CONTEMPORARY ART RUHR, MEDIA ART FAIR, 1 – 3 JUNE 2018

“Transit “by Medienwerkstatt im Kulturwerk des bbk berlin

The program shows recent films from Medienwerkstatt dealing with the subject of identity. In times of transition the works reflect topics from changing housing environments to new governmental regulations of surveillance as the new Chinese point system on so called „good“ behaviour. Thoughts still seem to be free up in the sky where birds take on beautiful abstract formations.

Works by Gabrielle Mainguy, Lucy Powell, Silke Gänger, Bettina Rave, Elena Gavirisch, Sandra Becker, Stephanie Hanna, Thorbjørn Christiansen, Lioba von den Driesch and Nicola Rubinstein

TRANSIT will be screened at the contemporary art ruhr video lounge presented by Directors Lounge.

Find the complete program soon here.


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Gabrielle Mainguy, Our Physical Engagement , 7:45 min, 2017

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Lucy Powell “Hill Climbing With Random Restarts”
2 synchronisierte Videos (moving in) und (moving out) von jeweils 2 Stunden und 40 Minuten. Ausschnitt aus „moving in“ 7 min, 2017

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Silke Gänger, K77, 9:04 min 1997/2017

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Bettina Rave, Painting, 5:30, 2017

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Elena Gavirisch, The Mirror, 2 Kanal Video 6:47 min, 2011/2017

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Sandra Becker YOU ARE A GOOD PERSON, 2 min, 2018

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Stephanie Hanna, Mensch Musil, 3:33 min, 2011/2017

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Thorbjørn Christiansen, Die Ruine, 9:10 min, 1983/2017

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Lioba von den Driesch Echos, 4:30 min, 2018

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 Nicola Rubinstein DISPERSION, 1:44 min 2017

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

Directors Lounge at Mitte Media Festival 2018

DO THE MONKEY! YEAH, MONKEY TIME!

Out on the (Fata Morgana) floor, four suspiciously alien creatures (Tristan Honsinger dragging voice and bow across low registers), Moeko Yamazaki (beating a ritual drum to within an inch of its life), Izumi Ose (as silver and silver gets, all a-glitter and a-twitch) and Woody Hoofer (acting up with his body as a sensual weapon) got very close indeed to the gathering one of during DL’s various presentations for the Mitte Media Festival 2018. A slew of unearthly film cuts and an ethereal installation were also part of the mix. Who needs gravity, after all?

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Izumi Ose, Tristan Honsinger, Woody Hoofer and Moeko Yamazaki, photos: DL

see more on pinterest

MONKEY SEE, MONKEY DO (IT UP RIGHT)

Backstage pix from the very strange troupe before their DL performance at Fata Morgana Gallery, which sprang straight out of Hiroki Mano’s film “Spiritual Meetin’”. Part of our presentation at the Mitte Media Festival. If you missed it, well….

Performers of the night: Izumi Ose, Moeko Yamazaki, Tristan Honsinger and Woody Hoofer. Photos: KT/DL

SHOTS IN THE LIGHT AND THE DARK II:

DIRECTORS LOUNGE AT MITTE MEDIA FESTIVAL 20 – 22 April, 2018

Join Fata Morgana/coGalleries, Z-Bar, Leo Kuelbs Collection, Benhad & Djilal, BRLO, Chased Magazine, Kunstleben Berlin and Directors Lounge for the second annual MITTE MEDIA FESTIVAL!  Lots of performance, art talks and videos of all kinds in the heart of Berlin’s Mitte neighborhood.

Mitte Media Festival takes its creative cues from the neighborhood itself: a thriving international scene with its own deep German heart.  Berlin-based artists are mixed with a variety of international creators to provide a cross-section of what’s going on in the world of video and media art.

Hope to see you!

Locations:
Z-Bar, Bergstr. 2, 10115 Berlin
Fata Morgana Gallery, Torstraße 170, 10115 Berlin

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DL at Mitte Media | Program I (88 min) “In the other side, by her side” curated by Elaine Tedesco (Brazil), 20 April, 5 7 pm at  Z-Bar:
Contemporary videos of women artists about the city, urban issues, the arts circuit, performance, social problems, speeches and their forms, feminism, audiovisual language, memory, selfimage, daydreaming…
Read more…

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DL at Mitte Media | Program II (110 min) curated by Kenton Turk and Klaus W. Eisenlohr,  20 April, 8 10 pm at Fata Morgana Gallery:
Here, DL will be doing a double-dig into its box of flickering tricks, with a program of shorts from both the Berlin International Directors Lounge Festival as well as the Urban Research side of things. There will be new projections as well, including, rumour has it, a mad monkey and film art that literally leaps into the room. Saying more would be telling…. Performers of the night include Tristan Honsinger (cello), Izumi Ose (melodion), Moeko Yamazaki (taiko drum) and the very odd Woody Hoofer (indescribable). 
Read more…

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DL at Mitte Media | “Was vom Kino übrig blieb” (What remains from cinema), André Werner, 2018, 21 April, 6:30 – 8 pm at  Z-Bar:
 The first in a series of Interactive video installations capturing glimpses of cinematica.
See more

MITTE MEDIA FESTIVAL

CINEMATIC CHIMERA – DIRECTORS LOUNGE INVADES FATA MORGANA

Program II: Friday, April 20, 8:00 pm – 10.00 pm and beyond Fata Morgana Gallery

Here, DL will be doing a double-dig into its box of flickering tricks, with a program of shorts from both the Berlin International Directors Lounge Festival as well as the Urban Research side of things. There will be new projections as well, including, rumour has it, a mad monkey and film art that literally leaps into the room. Saying more would be telling…. Performers of the night include Tristan Honsinger (cello), Izumi Ose (melodion), Moeko Yamazaki (taiko drum) and the very odd Woody Hoofer (indescribable).

Curated by Klaus W. Eisenlohr and Kenton Turk

Andreas Gogol, Xarussel, 2017, DE, 7:02
Angela Christlieb
, Dein Falsches Spiel, 2017, DE, 3:13
Cecelia Chapman
, Knuckleshop, 2014 USA, 00:58
Bernd Luetzeler
, Untitled, 2017, DE, 8:32
Petra Lottje
, Blinde Flecken, 2018, DE, 3:56
Gabriele Stellbaum
, Close Huddle, 2017, DE, 4:30
Henry Gwiazda
, Knowledge, 2017, USA, 3:05
Verena Kyselka
, Omani Songbook, 2016, DE, 13:18
Eric Stewart, Helios, 2018, USA, 5:01

Max Sacker (DT) Belle de Lyon, 10:00, 2012
Jimmy Grima
(MT) L-Iblah (The Fool) 10:00 2013
Oded Arad (IL) Bartholomew, 09:08, 2012
Karl F. Stewart  
(DT/US) Animaux Découpages, 04:33, 2012
Hiroki Mano (JP) Spiritual Meetin’, 05:26, 2016

Performance with Tristan Honsinger (cello), Moeko Yamazaki (taiko drum), Izumi Ose (melodion) and Woody Hoofer.

complete DL at Mitte Media Festival program here

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Andreas Gogol (DE) Xarussel, 2017, 7:02 

“an abstraction of moving reality – I filmed with b&w super8 and Mini DV at the Berlin Alexanderplatz x-mas fairground … later I discovered shots of the birds from the 16mm Found Footage studies … a friend gave me exposed & expired color super8 material – during the editing process arose a new form and cinematic image structure with different levels of perception & realities – what I see is not what I hear.” Andreas Gogol

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Angela Christlieb (DE) Dein Falsches Spiel, 2017, 3:13

Music video mit Christian Wirlitsch

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Cecelia Chapman (US) Knuckleshop, 2014, 00:58

Knuckleshop is adapted from the mystery envelope of elevator diagrams and schematic sex sketches of Jeff Crouch. Mr.E series 2008, music: Christa Hunter.

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Bernd Luetzeler (DE) Untitled, 2017, 8:32

Things galore. Shopping galore. Profits galore. Bangalore! The streetscape of every Indian city and town is – apart from crowds and vehicles – mainly dominated by products. The bazaar is no longer limited to a certain square or building, it expands into all other parts of the city and claims a large percentage of the available public space.

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Petra Lottje (DE) Blinde Flecken, 2018, 3:56

Dieser Kurzfilm basiert auf dem deutschen Dokumentarfilm “Die Kinder sind tot” (2003). Es geht um den Fall einer Frau, die im Sommer 1999 ihre beiden Kleinkinder tagelang in der Wohnung zurückließ, wo sie verdursteten. Ich wähle prägnante Sätze aus dem Film, löse sie vom Bild und spreche sie mit einem Schauspieler nach.

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Gabriele Stellbaum (DE) Close Huddle, 2017, 4:30

What Close Huddle depicts, is a highly uncanny setting, in which we encounter mind control not as a dystopian fiction but as actualized nature, as a distinct futurity, inscribed in our every day experience of the contemporary.

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Henry Gwiazda (US) Knowledge, 2017, 3:05

My work is about the choreography of reality. It’s about the way everything moves and is interconnected to create beauty. Each small, choreographed scene can be appreciated for itself, but on subsequent viewings, takes on a separate meaning. They become metaphors for our lives, our dreams and ourselves.

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Verena Kyselka (DE) Omani Songbook, 2016, 13:18

Traditional Omani songs reflect desires, longings, landscape and the life in it. Emotions which seem quickly lost in a rapidly evolving society. These feelings are visualized in video collages

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Eric Stewart (US) Helios, 2018, 5:01

Whispering to plants with motors and oscillators

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Max Sacker (DT) Belle de Lyon, 10:00, 2012
For anyone that loves sex, dreams and the French New Wave. 1960s France. Inspired by the writings of the marquis de sade,  young Séverine (Valeria Piskounova) betrays her controlling husband with a small-time street gangster. (Nikolai Kinski) An act of passion? Or is there something sinister at play?

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Oded Arad (IL) Bartholomew, 09:08, 2012

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Karl F. Stewart  (DT/US) Animaux Découpages, 04:33, 2012

Often times the personality of an animal extends only to the dining room table as a roasted chicken or a grilled steak. And though we are fairly understanding of cats and dogs, we frequently lose touch with the complexities of other domesticated animals. Animaux Découpages are portraits of common farm animals. It’s a look at their perceived personality through a photograph. Why would I want to be a Cow . Why would I want to be a cow … Why would I want to be a cow … They heat you … They eat … Why would I wan to be a cow … I came into this world all big eyed … Now I’m big all around .would I want to be a cow … Why would I want to be a cow … They heat you … They eat you ….

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Jimmy Grima (MT) L-Iblah (The Fool) 10:00 2013

This film revisits the timeless phenomenon of a man falling in love with a woman. Just as a block of cement sits by the sea, one witnesses a quasi-dreamlike sequence of images that are intentionally placed on that fine line where reality borders with surreality. This is a story innocently echoing the island’s [Malta’s] way of resolving its dormant, winter season with its spirited, eclectic summer festivities.

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Hiroki Mano | JP | Spiritual Meetin’ |  05:26 | 2016
A mad monkey and film art that literally leaps into the room

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photo: Moeko Yamazaki  by Ko Zushi (Ko Zushi Photography)

complete DL at Mitte Media Festival program here

………

DIRECTORS LOUNGE AT MITTE MEDIA FESTIVAL

IN THE OTHER SIDE, BY HER SIDE

Program I: Friday, April 20, 5:00 pm – 7:00 pm at  Z-Bar

Ao lado dela, do lado de lá (In the other side, by her side) curated by Elaine Tedesco is a proposal coming from Brazil, that presents contemporary videos of women artists.

The program shows a whole of interests: the city, urban issues, the arts circuit, performance, social problems, speeches and their forms, feminism, audiovisual language, memory, selfimage, daydreaming, etc. For these artists the video is, each with its poetics, one of the media adopted to create their artwork, but not the only one.

The urban space that seems to be the background to most of the videos presented is much more than that, it is the Vortex of these artists’ productions – here as the spinning movement between the urban experience and the personal imaginary space that creates “other places”. In the routine of large metropolises, public spaces become, increasingly, places of passage, and the borders between public and private gradually become more blurred. It should not be forgotten, however, that these spaces of passage have long since become, in a special way, private spaces, among many others, for the homeless, the street sellers, or the performers.

In the other side, by her side is organized in four interpenetrating axes: videos that are vectors of other works; daily records; videoperformances; and fictions.

complete DL at Mitte Media Festival program here

DL at Mitte Media Festival: In the other side, by her side

Tula Anagnostopoulos – The red carpet, 2017
Rochelle Costi
“Negócios à parte”, 2017
Lucia Koch – Yamanaka-san, 2010
Marina Camargo
– Brasil, extrativismo (Brazil. Extractivism), 2017
Sandra Becker
– Roundtrip , 2017
Marion Velasco
– INSTANT BAND, pero esto no es Música. Espanha, 2015/Brasil, 2016
Andressa Cantergiani
– Como matar um artista (How to kill one artist), 2017
Viviane Gueller
– Camburi (Série Interlúdio) (Interlude series), 2016 Deni Corsino – Faixacorpo, 2017
Lu Rabello
– Selfie, 2017
Amanda Teixeira
– Changing Rooms, 2017
Dani Amorim – Através (Over), 2017
Natalia Schul – Em pedaços (In slices), 2017
Camila Leichter – Ensaio a pedra (The stone essay), 06 December 2015 – 16 August 2016
Ananda Aliardi – O que tocamos, o que nos toca (What we touch, what touches us), 2017
Daniela Távora and Itapa Rodrigues – Quem vai ser o rato do século XXI (Who will be the mouse of the 21st century), 2017
Ana Paula Pollock  – Crise (Crisis), 2017
Samy Sfoggia
  – Aféfé Ikú, 2017

About the videos:

AMANDA TEIXEIRA Changing Rooms,  4’45" (2017)
Looking for a place to live in Munich I wrote for more than 100 landlords, I received eight answers, and I visited 3 apartments. How can a house become a home?

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ANDRESSA CANTERGIANI
Como matar um artista (How to kill one artist), 8′ (2017)
From the questions how to kill one artist, how to kill the public and how to kill the work, I perform one action in the middle of the traffic in Porto Alegre, Brazil and Berlin. The video intent a urban analogy about the differences and connections involving the two cities and the artist attitude in relation to authorship and participation in the art system.

ANA PAULA CUNHA
CRISE (CRISIS), 3’13" (2017)
Living a crisis and experiencing a pulsion that creates new signs from a encounter. Crisis is the chaos of the becoming-world: it paints pink upon pink in order to become itself imperceptible in constant contemporary vigilance.

ANANDA ALIARDI
O que tocamos, o que nos toca (What we touch, what touches us), 3’57″ (2017)
Ineluctable, but it is the split that separates within us what we feel from what touches us: insult is also impulse. The video brings reproductions and reactions to what women instrumentalists hear from men about their competences.

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CAMILA LEICHTER
Ensaio a pedra (The stone essay),  8’17″ (06 December 2015 – 16 August 2016)
Synopsis: I found in Samuel Beckett’s Molloy (1947) one language proposition about a image thought to be transformed into action: before the unspeakable of experience, suck the same four stones in succession.

DANI AMORIM
Através (Over), 4’7″ (2017)
Over it is a reflection about the self-identity and how we offer ourselves be seen by the other. A visual metaphor of resisting and allowing look through our surface, into the real self, without shields.

DANIELA TÁVORA and ITAPA RODRIGUES
Quem vai ser o rato do século XXI (Who will be the mouse of the 21st century), 2’53″ (2017)
“A white horse, without ensiles and without reins, graze in the middle of a road, whoever who rides the animal will be taken to a garden of paradise, and when he comes down, his feet will be crossed by thorns hidden in the grass”; The record was held at Vila Cruzeiro in Porto Alegre, Brazil, a neighborhood that has become a endless construction site, since the city hall began to open a new avenue where the houses of the first residents remained.

DENI CORSINO
Faixacorpo, 1’45″ (2017)
Faixacorpo associetes urban space issues and the performance attitude in order to raise a critical view about the contemporary city, full of buildings and big avenues that doesn’t have restores spaces for the citzens. Moving with my own security strip, I can choose my path, to stay, to live, to be present and to occupy the urban space.

LU RABELLO
Selfie, 3’19 ‘’ (2017)
Selfie in cross point and comments about the work.

LUCIA KOCH
Yamanaka-san, 5’45″ (2010)
Synopsis: In a kimonos fabric store, a saleswoman displays some fabrics, demonstrating their qualities, their weight, trim, color and luster, volumes and folds. But in these fabrics there are no figures of birds or flowers, no pattern printed. They seems too simple, except for the colors bending over each other. The continuous gradient transition “breaks” as the saleswoman moves the fabrics. She also seems to be exploring this material, trying to discover her possibilities to sensitize the customer. The video was made for the Wave project (Choja Machi, Aichi Trienale, 2010, Nagoya, Japan).

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MARINA CAMARGO
Brasil, extrativismo (Brazil. Extractivism), 10’14" (2017)
The action of erase a Brazil school map is recorded on video. The title of the map gives the name to the work, while, at the same time, along with the gesture of erasing these regions of the map it refers to one important ecological issue related to the current public policies of the country.

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MARION VELASCO
INSTANT BAND, pero esto no es Música. Espanha, 2015/Brasil, 9´36″, 2016.
Performance by Marion Velasco (BRA) in collaboration with Seth Rossano (MEX) on bass and Carlos Llavata (ESP) on clarinet. Images by Marion Velasco and Verónica Hernández Menchara (MEX), sound capture by Miguel Molina Alarcón (ESP).

INSTANT BAND deals with the snapshot, the immediate, the transient, the passing. The format refers to the street music, to the instant bands that, in general, are configured and present themselves in the urban space for an audience, also, dynamic. Throwing glass bottles at the collector for recycling is a noisy and everyday action on the streets of Spanish cities, but by mixing it live, with an amplified electric bass and a clarinet, the action has become a sound performance and a transgression. INSTANT BAND, but this is not Music is a sound performance, collaborative, remote and therefore oriented to audio and video

NATALIA SCHUL
Em pedaços (In slices), 2’48" (2017)
She moves broken mirrors that show fragments of her face and the front of her body to the fixed camera that only captures the back and the vision provided by the mirror’s reflexes.

ROCHELLE COSTI
“Negócios à parte” , 10’03" (2017)
The video “Negócios à parte” was held for the recent exhibition Avenida Paulista no Masp, São Paulo. In a survey of about 8 months, the artist traveled the avenue dozens of times, recording invisibility through characters detached from the corporatist profile of the region and small incidental and ephemeral events. Renato Firmino, painter, scavenger and resident of the avenue participate as a conductor of the video and make a partnership with
the artist. In the exhibition, his car serves as space for the projection of the video. Soundtrack: Sara Não Tem Nome.

SAMY SFOGGIA
Aféfé Ikú, 01′38″, p&b (2017)
Video Art pos Dadaist, tupi or not tupi.

SANDRA BECKER
Roundtrip, 2’53″ (2017)
The Video is a search of life. Where do we go to and what are we looking for?It is shot in New York and in Berlin using both cities as reference in the art world where artists are searching their way to got to. The elevator is used to show the up and downs artists are facing trying to finance their projects.

TULA ANAGNOSTOPOULOS
The red carpet, 2" (2017)
The video “The Red Carpet"; problematizes the relationship between audience and artist during a walk through the red carpet. During a walk through the red carpet, the red carpet stretched out to the ground indicates a way forward. It is a remarkable path to walk, with slow or rapid steps, to walk under the eyes of a public desirous to see the stars – mainly actors and actresses. (When you are part of the convenient group of anonymous people who for one reason or another are out of focus, the trajectory is a moment of suspension: neither reality nor illusion.) Look at all sides at once: when you are inside and /
or when you’re out? This video was made in collaboration with Tecna PUC / RS, Kolor360º during the 45th Gramado Film Festival, Brazil.

VIVIANE GUELLER
Camburi (Série Interlúdio) (Interlude series), 01’54″ (2016)
The Interlude series is constitutes from situations of suspension in daily life. In a interference of the sound over the image, the Camburi video traces the experience from the displacement and the waiting as poetic exercise.

DIRECTORS LOUNGE SPECIAL ON FLYING VISIT AT BAIZ

VIVEK BUDAKOTI (INDIA) PIED PIPER

Seen through the prism of Bertolt Brecht, the film Pied Piper is a satirical folklore of a simple laundryman, Chunnilal, who is rumored to have acquired his beloved donkey’s brains in a freak accident. Charming millions with his asinine conscience that refuses to let go, Chunnilal soon rises to become the most popular hero of his time whom the establishments starts to fear. Laced with black humour, the film mirrors the current socio-political status in India ranging from extreme disappointment to almost juvenile hopefulness.

www.piedpiper.magiclantern.co.in

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“Pied Piper” was shown in German premiere at the 10th Berlin International Directors Lounge.

TRT: 1:52:54
 

Location:
BAIZ, Schönhauser Allee 26A, 10435 Berlin, Wednesday, April 18, 7:30 pm

Directors Lounge Screening
RETURN TO FLUXUS
Remigijus Venckus

Thursday, 29 March 2018, 21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte, Germany

Joining us from Lithuania, Remigijus Venckus will present his work at Directors Lounge Screening at Z-Bar. The artist presents his videos on occasion of an exhibition at the gallery ‘World in A Room’ in Berlin. The films are mostly short captured impressions from daily life, recorded and edited in the style of experimental film with references to films from early 60s and 70s, however, in a much more playful manner and stance.

In reference to the video program of R. Venckus, it may be interesting to remark that Jonas Mekas and George Maciunas, US artists, connected with ‘avant-garde film’ and Fluxus, are both originally from Lithuania and were first connected with the Lithuanian emigration community in the United States. Mekas talks about this in his film ‘Walden / Lost, Lost, Lost’ (1969 / 1976). In his opinion, he arrived in New York, and on the art scene, only after he left the group of expatriates gathering in N.YC.  Later on in post-soviet era, after 1989, it seems that at least part of the art scene in Lithuania has embraced the two artists and somehow repatriated them, together with Fluxus.

R. Venckus makes direct reference to Fluxus and the experimental films of the 60’s. In contrast to those artists, however, R. Venckus’ films play with forms and references in a much lighter way than those artists’ from the 60’s, whose humor was acidly addressed at the opposed notion of ‘high art’. Mekas, as director of the Anthology Film Archive, for example, tried hard to create a canon of avant-garde in order to establish the film as a serious art form. Those struggles seem to be far in the past, when looking at R. Venckus’ early films.

However, the landscapes appearing in the artist’s films mostly seem to be dark and grey, not happy. The struggles may be different, less about art concepts and the seriousness of a style, but a struggle with society and with a new kind of conservatism in art and in public discourse, nonetheless. His more recent films address those struggles differently, and in a more direct way. ‘My success story’ (2013), an autobiographical film essay, has never been shown in Lithuania yet. The film talks about the difficulties of fighting against prejudices and homophobia in the surroundings of conservative academia. His newest film ‘The Letter’ (2018), on the other hand, turns a love letter into a poetic sound and image piece of dance by a male dancer intermitted with urban landscapes, and during the winter time. The voice, reading, or better, reciting the words of the letter turn the movements of the dance into a song of praise and lament. The addressee stays unknown to the viewer, or the viewer may find himself being addressed as a possible sender or recipient of the letter.

Remigijus Venckus will be present for Q&A at the screening. Curated by Klaus W. Eisenlohr.

‘Return to Fluxus’ is a video art program of Remigijus Venckus created in a period of 2002 – 2018. The program will be presented at the ‘Directors Lounge Screening’ at Z-Bar 29 March 2018, 9pm.

Artist Link:
Ph.D. Remigijus Venckus
http://www.venckus.eu/
http://en.venckus.eu/video/

Links:
Directors Lounge  http://www.directorslounge.net
Richfilm  http://www.richfilm.de/currentUpload/
Z-Bar  http://www.z-bar.de

Istanbul > Berlin > New York and (surely) beyond: Erdal Inci in Times Square

Video loop Wunderkind Erdal Inci of Istanbul, not least known to DL-ers through our first-time-in-Germany presentation of his insistently circling light-and-shadow-plays at DLX in Berlin way back in 2014, is now plastering his hypnotic (and at times unsettling) digital visions in nowhere less than Times Square, in the heart and core of the Big Apple. The work involved is called “Centipedes” and is presented in collaboration with DL kindred souls Moving Image Art Fair. But then, we always knew his work was astounding. Congrats from all of us here in Berlin, Erdal!

If you want to delve deeper into this enigmatic man’s soul, dive into our DL Deep Feature on Erdal, “Knocked For a Loop” – just click here.

Directors Lounge Screening
Gabraz Sanna
Interlude and Other Dreams
Monday, 26 February 2018

21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Gabraz Sanna, joins us from Brazil for his film program „Interlude and Other Dreams“ at Z-Bar. The experimental film director creates calm contemplative images that are both seductive and involving the viewer. Gabraz is closely connected with the underground music scene of Rio de Janeiro, and some of his recent films have been portraits of musicians, while at the same time being meditations on their work. The main film in this program “Interlude” follows the creative couple Van Demichelis and Jiulian Gonçalves, both electronic musician, on their artistic process, during a residency. Gabraz and producer Anne Santos stay for several weeks, filming and editing.

How do you present a creative process, one could ask? The filmmaker creates images of the relation of the couple, and their personal interaction with only few words about concepts and (gender) politics. It seems Gabraz often opens his pictures by very slow and intense reflections oh his subject. With long arresting shots he takes the viewer into a world of its own, and only when he already established a deep connection between viewer and story, he brings in contrasting and dialectic views.

This is true also to “Sonho de Sara.” A car trip through the desert that shows incredible colors during the blue hour is followed by associative images of a woman, of cows and a donkey. Images the viewer would not connect, if the extended shot accompanied by dreamy music and a phone conversation on the sound track would not have put the viewer onto a third level of reception.

“Dreamers” on the other hand, does not have that turning point into the mood the filmmaker sets in the beginning of the movie, but it has the same slow pace which on the other hand is interwoven with the violent reality of destruction connected with mining. It is a short piece produced as a video clip, that has all the power to be shown in film festivals.

We are looking forward to have Gabraz Sanna present this engaging work in person and be available for Q&A. Curated by Klaus W. Eisenlohr

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The audience at yesterday’s DL presentation of Gabraz Sanna’s films in the Z-inema of Z-Bar were treated to unannounced pop-up performance by the legendary Tantão of Rio de Janeiro’s club scene and Black Future “Eu Sou O Rio” fame (accompanied by Switzerland’s Delmore FX at the boards), who proved (in spades!) he is as wild as his reputation says – on and off stage! Photos: Kenton Turk 
more photos


Artist Link:

Van Demichelis and Jiulian Gonçalves:
https://postduo.bandcamp.com/releases

Links:
Directors Lounge  http://www.directorslounge.net
Richfilm  http://www.richfilm.de/currentUpload/
Z-Bar  http://www.z-bar.de