a cutting room, a laboratory for cinema. The cutting room is the place where film is examined; there, each individual take is meticulously weighed and evaluated.
With works by
Hartmut Bitomsky, Gustav Deutsch, Antje Ehmann, Harun Farocki, Isabell Heimerdinger, Astrid Küver, Constanze Ruhm, Krassimir Terziev, Nadim Vardag, Klaus Wyborny, Stephen Zepke
Mumok, Museum Moderner Kunst, Vienna | Austria
Einseitig perforiert, schmaler Steg. Filme auf 16mm
In this film programme we show films made on 16mm – and not in the wrong believe it would be the same as with 35mm.
Klaus Wyborny, Dämonische Leinwand, BRD 1669/1971, col., 100 min.
Klaus Wildenhahn, Zwischen 3 und 7 Uhr morgens, BRD 1963, b/w, 9 min.
Kauls Wildenhahn, Heiligabend auf St. Pauli, BRD 1968, b/w, 51 min.
Helma Sander-Brahms, Die Maschine, BRD 1972, col., 53 min.
Dore O., Alaska, BRD 1968, col. 18 min.
Peter Nestler, Von Griechenland, BRD 1965, b/w, 28. min.
Peter Nestler, Bilder von Vietnam, SWE 1972, n/w, 24 min.
Peter Nestler, Über die Geschichte des Papiers, Teil 1, SWE 1972, b/w, 24 min.
Gerd Conradt, Katrin Seybold, Wilde Tiere – Rote Knastwoche, BRD 1970, b/w, 37 min.
Gerhard Theuring, Leave me alone. Why did you leave America, BRD 1970, col., 127 min.
Hartmut Bitomsky, Johnson & Co. oder der Feldzug gegen die Armut, BRD 1968, b/w, 17 min.
Helga Reidemeister, Von wegen Schicksal, BRD 1979, b/w, 117 min.
Marianne Lüdcke, Ingo Kratisch, Die Wollands, BRD 1972, col. 92min.
Werner Nekes, Dore O., Jüm-Jüm, BRD 1967, col., 10 min.
Michael Klier, Ferrari, BRD 1964, b/w, 8 min.
Werner Schroeter, Der Bomberpilot, BRD 1970, col., 65 min.
Harun Farocki, Der Geschmack des Lebens, BRD 1979, col., 25 min.
Matthias Weiss, Ten Years After, BRD 1970, col., 52 min.
Clemens Klopfenstein, Geschichte der Nacht, CH 1979, b/w, 60 min.
Elfe Mikesch, Ich denke oft an Hawai, BRD 1978, s/w and col., 85 min.
Brigitte Toni Lerch, Benno Trautmann, Der Umsetzer, BRD 1976, b/w, 75 min.
Rosa von Praunheim, Schwestern der Revolution, BRD 1969, col., 20 min.
Rosa von Praunheim, Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt, BRD 1970, col., 67 min.
Hellmuth Costard, Besonders wertvoll, BRD 1968, col., 10 min.
Heinz Emigholz, Die Wiese der Sachen, BRD 1974-1978, col., 88 min.
Werner Schroeter, Willow Springs, BRD 1973, col., 78 min.
Dominik Graf, Der Fahnder, No. 78, Bis and Ende der Nacht, D 1992, col., 55 min.; No. 90, Nachtwache, D 1993, col., 55 min.
Kölnischer Kunstverein, Cologne | Germany
Selbstbilder – Fremdbilder
Contemporary cinema in France takes a particular look at issues concerning migration. So extensively, in fact, that a new genre has developed called “cinema beur”—films by North African filmmakers who have grown up in France and address the problems of Maghrebi immigrants. In many of these films, as in many other films by young French filmmakers, France is portrayed well as being both a country of cinema and of immigration. However, other than very successful films, such as “La Haine,” few of these are shown in Germany. Yet our aim was not to track down and screen rare or obscure films, but to show good, interesting, key works of this socially relevant style of film-making—regardless of whether they are new or rediscovered—as a basis for discussion.
DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE / TWO OR THREE THINGS I KNOW ABOUT HER (Jean-Luc Godard)
F 1966, in French, with German subtitles, 35mm, 90 Min.
The “Her” in the title refers both to the Paris suburb and the protagonist, who tries to live there as both housewife and prostitute. This film from the 1960s is France’s first banlieue film, created before the word for it was developed.
LE THÉ AU HAREM D’ARCHIMÈDE / TEA IN ARCHIMEDE’S HAREM (Mehdi Charef)
F 1986, in German, 16mm, 110 Min.
This pilot cinema beur film about the friendship between the Maghrebi Majid and the Gallic Frenchman, Patrick, abounds with cinematic brilliance and remains powerful and contemporary to this day.
LA HAINE / HATE (Mathieu Kassovitz)
F 1995, in French, with English subtitles, 35mm, 98 Min.
Over half a million viewers saw “La Haine” within weeks of its release. The film received the “Best Director Award” at the Cannes Film Festival and has become the most reviewed film in recent history. The banlieue, or Parisian “suburbs,” are the subject of the film and likewise a synonym for France’s worst problems: unemployment, social isolation, racism, suburbanism, crime, and violence.
LA PROMESSE / THE PROMISE (Luc et Jean-Pierre Dardenne)
B / F 1996, in French, with German subtitles, 35mm, 93 Min.
The Dardenne brothers—masters of Verist cinema—tell the story of the moral awakening of a 15-year-old boy who no longer wants to take part in his father’s unscrupulous practices. With documentary-style precision, the film conveys how illegal immigrants are exploited.
NENETTE ET BONI / NENETTE AND BONI (Claire Denis)
F 1996, in French, with German subtitles, 35mm, 103 Min.
Denis’s film, which received a “Golden Lion Award” at the Locarno Film Festival, justifiably received rave reviews. The film tells the tale of two siblings, Nenette and Boni, while also portraying the real life of the working class in Marseille. Migration issues likewise weave their way through this “reality” in a humorous way.
LA VIE DE JÉSUS / LIFE OF JESUS (Bruno Dumont)
F 1997, in French, with German subtitles, 35mm, 96 Min.
This film is about the life of a group of young people, who pass the time “out in the sticks” by driving around on their mopeds and fixing up old cars. Their future looks dim. Breathtaking to the last second, Dumont’s film manages to find mystery in the smallest, most banal details of everyday life. A début film that has enabled French cinema to soar to stunning heights.
SAMIA (Philippe Faucon)
F 2000, in French, with English subtitles, 35mm, 73 Min.
In “Samia,“ Faucon tells the story of an Algerian immigrant and her three sisters who want to be normal, young, French people and what prevents them from achieving that. The story seems familiar, yet we have seldom, perhaps never, seen this kind of tale told in such a visually and narratively impressive way.
TERRA INCOGNITA (Ghassan Salhab)
F / Libanon 2002, in French, with English subtitles, 35mm, 120 Min.
“Terra Incognita,” screened last year at the Cannes Film Festival, is an amazing film about the lives of several people in their mid-30s in Beirut—a city in the throes of being rebuilt following a seven-year civil war. All of the film’s protagonists are naturally confronted with the topic of migration, and trying to coming to terms with the question: should we stay here and live, or leave?
Kunst-Werke, Berlin | Germany
Bed of Film
An exhibition display conceived by Klaus Biesenbach.
Cross Section Films, Programme I: Place and World
selected by Antje Ehmann and Harun Farocki
The predisposition of cross section films is a-phychological and worldly. If – like in Siodmaks silent classic Menschen am Sonntag – a person enters the image, the person stands for many, for all the respite seeking people in the Berlin of the 20th, who at the weekends are drawn to the lakes out of town.
1) The Final Kick, Andreas Rogenhagen, D 1993, 56 min.
2) Regen, Joris Ivens, NL 1929, 14 min.
3) Megacities. 12 Geschichten vom Überleben, Michael Glawogger, A/CH 1998, 90 min.
4) Listen to Britain, Humphrey Jennings, GB 1941, 40 min.
5) Leben BRD, Harun Farocki, D 1990, 83 min.
6) Sammelsurium, Volker Koepp, D 1992, 103 min.
7) Menschen am Sonntag, R. Siodmak, E. Ulmer, D 1930, 60 min.
8) Q – Begegnungen auf der Milchstrasse, Jürg Neuenschwader, CH 2000, 94 min.
9) Spare Time, Humphrey Jennings, GB 1935, 15 min.
10) Der sechste Kontinent, Benno Maggi, Schweiz 1992, col., 85 min.
Cross Section Films, Programme II: Cinema
Cross sections: trough space and time.
City – country – river.
Wanderings through the night.
Recorded and produced.
1) Time Code, Mike Figgies, USA 2000, 98 min.
2) Elefanten, Karl Kels, D 2000, 62 min.
3) Die Urszene, Christine Noll Brinckmann, BRD 1981, 6 min.
4) Geschichte der Nacht, Clemens Klopfenstein, CH 1978, 63 min.
5) Der Mann mit der Kamera, Dziga Vertov, UDSSR 1929, 82 min.
6) Verlassen, Verloren, Einsam, Kalt, Klaus Wyborny, 90 min.
7) Deutschlandbilder, Hartmut Bitomsky, BRD 1983, 60 min.
8) El Valle Centro, James Benning, USA 1999, 90 min.
9) Note on a Note, Peter Braatz, D 1989, 10 min.
10) Ein Tag im Leben der Endverbraucher, Harun Farocki, D 1993, 44 min.
Cross Section Films, Programme IV – Travelling
In order to prove that the moving image is possible, the Lumière Brothers captured the movement of human beings, animals and objects. Motor vehicles, trains, tramways, horse-drawn vehicles, ships moved in front of the camera. As a next step camera people were send out for journeys, to the remotest countries.
1) views from the Lumière Brothers
2) Geschichtsunterricht, J.-M. Straub & Daniéle Huillet, BRD / I 1972, 88 min.
3) Reichsautobahn, Hartmut Bitomsky, BRD 1986, 91 min.
4) In Space, Meggie Schneider, D 2001, 6 min.
5) The Navigator, Buster Keaton, USA 1924, 63 min.
6) Der Lauf der Dinge, Peter Fischli & David Weiss, CH 1986, 30 min.
7) Autobus, Eric Rochant, FRA 1991, 93 Min.
8) Rennsymphonie, Hans Richter, D 1929, 7 min.
9) Les Mains négatives, Marguerite Duras, FRA 1979, 18 min.
10) The Searchers, John Ford, USA 1956, 114 min.
11) Blue Velvet, Matthias Weiss, BRD 1970, 15 min.
12 Travelling, Constanze Ruhm, AUS 1999, 60 min.