• Directors Lounge: Heiko Daxl and Ingeborg Fülepp

    By on

    Directors Lounge: Heiko Daxl and Ingeborg Fülepp
    "Die Gegenwart ist nicht die Wirklichkeit"
    Present doesn't Equal Reality
    Single Channel Video Works
    Thursday, 26 Nov. 2009, 21:00h
    Bergstraße 2
    10115 Berlin-Mitte

    Cinema - Train - Travel - Knowledge - Memory - Perception, these are terms from descriptions of video films by Heiko Daxl and Ingeborg Fülepp. In a nutshell, one could say: it all concerns vision. How has human vision, or better saying visual perception, changed since the invention of cinema and the later developments of all the forthcoming image machines? There is a reason, this program starts with the film "Le Cinema - le Train", where the filmmakers make the analogy between the views out of the train windows while travelling, as Victor Hugo was describing it (1837) and the experience of film: "The flowers on the edge of the fields are colour spots, or better saying red and white stripes; there are no dots any more, everything turns into stripes. Crop fields become yellow streaks, clover fields appear as long green braids?"

    In the ways the two artist feed their "image machines" with texts, it becomes obvious they take vision, or 'viewing' as serious matter: there is the connection with opinions, conceptions, point of view and perceptions, all of which in German language have a root in seeing or viewing (Ansichten, Anschauungen, Standpunkte und Sichtweisen). The plurals are intentional here, as with Flusser, it is possible to say that the camera does not allow ideological thinking, as it is not compatible with a single point of view. The art practise of Daxl and Fülepp seems to follow those lines accordingly, as almost with every new video work they experiment with new perspectives; a practise that is not constrained to camera images but that expands to abstractions, compositing and generated imaging. The sources of those images originate in travels, quotes and observations, while they are being processed heavily in post-production. If they appear as simulacra, as simulated worlds, then in does not happen without a critical sometimes ironic distancing. Thus it becomes clear that there still is something else behind those images. Something possibly lost, or conversely, still to be achieved, and which cannot be shown otherwise. Still, with Heiko and Ingeborg, we keep staying very this-worldly: to say it with an adapted quote of Wittgenstein, 'whereof one cannot portrait in an image, thereof one must not try to picture.'

    Thus, the two artists leave us in ambivalence between fascinating image worlds and ironic distance, and the liberty of choices of which perspectives onto the world, which kinds of reality we take on from the films.

    What is left to mention is that for their work both artist, who work both independendly and togother, mostly seek for collaborations with composers from New Music or Noise background, and thus see their works as collaborative sound-image compositions. (Klaus W. Eisenlohr)

    The artists will be present for Q&A and for socialising after the screening.

    More infos and images:

    Press Links:
    http://www.directorslounge.net http://www.z-bar.de

    Artist Links:
    Media in Motion berlin:
    Media-Scape - Zagreb / Novigrad (Cittánova):
    Strictly Berlin:


  • Dreaming with Open Eyes

    By on

    Dreaming with Open Eyes
    curated by Robert Seidel
    Date:  2009.11.01 - 2009.11.30
    Venue: COMO (SKT-Tower, Seoul) and Open Theatre (Tomorrow City Echo Plaza, Incheon)
    Free entrance

    The programme "Dreaming with Open Eyes" part of "German Inspiration" exhibition shows 19 different positions of artists. Their short films are little poems with a dream-like quality that is freed from our everyday life. They are arranged like the stages of an ambivalent dream: oscillating between an infantile playfulness, the strength of a heterotopic, repetitive architecture, dreamscapes embedded in a romanticized nature or nightmarish states showing the collapse of humanity and science. And each of these very unique moments holds the promise to be watched again, while a dream is lost in its pure linearity after we wake up...

    Artists: Julian Rosefeldt, Yves Netzhammer, Carsten Nicolai, Bjørn Melhus, Zeitguised, Philipp Hirsch, David OReilly, Max Hattler, Volker Schreiner, Daniel Burkhardt, Christiane Wöhler, Julia Oschatz, Thorsten Fleisch, Astrid Rieger, Niklas Goldbach, Barbara Hlali, Timo Katz, Robert Seidel and Jan Verbeek.

    A catalog will be published end 2009 by Art Center Nabi.

    Robert Seidel, Curator and Filmmaker
    Organization: Art Center Nabi, SK Telecom
    Program Partner: Goethe-Institute Seoul, Robert Seidel

    Detailed Information:


  • The One-Take Super 8 Event

    By on

    The Double Negative Collective presents:
    The One-Take Super 8 Event
    Saturday November 21st 2009

    La Brique, 6545 Durocher # 402 (corner Beaubien)
    Montreal, Canada
    Doors at 8pm / Screening starts at 9pm
    Suggested donation 5$

    No cuts! No Splices!

    In collaboration with the Double Negative Collective, the One Take Super 8 Event will showcase the work of 33 Montreal filmmakers, established and amateur alike. The participants include:

    Hodra Adra / Stéphane Calce / Émile Cantin / Thierry Collins / Xarah Dion / Félix Dufour-Lapperrière / Matthew Forbes / Jessic Fortin-Simard / Amber Goodwyn / Alexandra Grimanis and Steven Woloshen / André Habib / Bogdan Karasek / Richard Kerr / Isabelle Kirouac / Marcus von Holtzendorff / Alexandre Larose / Karl Lemieux / Philippe Léonard-Brazeau / Ara Mahrejjan / Eduardo Menz / Maude Michaud / Diana Mihalache / Anita Pachulski / Alex Rogalski / Mike Rollo / Daichi Saito / Javiera Ovalle Sazie / Suzie Synnott / Malena Szlam / Roger Tellier-Graig / Emir Togrul / Mathieu Tremblay / Pierre-Luc Vaillancourt

    The One Take Super 8 Event (OTS8) began in 2000, with 20 filmmakers each shooting a single reel of Super 8 film, which then premiered to an audience without the filmmakers seeing their work beforehand. All the films were shown as shot. No cuts. No splices. The popularity of this non-competitive festival has allowed it to return each year with more filmmakers participating. To date over 600 films have been created for the One Take Super 8 Event!

    For more information:

    Double Negative Collective
    One Take Super 8 Event


  • SENSITIVE #14 > La Coquille Et Le Clergyman

    By on

    Con ocasión del lanzamiento de la edición especial en DVD de Light Cone 'The Coquille and the clergyman', Braquage presenta dos proyecciones del cláisoc de DUlac con acompañamiento de música en directo.

    - Jueves, 26 de Noviembre: con música de Pascal Battus (guitarra)

    - Miércoles, 2 de Diciembre, December 2nd: con música de Aidje Tafial (percusiones)


    Studio Galande
    42 Rue Galande
    75005 Paris
    M° Maubert Mutualité, Saint-Michel, Cluny-la-Sorbonne.
    Entrada : 6€


  • Owen Land: How can you believe anything he says?!

    By on

    KW_OLOwen Land: How can you believe anything he says?!
    22.11.2009 - 24.01.2010
    Opening: 21.11.2009, 5 - 10 pm

    KW Institute for Contemporary Art
    Auguststraße 69
    D-10117 Berlin

    German Interviewer: What is the New American Cinema? Owen Land: Well, it’s not really new, it’s not entirely American and it’s not exactly Cinema. Thus the final words of one of the episodes in Dialogues (2007-09), the most recent work by American artist Owen Land. The two main characters are both Owen Land himself: the visual and the literary Owen Land skillfully disputing with one another. Cinematically these dialogues are mirrored by the ways in which the images, the music and the language compete, overlap and intertwine. Mythology, theology and philosophy as well as pornography, art and cultural criticism are all made to clash in Owen Land’s simple settings. Rooted in the structural film genre, different episodes conceptually string together in a trash aesthetic that’s beyond the New American Cinema.

    The exhibition How can you believe anything he says?! is Owen Land’s first solo exhibition in Germany. The presented works are: Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc. (1965-66), No Sir, Orison! (1975), New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops (1976), Undesirables (Excerpts from a Work in Progress) (1999) and Dialogues (2007-09).


  • FTHo: Time and the score

    By on

    Flat Time House: Time and the score
    19th November '09, 7.30pm
    Wishing Well Pub
    Corner of Bellenden Road and Choumert Road
    London SE15 4BW

    Artists' film and video by Manon de Boer, Lis Rhodes, Mark Aerial Waller, Emily Wardill, and Guido van der Werve. 7.30pm at the Wishing Well. Free but booking essential as space is limited.


    The final event during the exhibition The Present Moment/The Whole Event is programmed in response to Latham's metaphor of the cosmos as an atemporal omnipresent score, the source of all recurrent action. He used an analogy of a musical score to describe his theory of eventstructure and the universe. The score is always there, as it sits unobserved in a drawer or between the pages of a book, but it only enters our awareness when it is activated as event during performances of it at different moments in time and space.


  • The iotaSalon, November 19th

    By on

    Luma Nocturna (Sky David, 1974)The iotaSalon
    Thursday, November 19, 7:30pm
    UCLA Design | Media Arts Department
    Broad Art Center, 1st Floor (EDA)
    240 Charles E. Young Drive, on the UCLA campus
    Westwood, California
    FREE admission!

    At the iotaSalon, we get together to screen and discuss new experimental works alongside some classics.  We couldn't have been more pleased about the turnout and discussion at our first revitalized salon in October! iota will hold another salon on November 19th in the Broad Art Center on campus, first floor at the EDA screening space.

    The theme for this screening is RHYTHM.  How is rhythm dictated in abstract work? Is it musical? Poetic? Biological? Mechanical? How do visual and aural rhythms intertwine or reject each other?

    We will screen a historic segment with works on film, followed by a selection of more contemporary works.



  • 22nd MIX Festival

    By on

    The 2009 edition of the MIX Festival will take place next November 17-22. Since 1987, MIX NYC has presented the latest in queer experimental film and previously unseen works from legendary figures in avant-garde cinema. In addition to the vanguard screenings, exciting interactive installations, and infamous parties, MIX NYC also provides year-round community screenings, a summer media workshop for queer youth, film preservation projects, and the groundbreaking ACT UP Oral History Project, documenting how collective action transformed AIDS activism, queer identity and health care in America.


  • Exquisite Corpse Video Project vol 2

    By on

    The second volume of the Exquisite Corpse Video Project will have it's first screening in Berlin on November 19th, 8p.m. at Kulturpalast Wedding International.

    The project members Stina Pehrsdotter, Niclas Hallberg (Sweden), Wai Kit Lam (China), Kim Dotty Hachmann and Matthias Roth (Germany) will be in attendance.

    The ECVP [Exquisite Corpse Video Project] is a video collaboration collaboration project inspired by the Surrealist creation method, the "Exquisite Corpse". The project is coordinated by the Brazilian artist Kika Nicolela and currently has 63 participating artists from 21 different countries.
    The ECVP vol. 2 was made during 2009, with the participation of 56 artists. Together, these artists made about 110 minutes of experimental video, divided in 12 chapters.

    In the Surrealist 'game', a paper is folded such that each contributor sees only a small portion of the previous contributor's work, and begins his own work from that small portion. When the last participant is finished, the sheet is unfolded to reveal a strangely divergent, yet contiguous form or figure.
    Using the semi-blind, sequential method of the surrealists' game, ECVP participants create video art in response to the final ten seconds of the previous member's work. Each member is asked to incorporate these seconds into their piece, creating transitions as they please, until
    everyone's vision is threaded together into an instigating final "corpse."
    While the Surrealists are said to have created the method almost a century ago, only recently could such a fast-paced, pan-global, audiovisual variation of this exercise be produced. The inspiring process of exchange between artists from around the world illuminates the possibilities and potentials of a globalized, collective creativity.

    ECVP Screenings and exhibitions have been taking place in various countries since June 2008, such as Sweden, USA, Greece, Canada, Brazil, Mexico and South Africa.


  • First Person Cinema: Ernie Gehr

    By on

    First Person Cinema: Ernie Gehr
    Monday, November 16, 7:00 PM
    ATLAS 100, CU-Boulder campus
    North of the Euclid parking garage. Boulder, Colorado.
    Admission is $3.00.

    I wouldn't mind passing for the young lad with the spiffy sunglasses, but then you would have a hard time believing I've been making films for as long as I have, and when you actually see me you'd possibly crack up laughing so loud it would ruin the picture show. So then, am I one of the characters on the other side of the water? No, but look at the surface of those terrific sunglasses -- Yes! there I am. The guy behind the camera, and that is where I like to stay Ð behind, not in front of the camera.

    I have a terrific program of works for you. Seriously. Almost all brand new. Urban? Yes. Film Noir? No, though perhaps in a way yes. I am a city creature and basically I work intuitively from within. My approach, if I ever had one, is to try to be alive, responsive, and truthful to the moment and the materials at hand. Sometimes the sensual/kinetic character and potentials of the medium become the spring board for a work, and sometimes its my response to the every day world around me.

    - Mirage (1981) 9 min.
    - Rear Window (1986/91) 10 min.
    - Shadow (2007) 9 min.
    - Hurry Up Henrietta (2009) 12 min.
    - Waterfront Follies (2008) 39 min.