A closer look at Max Hattler

Max Hattler, whom we introduced to DL during last years 6th Berlin International Directors Lounge will be in town this week for a Directors Lounge special, Sat 8th January, 9pm, Z-Bar. Reason enough to sneak into the mind behind classics like collision or aanaatt.

Max about Max:

“I am interested in the space between abstraction and figuration, where storytelling is freed from the constraints of traditional narrative. My work contemplates microcosms, moments, atmospheres: Close-ups as reflections on the big picture. While my films tend to be without dialogue, they explore the relationship between sound, music and the moving image.”

Others about Max:

  • One of “three of the world’s most exciting young animators” Dazed and Confused
  • One of “Europe’s most hotly tipped visual artists” Metropolis Magazine, Japan 
  • “groundbreaking animation and music video work” Shooting People
  • “Max Hattler is one of my favourite experimental animators” Directors Notes
  • “his personal work is a revelation” Institute of Contemporary Arts, London
  • “Current hot potatoe” Time Out London

Max about how it all started:

“I was never all that much into film, which for a long time I only knew as narrative, live-action drama. Nor was I interested in animation, which I had only experienced as ‘cartoons’ – drawn funny films. I came to film in a roundabout way, through an interest in visual arts, design aesthetics, and the time-based media of sound and music. As a kid, I was always drawing and painting. I grew up in a musical family and in my teens I started using computers to make music, while also dabbling in computer graphics and animation. Perceiving these disciplines as disparate from each other, it took me a while until I realised that I had to combine them through the medium of animation film.” Interview at Shift magazine


Max Hattler performing live at Videoformes 2008, photo by dopi

Collision, Max about turning points:

“…you could see Collision as a sort of turning point (or starting point). I think Collision made a (small) impact because it was doing something new by commenting on politics through abstraction, by exploring graphic art as metaphor. Discarding traditional storytelling, it presents a marriage of image and sound to produce a kaleidoscopic take on our geopolitical situation. Subtle and bold at the same time, the film aims to mesmerise the viewer with symbols that are detached from their established context and applied in the service of an alternative reality. … The reading is open-ended: cultural carnage or carnival of cultures.” Interview at Shift magazine

It comes as no surprise that Max Hattler will be part of the 7th Berlin International Directors Lounge

top photo: Max Hattler at DOK Leipzig 2009

The 7th Berlin International Directors Lounge
Introducing the curators: Kika Nicolela

Kika Nicolela was among the most acclaimed directors of The 5th Berlin International Directors Lounge. Two years later we are glad to welcome her as one of the core curators for 2011. Kika will present recent Brazilian videos (2009-10) , an international
selection of videos under the theme “Windows” and introduce the Exquisite Corpse Video Project. Exquisite Corpse  is an international collaboration project with the participation of over 60 artists from morethan 20 countries.

Kika Nicolela is a Brazilian artist and experimental filmmaker. Her works include single-channel videos, installations, performances, experimental documentaries and photography. Graduated in Film and Video by the University of Sao Paulo, Kika Nicolela also completed film courses at UCLA University. She was the recipient of several grants and has participated of over 60 solo and collective exhibitions in Brazil, Canada, Finland, France, Germany, Slovenia, Spain, Sweden, Poland, Portugal, UK and US. Her videos have been screened and awarded in festivals of more than 30 countries, such as: Directors Lounge, Kunst Film Biennale, Oberhausen International Short Film Festival, ACA Media Arts Festival, Videoformes New Media & Video Art Festival, International Electronic Art Festival Videobrasil and Sao Paulo International Film Festival. Since 2008, Kika Nicolela also curates and coordinates the Exquisite Corpse Video Project, an ongoing collaborative series of videos that involves more than 60 artists from 25 countries. In 2010, she was selected for the Rondo Studio (Austria), Künstlerdorf Schöppingen Foundation (Germany), Gyeonggi Creation Center (South Korea) and the I-Park (US) residency programs; she will also have a retrospective of her videos at the prestigious Museum of Modern Art in Salvador, Brazil.

Team DL looking forward to see your film

The 7th Berlin International Directors Lounge, the festival for contemporary media and film, alongside the 61st Berlin International Film Festival, will take place from 10th to 20th of February, at the art house meinblau, Pfefferberg. Daily from 6pm till dawn. Again we will screen a huge selection of experimental films from all parts of the world, covering a wide range of artistic positions in the new media. Details will be revealed over time, stay tuned for a fine collection of cinematic tidbits.
Now it´s your turn to submit your film for The 7th Berlin International Directors Lounge. We welcome single works, compilations, concepts, lectures, any kind of input but please understand that we may not consider submissions for the show in february after the 10th of January.

Urban Research/ Directors Lounge at
KING KONG Contemporary Art Project,
Ehrenhof des Mannheimer Barockschlosses

Sound Pattern #1 Violence in the City
12-29 November 2010

Opening reception 12 November 19:30

Mannheim Barock Castle

Three guest curators, Klaus W. Eisenlohr (Berlin), Hans W. Koch (Köln) und Thomas Lühr Frankfurt/M.) present video and sound works.

Barock Castle Catacombes: Tom Skipp’s 3-channel work Stormwater, which explores Europe’s biggest stormwater reservoir before the flood

Container 1: Urban Research Screening and Installation
"urban interference and the city’s symbols"

The success of modern cities is connected with relative security and trust in the social contract between citizens. As Jan Philippe Reemtsma states: “If I happen to drop into a violent situation, I will neither be made responsible for not being armed, nor for having failed to defend myself.” (memory-quoted). Although this unwritten contract is part of the production of modernity, urban myths and symbols often tell about violent situations. Therefore, films about urban symbols often deal with the uncanny. They thus touch the precarious balance between the violence of law enforcement and undisclosed threats of decay.

On the other hand, with urban interventions, artists try to play a more active role in society . Some artists see themselves as “political activist” and try to change politics and society; others just try to reach a different, more divers audience; or, they like to reach out for a seemingly impossible dream. All of them, however, share visions and ideas about urban life. And those inspirations may be infectious!

Videos:
   

•    Seven After Eleven, 2008 -*- Christina McPhee US
    •    Play Ground, 2009 -*- Rinat Edelstein IL
    •    Descend, 2009 -*- Pablo Useros ES
    •    Fragments of the Los Angeles River, 2009 -*- Richard O’Sullivan UK
    •    Elsewhereness: Yokohama, 2008 -*- Anders Weberg + Robert Willim SW
    •    Sintia, -*- Jose Matiella +Ivan Meza MX
    •    Buda, 2009 -*- Beatriz + Carlos Matiella MX
    •    Easy Rider, 2006 -*- Pilvi Takala FI
    •    Jalkeilla Taas (Up And About Again), 2009 -*- Maarit Suomi-Väänänen FI
    •    Amusement Park, 2001 -*- Pilvi Takala FI
    •    Drive, 2008 -*- Elham Rokni IL
    •    Simulacro, 2005 -*- Hector Falcon MX
    •    Moel Yad, 2009 -*- Hadas Tapouchi IL
    •    Night Meter, 2000-*-Yaron Lapid UK
    •    Interception 2007-2009 -*- Roch Forowicz PL
    •    Stormwater / Estanque de tormentas-*- Tom Skipp ES
curated by Klaus W. Eisenlohr (Directors’ Lounge Berlin)

Links:

KIng Kong
http://www.kingkong-contemporary.de/?p=539
Klaus W. Eisenlohr
http://www.richfilm.de/DL2010/framesIndex.html

Andre Werner, Ceci n’est pas de l’art,  shown as part of the opening of the c.a.r. 10, the contemporary art Ruhr  photo: Joerg Eckhardt

Ceci n’est pas de l’art,  impressions from the c.a.r. 10, the contemporary art Ruhr 

just some snaps from the fun


photo:Julia Murakami

The early bird.., the Japanese Guerilla Paparazzi arrived shortly before the opening


photo: Astrid Ewers

Shot during setup through a somehow absent Alan Smithee. On the right, the glass cube cinema, venue for the screenings.

A German TV team shooting inside the Directors Lounge booth.


Astrid Ewers, the lady with the healing hands, long time friend of DL and guardian angel for the tensed and damaged gallerists.

Anne Martens, Getty Museum, LA and Peter Mays, executive Director of the Los Angeles Art Association, photo: the art resort

The C.A.R. was accompanied by several specials like this lecture about the current art scene in Los Angeles by Peter Mays, LAAA, Anne Martens and Rebecca Lowry. The LAAA, the Los Angeles Art Association will present the C.A.R. together with Directors Lounge in April next year.


photo: the art resort

This looks staged, subliminal work by Alan Smithee. 

Outside the sky lounge, a minimal designed pavillon on top of the highest building at Zeche Zollverein The venue for the VIP party of the c.a.r. 10, the contemporary art Ruhr  photo: the art resort


photo: Astrid Ewers

On top of the world. new member of the gang, Suzanne, enjoy the night view from the sky lounge.

Andre Werner, Jewel cases (Chat Noir), 2010

29.-31. October at the Zollverein world heritage site

We are exhibiting and screening at the contemporary art ruhr (C.A.R.), “a young art fair that can easily claim to have the most impressive venue of all German art fairs, the Sanaa cube, designed by Kazuyo Sejima and Ryue Nishizawa (SANAA)” (art resort). The glass cube inside the Saana cube will become the c.a.r. video lounge where we show selected highlights from The 6th Berlin International Directors Lounge along works from the participating galleries. Looking forward to meet you.

contemporary art ruhr (C.A.R.)  is an innovative and dynamic fair format. It has established two art fairs annually since 2006. With a media art fair in the summer and innovative art productions out of the ordinary: video and media art, installations, performances, environmental sculptures, multimedia projects and especially the field of contemporary photography. In autumn with an art fair for contemporary art – C.A.R. covers the entire spectrum of fine arts and their most important current influences.

The objective of contemporary art ruhr is to develop an arts marketplace by a unique conception that the Ruhr can call its own. Unbiased. Minimalist. Vibrant.

C.A.R. covers the entire spectrum of fine arts and their most important current influences.

Neue Bewirtschaftung, Magistrale 2010.
(New Management)
Screening in public pubs and at gallery Suomesta on Potsdamer Str.:
October 8 starting at 6pm
October 9 starting at 2pm
October 10 discussion at 2pm

Organized by gallery Suomesta and Neues Museum, this event is including many Directors Lounge artists and associates. The artists and their films will occupy screens in public pubs usually set up for watching soccer games along Potsdamer Str, Berlin

Participating artists:
Thorsten Fleisch, Veli Granö, Jari Haanperä, Marikki Hakola, Aline Helmcke, Pekka Kantonen, Cinema Mobile, Horace Ové, Antti Pussinen, Seppo Renvall, Pekka Sassi, Ira Schneider, PINK TWINS, Roi Vaara and Klaus W. Eisenlohr with a selection of his Urban Research programme.
On Oct. 10 there will be a discussion panel on the question of “places for short independent film today?”
Program and more detailed infos on http://magistrale2010.wordpress.com/

J.X. WILLIAMS Les dossiers interdits

Noel Lawrence, head of The J.X. Williams Archive, who had some stunning shows at the 5th Berlin International Directors Lounge   published his first book, “J.X. Williams: Les Dossiers Interdits,"in France very recently.

Along with providing the first comprehensive analysis of J.X. Williams’ life and work in cinema, the book contains revelations on Sammy Davis Jr., Roy Cohn, Sam Giancana, and many other legendary figures of the American underworld and counterculture.

Without J.X. Williams, the face of contemporary cinema would not be the same. His shadowy influence turns up in Tarantino, Scorsese, Kubrick, and even Godard again and again like a bad penny. Despite the best efforts of Hollywood to keep its most notorious skeleton buried deep in the closet, Williams is back with a bang!

Aided and abetted by cultural impresario Jean-Emmanuel Deluxe as well as a crack team of cinephiles and cineastes. Noel Lawrence reconstructs the story of J.X. in lurid detail. Besides documenting the first on-the-record statements from Williams in over 25 years, the book contains fascinating revelations on Sammy Davis Jr., Roy Cohn, Sam Giancana, and other notable figures of the American underworld and counterculture.

Contributors include Jean-Pierre Dionnet (comic book legend and co-founder of Heavy Metal), Josh Olson (screenwriter, "A History of Violence”), Richard Gaitet (editor-in-chief, Standard), Jesse Nathan (editor, McSweeney’s), Pierre Mikailoff (author, “Some Cliches”) and many more!

Commentary and acclaim for J.X. Williams…

“A spiritual vortex of sub rosa Americana.”

– Paul Cullum, The New York Times

“Underground movies cannot dig much deeper than those of J.X. Williams.”

– Steve Dollar, The Wall Street Journal

“A musician friend once observed that the most intriguing artists don’t just create individual pieces; they’re iconic figures who project a philosophy or personality, a life force that becomes a conceptual umbrella covering everything they make. J.X. Williams, a cult filmmaker, conspiracy theorist, enemy of the Mafia and the FBI, and all-around outlaw visionary, is that sort of figure.”

– Matt Zoller Seitz, Salon.com

“A fascinating book to understand the dark side of the entertainment industry. The true face of the American dream finally revealed!”

– Camion Noir
While this book is in French-language only, German and U.S. editions should be soon to folllow.

Sans J.X. Williams, le visage du cinéma contemporain aurait été différent. Quentin Tarantino, Scorcese, Kenneth Anger et même Godard lui doivent beaucoup. Pendant des décennies, l’œuvre du sulfureux J.X. Williams à été occultée. F.B.I, C.I.A, mafia, loges occultes et gros poissons d’Hollywood ne souhaitaient pas que J.X. Williams remonte à la surface. Trop tard, Noel Lawrence, Jean-Emmanuel Deluxe assistés d’auteurs talentueux (Jean-Pierre Dionnet, Elisabeth Barillé, Jean Mareska, Richard Gaitet, Pierre Mikaïloff, Jean-Yves Guilleux, Bernard Bacos , Saladin Sane, Alain Thierry et Xavier Sanjuan) lèvent enfin un coin du voile. Un ouvrage fascinant pour comprendre la face cachée de l’industrie du divertissement. Le vrai visage de l’american dream enfin révélé !

CAMION NOIR : L’éditeur qui véhicule le soufre !