DL (original) (raw)
Directors Lounge at Mitte Media Festival 2019.
More spliters of light and shadow, colour and monochrome, scream and silence are set to crystallize out of the chaos of the cosmos, all this (potentially) before your very eyes. This can only mean Directors Lounge is shaking the sparks out of its treasure box and letting them fall to earth where you can position yourself to see them descend and sparkle. Chosen event and venues for this meteor shower: the 3rd Mitte Media Festival, spread between two earthly recepracles going by the names Fata Morgana Gallery and Z-inema in the Z-Bar.
Making an appearance on Earth, shortly after having left it, will be legendary off-the-waller Jonas Mekas, cruising out of another dimension into two dimensions on the big sceen in **Peter Sempel**‘s Jonas in the Jungle, one of three features Sempel felt impelled to make in his attempt to capture the enigmatic creative force in a format that earthlings can observe. Mekas may have departed after 96 years of sharing our earthbound corridors, but his stamp on the world of avant-garde film art is showing no signs of fading. Sempel, not least a worthy name in his right through his work with luminaries Cave und Bargeld, Hollywood-New Yorkers Scorsese and Hoffmann, stage screamers Hagen and Lemmy, Butoh dancer Kazuo Ohno of Japan and conceptual artist Dieter Meier of Yello (and more), will make the trip to be on hand for further illumination of his illumination.
In addition, there will be chips and chunks of the kind of cinematic strangeness that few others besides DL can come up with, including works by Allan Brown, Anton Corbijn, Roger Deutsch, Olivier Dekegel, Masha Godovannaya, Guy Maddin and many others. Your part in the proceedings: be there.
Mitte Media Festival | Directors Lounge Presents:
Radically Subjective
curated by Klaus W. Eisenlohr
Friday, April 19th, 9.15-11.15 pm
Fata Morgana Galerie – Front Room
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Selected Gems from the DL Archives
– Bizarre, Hypnotic, Wonderful –
Saturday, April 20th, 7-9 pm
Z-Bar Zinema, Bergstraße 2, 10115 Berlin
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Peter Sempel – “Jonas in the Jungle”, 2013, 94 min
In attendance of Peter Sempel (Hamburg)
Saturday, April 20th, 9-11 pm | seats are limited!
Z-Bar Zinema, Bergstraße 2, 10115 Berlin
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The complete Mitte Media Festival Schedule: www.mittemediafestival.com
**CONTEMPORARY ART RUHR, MEDIA ART FAIR, 8 – 10 MARCH 2019
“Mysteries of Love” presented by Leo Kuelbs Collection
Leo Kuelbs Collection is proud to present “Mysteries of Love,” a group show exploring changing ideas of love and identity. All of the visual material was created by female artists working with a variety of soundtrack collaborators from across Europe and the USA.
Leo Kuelbs Collection specializes in presenting collaborative video works and is based in NYC and Berlin.More information at www.leokuelbscollection.com
Artists:
Maria Naidyonova, Daniel Kostova, Radka Salkmonnova, Sarah Mock, Daniela Imhoff, Zoe Duchesne, MarieVicMarieVic, Kinga Toth
Soundtracks:
Danil Denisov, Anna Leevia, Alex Hamadey, Daniela Imhoff, Kinga Toth and Theo Crocker
Videos Included:
“Pieces,” by Maria Naidyonova (2019)
“In the Jaws of the Merman,” by Daniela Kostova (2017)
“Champion of Love,” by Daniela Imhoff (2017)
“New Age Transformation” by Radka Salcmannova, (2017)
“Who am I ,” by Sarah Mock (2017)
“L’envolee,” by Zoe Duchesne (2016)
“Chicks+Cock,” by MarieVicMarieVic (2016)
“What is the New Game?” by Kinga Toth (2017)
Read all about Directors Lounge at the contemporary art ruhr
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image credit: “Pieces,” by Maria Naidyonova (2019), “Who am I ,” by Sarah Mock (2017) and “Chicks+Cock,” by MarieVicMarieVic (2016) as part of ‘Mysteries of Love,’ presented by “Leo Kuelbs Collection”
**CONTEMPORARY ART RUHR, MEDIA ART FAIR, 8 – 10 MARCH 2019
Directors Lounge presents the c.a.r. Video Lounge with
Medienwerkstatt Berlin: Green
“GREEN”, a compilation of experimental video works from the Medienwerkstatt Berlin, an artist-run project of the BBK Berlin
Grün sind alle meine Kleider und alles was ich hab. Grün ist auch die Farbe unserer Greenbox, mit der Hintergründe verändert werden. Die Natur ist grün und grün steht für den Klimaschutz.
Herbert Liffers Paranoia 02:47
Sandra Becker Greenbox Studio 00:51
Hanna Schaich 400 000 times 04:42
Jakobine Engel Rückzug – Retraction 05:00
Sandra Riche Nach mir die Sintflut – After Me The Deluge 04:34
Christa Biedermann Rückzug – Paranoia 01:17
Heike Franziska Bartsch Umschalten – Freiraum 02:20
Silvia Amancei und Bogdan Armanu Life of a Tree 09:41
****Read all about Directors Lounge at the contemporary art ruhr**
Directors Lounge Screening
Björn Speidel
About the Depths of the Plateau
Thursday, 28 February 2019
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte
With his experimental films, the Berlin based filmmaker Björn Speidel explores the relationship between image and imaging surface. For several years, he has investigated the image’s depth by the use of stereo 3D.
Lately, 3D cinema has become a new hype in the mainstream. The new trend is related to reaching for a more immersive cinema and competing with computer games. Björn Speidel takes a different stance by considering stereoscopic pictures as a tableau with depth. This opens a different approach to the concept of three-dimensional images. Instead of just representing an image of the world, a single picture may unfold a whole world of its own. Within only few image “incidents” virtual sensations start to occur that could not exists outside the image - a fragile utopia.
The films of Björn Speidel often combine several stereo 3D technologies. The topic of woods, of trees, reappear in his films as a metaphor as well as a structure of repetition and noise. The German saying of not seeing the woods because of all the trees may describe the repetitive background noise created by his individual works. These motives (re)appear as a combination of chance and structural montage.
Finally, (experimental) filmmaking is always related to the used apparatus. Thus Björn Speidel is exploring a diversity means of analogue film, analogue video and digital media. The screening will include the first presentation of the „Video-Harp“ as a world premiere.
Artist Link:
Links:
Directors Lounge http://www.directorslounge.net
Richfilm http://www.richfilm.de/currentUpload/
Z-Bar http://www.z-bar.de
more pictures here
• Directors Lounge • contemporary art and media
a cloud of different, independent curated projects to present a wide variety of short, experimental works from many different genres.
in cooperation with:
Directors Lounge Screening
Gabriele Stellbaum
My House Is On Fire
Thursday, 29 November 2018
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte
Gabriele Stellbaum creates art films that are performance and story-based at the same time. It is the second time, the artist presents her work at Directors Lounge. Coming from sculpture, she turned to light projections and time-based multi-channel slide projects and finally to video. The program presents a number of very new and more recent works that she created in Berlin.
She calls her work “poetic film art” and one could add: “…with a twist”. Stellbaum often works with a single, or only a few characters on simple settings, mostly in locations in Berlin or in her studio. However, what starts like a story of a narrative short film, does not progress the usual way. The poetry of the scenes and the dialogues (sometimes a monologue) is rough, sometimes disturbing, and reminds of Beckett and Brecht. The dramatic conflict of the pieces, at the same time, remains unresolved, and the missing culmination point creates a rather flat open-ended dramaturgy. The artist tells me about a breathing technique, which Beckett required from the actors in some of his plays: They were asked to articulate his rather long sentences in one breath, bringing the actors almost to exhaustion or fading. Stellbaum characters often seem to suffer from a similar breathlessness caused by circumstances beyond their control, circumstances as groundless as the accusations of Kafka’s judges at the castle.
In
“Heretofore” (2017)
the artist appears as main protagonist in her video, like in other pieces. A short glimpse, a slightly wider shot, shows, what the reverb of the sound already has revealed: she stands in a small box behind a window and that frames her upper body incorporating (however not fully convincingly) the kind of political speaker we would expect for candidates for judges or senate. The box is decorated with a wallpaper of five-edged stars. She, the performer, does not try to immerse the viewer into a Hollywood realism. It is the language, however, that creates the illusion of real speech.
“Undoing the Linear” (2017)
is quite different in comparison with most of Stellbaum’s more recent work. The setting may remind of a late Beckett piece. Located in an old Berlin ballroom, the field of view of the camera has been marked with tape as a virtual rectangle on screen, and the performer strictly moves only along the marks, or inside the marked space. However, it quickly becomes clear that the action, or performance, does not lead into the heavy existential narrative of a Beckett play. Instead, it is centered on the sound. The performance becomes a duet between the artist and the piano.
A more typical Stellbaum piece is
„Close Huddle“ (2017).
An empty Berlin pre-World War II tenement with worn, old-fashioned wall paper but with freshly painted double-winged windows is the background for a kind of chamber theatre piece with two women wearing the same non-specific beige dress. The two women converse within and about an internal shared space that they seem to have created for themselves, without being friends. The dialogue lingers on reflections about closeness and sharing, without creating a warm or more friendly feeling between each other. Close Huddle is unsettling without drama or obvious reason. The two women seem to reasonably discuss grounds for becoming connected with each other or the outside, but the discourse disperses into individual anxiety.
Stellbaum’s films are sometimes funny in a wicked way, and sometimes subversively unsettling. She mostly leaves it open to the viewer to find direct references to society or politics. It will be an intense night to view and to discuss the films. As usually she will be present for Q&A.
Artist Link:
https://stellbaum.net/
Links:
Directors Lounge http://www.directorslounge.net
Richfilm http://www.richfilm.de/currentUpload/
Z-Bar http://www.z-bar.de
contemporary art ruhr, the innovative art fair,26 – 28 october 2018
Directors Lounge presents genre-straddling slices of cinematic art and cuts of media experimentation at the c.a.r. video lounge with Angela Christlieb and Maria Niro’s “IN AN ALIEN LAND”, Céline Trouillets “SONG” series and experimental works from the Medienwerkstatt Berlin and Leo Kuelbs Collection.
contemporary art ruhr, World Cultural Heritage Site Zollverein, Gelsenkirchener Str. 209, 45309 Essen
Opening Reception:
Friday, October 26, 8 pm, V.I.P.-Preview, 6 pm
**CONTEMPORARY ART RUHR, MEDIA ART FAIR, 26 – 28 OCTOBER 2018
Directors Lounge presents
Leo Kuelbs Collection: Light Year 31: Identity 0.0
Identity 0.0 is a collaborative video and sound program exploring the changing meanings of “self” and “individuality.” Digital reality has allowed for enhanced communication, thus the possibility of easier integration, between individuals from cultures near and far. What was foreign is now only a keystroke away. Gender can be manipulated through science and philosophy, just as intentions for good or ill can be disguised easily through a variety of avatars and aliases. Nationalism and religious identities strain to remain powerful and effective versus the strong tides of this evolution of the self. All heading towards a further integration of humans (the terrestrial) and artificial intelligence, aka “The Singularity.”
CONTEMPORARY ART RUHR, MEDIA ART FAIR, 26 – 28 OCTOBER 2018
Directors Lounge presents
Céline Trouillets “SONG” series
Céline Trouillet was born in 1975 in Colmar, France. She graduated from the Ecole Supérieure des Arts Décoratifs in Strasbourg where she now lives. She regularly presents films in international exhibitions and festivals and has received a number of grants from the French Ministry of Culture. Her films have been awarded prizes at the Octobre Rouge Festival in Luxembourg, the Videomedeja Festival in Serbia, the Ozon Festival in Poland and the AVIFF Cannes Art Film Festival in France. The “SONG” series of “singing portraits” involves a continuous close-up of singing heads facing the camera and performing in real time. Growing up in the 1980s, Céline was part of the first generation to be constantly exposed to music video clips in a period that also saw the advent of Karaoke in Europe, which encouraged the notion that anybody could become a pop star, an idea that also led to public interest in amateur TV talent contests. Each portrait contains multiple layers of signification that are open to interpretation. The films are formally similar, yet each portrait is unique and the creative possibilities are only limited by the number of songs in existence and the number of individuals willing to sing them.
Directors Lounge Screening
Johnny Welch
Arcane Rhythms
Thursday, 25 October 2018
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte
Johnny Welch, filmmaker and photographer from Sydney, Australia lives in Berlin for more than 3 years and is an active member of Labor Berlin. Since coming to Berlin, his work has become more strongly connected with the aesthetic of analog film, with the possibilities of optical printing. Even if edited and projected digitally, analog compositing seems to allow him to create a richer image of high density and depth.
Directors Lounge Screening
Laurence Favre
Digging the Archive
Thursday, 27 September 2018
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte
Laurence Favre from Switzerland and living in Berlin, works with photography, film and video on projects. She creates narratives concerned with collective and individual memories, and how they relate to archives or individuals. Found material, 8mm found footage, was a reason for her to visit places, talk to and interview people. In the case of a hospital in South-Africa, a Swiss mission during the time of racial segregation, the construction of a collective memory become problematic, however, the collection of different stories and divert personal memories may become even more important. The box with films from a missionary working at the hospital, a personal archive in itself, for Favre became a starting point to visit the former hospital in Shiluvane, to find people who were working in the mission or share memories.