Directors Lounge Screening



presented by
Roger Beebe, artistic director of Flexfest

Thursday, 26 May 2011
Bergstraße 2
10115 Berlin-Mitte

FLEX: the Florida Experimental Film and Video Festival presents a program of highlights from their 2011 biennial competitive festival. FLEX is interested in an expansive notion of experimental media. “Work may draw on documentary, animation, avant-garde, underground, or other traditions—or no traditions at all.“ As such the programming comprises a variety of mediums from 16mm direct animation to found video and from laconic place studies to experimental love poems.

Since its start in 2004, Flexfest has become one of the most important festivals for experimental media in USA, challenging us to rethink what ‘experimental’ means. Roger Beebe, who is the artistic director of Flexfest, and who is currently teaching a 5 week workshop at LaborBerlin, will present the program. He was already a guest at Directors Lounge in 2009 (Link). Roger Beebe will be available for Q&A.

The Florida Experimental Film/Video Festival presents both year-round programming and an annual festival (FLEXfest) in Gainesville, Florida. Showcasing a broad range of experimental media, FLEXfest alternates a biennial competitive festival with a biennial curated event. Past FLEX guests have included Craig Baldwin, Jim Trainor, Helga Fanderl, Deborah Stratman, Ben Russell, Robert Todd, Leighton Pierce, Naomi Uman, Bill Brown, Scott Stark, Jacqueline Goss, Johan Grimonprez, Vanessa Renwick, and many others.

Utopia, Part 3:The World’s Biggest Shopping Mall, Sam Green (13:09/HD/2009/USA)

Iron-Wood, Richard Tuohy (7:00/16mm/2009/Australia)

The Voyagers, Penny Lane (16:30/DV/Jun. 2010/USA)

Horizon Line, Katherin McInnis (1:00/HDV/USA)

Somewhere Only We Know, Jesse McLean (5:15/Video/2009/USA)

Tusslemuscle, Steve Cossman (5:00/16mm/Nov. 2009/USA)

Portrait #2: Trojan, Vanessa Renwick (5:00/35MM TO VIDEO/2006)

White House, Georg Koszulinski (8:00/DV/2009/USA)

Day/Night (Devil’s Milhopper), Andres E. Arocha (4:56/16mm/Apr. 2009/USA)

28.IV.81(Bedouin Sparks), Christopher Harris (2:49/16mm/Jan. 2009/USA)


More program infos:

alina skrzeszewska –
songs from the nickel

Thursday, 28 April 2011

Bergstr. 2
D-10115 Berlin-Mitte
U-Rosenthaler Platz

Alina Skrzeszewska created a colorful, sad and thoughtful film about the shadow sides of downtown Los Angeles, not without showing strains of hope. And there is music, songs by the protagonists starring in the film.

The Nickel, the Eastern part of downtown used to be an isolated island in the urban grid of L.A.: historic but sordid former grand hotels; the number of homeless people surpasses the number of inhabitants multiple times; a network of christian missions and charity organisations are entangled in what is called the Skid Row; from 10 pm through 6:30 am you are allowed to sleep in the street (but then you have to move); there is a lack of over 12,000 beds for homeless shelter; on the other hand, a massive police presence and the reign of crack makes life in the street like a trip to hell. In this strange otherworldly urban zone, the old hotels seem to be islands in the stormy waters, and they are the cheapest places to live in town. Here, the artist Skrzeszewska rented a room for over one and half a year while shooting for her film. Those who live here, and whom we get to know in the film, have at least some kind of steady income, a job in the hotel, a veteran pension, or social welfare for the disabled. They were able to leave the state of homelessness or the circle of jail and drugs.

Thus, for Alina the hotels are a place of reflection, a retreat from the “war in the street” as Alina calls it. “In the street there is never time for thoughtfulness.” Therefore, she uses these odd spaces of retreat that the hotels are as spaces of reflection — and possibly projection — to discuss life and the society that creates those biographies missing any hope. The artist’s conditions for a talk in front of the camera was openness to have an earnest conversation. We see very little “false” acting in front of the camera, maybe because the artist does all the recording on her own, and it is this sincerity of a “one to one” talk and Alina’s honest interest in the story of her counterpart that makes her bridge the gap: A young European woman who studies at CalArts and the finally settled tramps. Some of them tell stories of their life, they never told before. We get to know there are many reasons to strand at the hotels of the Nickel. Some were dropped out by the society that fits only for the fittest, and they lost everything they had in the past. Others decided not to “play their game.” All of them still seem to be untouched by the epidemic that now spreads for 2 decades: crack.

In such a way, Alina Skrzeszewska also shows to us the poetry and wisdom of the underprivileged, all of which recorded by a camera that was inspired by Edward Hopper and the reading of Charles Bukowski, as Alina admitted to herself after she had finished the film. The positive notions of the film however derive from the examples of anarchistic renderings of their interests, like the illegal music studio in the hotel’s basement. It’s that very American idea of the self-made man that is still valid, and the roots of American pop culture based in the will of the poorest men to survive in dignity that are still showing, here.

A. Skrzeszewska, who was born in Wroclaw in Poland, and who lives and works somewhere in between Berlin, Los Angeles and Vienna, will be present at the screening at Z-Bar and will be available for Q&A.

In addition, Alina will present the short film “Notes from the Fields”, 10 mins, showing a day’s cycle on the crossing of 5th St. and Los Angeles St. in The Nickels.

Curated by Klaus W. Eisenlohr

More infos, German text and film stills:

Artist Link:
Press Links:

 Experiments in Cinema v6.3!

Directors Lounge visits Experiments in Cinema:

On April 15th DL will hit the screen in Albuquerque with some of our favourite films by Keith Sanborn, Eric Dyer, Jean-Gabriel Périot, André Werner, Max Hattler and Ken Paul Rosenthal (Ken will be there in person!).

So if you are in New Mexico drop in to see what we’ve compiled. And don’t forget to watch the other programs (curated by our mate Bryan Konefsky, pictured here) that include the works by Gerard Freixes Ribera, Jodie Mack, Jeanne Liotta, Kerry Laitala, Wago Kreider, Marie Losier, Scott Stark and Martha Colburn.

Experiments in Cinema – Albuquerque’s annual celebration of international cinematic experimentation!

Witness cinema like you’ve never it seen before! Experiments in Cinema is an annual, Albuquerque-based festival that celebrates recent trends in international, cinematic experimentation and offers a variety of ways in which attendees might think about the history of media representation and participate in shaping future trends in cultural representation. To this end we are deeply invested in year-long outreach efforts where we travel our festival to schools around New Mexico to inspire a new generation of home grown filmmakers to create movies in ways we might never have imagined possible.

This 5 day event consists of film screenings, lectures, workshops and thoughtful dialogue, always.

Directors Lounge hits LA

We are screening assorted highlights at the prestigious Los Angeles Art Association (LAAA) as part of  NOT A CAR, a special all-media, cross-cultural exhibition featuring the highlights from our partners, the C.A.R. art fair in Essen, Germany, alongside original contemporary artworks by Los Angeles artists debuting at Gallery 825 on April 9, 2011. Exhibit runs through April 29, 2011.

program I

Alexei Dmitriev Dubus 4 min
Coleman Miller US Uso Justo 22 min 2005 
Thorsten Fleisch DE Dromosphäre 10 min 2010
Nicolas Ramel FR A/V Sketch#3 40s 2010
Octavian Fedorovici RO Casablanca 1PM 1min 2008
Julia Smith  US  Grand Teton 4 min 1s 2010
Gunter Deller DE Riverrun and Touchdown     7 min 40s 2009
Ryley O´Byrne CA Maenad  2 min 45s 2010
Ron Diorio US Winter Wind  3 min 1s 2009
Maria Niro  US  Glitch Telemetry  ca 3 min  2010
Kika Nicolela FR/BR  Passenger 5min 2007
Bruce Knox DE Danger Global Warming 7min 3s 201
Sergio Cruz UK    Hannah    5 min30s 2010
Ofir Feldman Poetic Account 1 min
Chema Garcia Ibarra ES The Attack Of The Robots From Nebula-5 6min 20s 2008
KRONCK (aka Maximilian Gerlach & Jessica Benzing) Thank You Third World
Max Hattler DE Spin 4 min 2010
Julia Murakami/Alan Smithee  lost masterpieces #1 ((red) 2010

program II

Chiara Ambrosio The Crossing    3min 31s
Chiara Ambrosio Whale 4 min 52s
Eric Dyer US Copenhagen Cycles 6 min 37s
Mark Maxwell Naturaleza Muerta   29 min 2011
Chiara Ambrosio    Charon 12 min 16s Musical score Michael Nyman
Jean-Gabriel Périot 200-000 phantoms 10 min

in cooperation with Myriam Blundell Projects


program III

A Journey Through The Symbols – selected video works by André Werner
The weary traveler must clear his own path through the thicket, must find the passages in this labyrinth of symbols. Here the glimpse of a distant female beauty, there a delightful garden; a gold-glittering speck of color draws the traveler and he finds himself entranced… The viewing of a shape, somehow familiar, sets the mind running at full force, tracing distant memories. Expectations crystalize into clear formulations; the eye strives to match the moving pieces into a distinct wholeness. But the process of pasting together the individual tiles, of trying to derive one whole unified object from this melting pot of images, fails. The arrayed bits of meaning waver and… dissolve.
All that remains are the pictures and colors, the shapes and our traveler’s imaginations – The journey carries on in the mind of the beholder. Anja Osswald

A Journey Through The Symbols combines videos from the last twenty years, many of them will be screened in US premiere

Directors Lounge Screening at Z-Bar

Thursday, 24 March 2011

Seppo Renvall
Times, Songs and Material
16mm films and video

Bergstraße 2
10115 Berlin-Mitte

“Never very good technical quality“, "no sharp image“, "no tripod“, "everything kind of shaky“, "mainly things that are not interesting“, "no story“, "no one idea“ – when reading these quotes from Seppo Renvall on his own films, one could think he is practising some kind of anti-aesthetic. However, Seppo Renvall does not want to cause offence or a scandal. Rather, his "negativity“ is set against the grand gestures that predominate media, and the superlatives "most“, "best“ and "highest“ required by the art scene. Theodor Adorno uses the term "negativity“ in conjunction with resistance and connected with a countenance that does not allow reconciliation with the power, or the "wrong“ social situation. Since then, times have changed and this society may not any more require a "life in alert“ (Walter Benjamin) but now urges a life in agitation. Seppo’s negativity seems to be more gentle, and seems to function more as a shield or as subversion against that constant state of arousal the media and the art world expect from the arts and the artists.

"If something interesting is happening, I possibly decide to shoot in the opposite direction“, and often he finds something more subtle, more telling than the spectacle ahead. His sympathy goes to the little things in life, or maybe I should say: empathy. His films thus carry his empathy to the small situations in daily life. As a consequence, part of his work is made of home movies showing scenes with friends, family life, children and travel, shot and shown on 16mm.

The themes of his other films are quite divers but still connected with daily life, even if they seem to embrace the spectacle, like "Nonstoppampam“. In this (in original) 3-channel work, an array of gunshots is fired in rapid succession. We possibly need to know the fact that these people shoot with a real gun for the first time in their life in order to see, what S. Renvall was mainly interested in: the awes, the hesitation, the threat and the surprise on the recoil forces reflected on their faces “Exotique” and “Yötähteni” talk about spaces of in-between, between light and shadow, night and day, unconscious and waking. Combined with the music of Aslak Christianson and others, many of these films, mostly edited on video, become songs, rhapsodies of life and a strong subversion of the mirror, which the TV screen seems to be for us.

Seppo Renvall will be present for Q&A.

Curated by Klaus W. Eisenlohr
With support from Suomesta Galerie, Berlin

More infos at:



Home Movies 4 2:00

Home Movies 1-3 7:00

Private Area 3:49


The Price Of Our Liberty 08:09

Warm Front 5:24

Iris And Nalle 2:53

Planet Earth Encyclopedia 6:13

Dancing Shortly 1:13

Exotique 09:57

Dancing Shortly II 2:45

Drum Zymphony 21:15

Nonstop PamPam 4:20

Yötähteni 2:30

Directors Lounge Screening at Z-Bar
Saturday, 08 Jan 2011
Relations and Abstractions
Films by
Max Hattler

Bergstraße 2
10115 Berlin-Mitte

Max Hattler surprises his audience with the gripping force of his abstracted images, combined with sounds he often composes for his own films. The German media artist and animator lives in London and has made a real leap into the media art and festival scene since he graduated from the Royal College of Art in 2005. A programme of his films was already presented at Directors Lounge 2010, and we are happy to present his new programme this month, prior to our festival in February.

In Germany, animation is not being considered as a proper art field, and similar to graphic arts it is often seen as “angewandte Kunst” i.e. craftsmanship or applied arts, mostly feeding the film industry. The field of animation can be quite broad, from animations from pencil drawings, paper-cut-outs, stop-motion, 3D animation, Flash animation and live generated computer graphics. Max Hattler seems to embrace them all, and his work could be seen as happy eclecticism, as post-modern art practice. In Aanaatt (2008) he is using stop-motion animation, Drift (2007) is a combination of close-up photography of skin combined with compositing and Flash animation, Heaven and Hell (2010) are computer generated graphic animation loops, Everything Turns (2004) has been drawn directly into the computer, and Ladyscraper: Cheese Burgers (2011) looks like it was made with live VJ tools.

Looking closer into Max’s work, however, we realize that his art is in no way about eclecticism or appropriation. The artist does make his mark with genuine image composition, and even if his use of different media tools is astonishingly varied, there is something common in most of his films, a kind of surplus, or plenitude that can be almost overwhelming. Animation, this tedious and time-consuming technique (also true in the digital age) usually leads to reduction (unless it is made by big teams and studios such as Pixar) often resulting in a kind of artistic beauty of scarcity. Not with Max Hattler, though! Even if animation techniques lead him to quite abstracted forms, they are not abstract. And the reduced, abstracted forms become symbols again, which often multiply, break apart in smaller image units, still animated, and again accumulate, congregate to larger units, to super-structures. Amazingly, this often happens with a chuckle, a political twist or black humour.

We are very much looking forward to this film night with Max Hattler, who will be available for Q&A after the show.

(curated by Klaus W. Eisenlohr)

Artist Link:

More infos:


Directors Lounge Screening in der Z-Bar
Donnerstag, 25.11.2010
Discreet Structures
Films by
Toby Cornish und Johannes Braun/  jutojo Berlin

Bergstraße 2
10115 Berlin-Mitte

 Discreet Structures, the title of the program with Toby Cornish and Johannes Braun, refers to the compositional qualities of their films. It also applies to the linking to local architecture or urban places, and to the ways the artists work with musical scores. Both artists’ work mainly originates in Super-8 or 16mm footage, which they shoot and then process digitally. And most films are product of collaborations with musicians.

Two visits to Sarajevo in 2003 and 2004 gave Toby the opportunity to make a structural film in this historically and politically charged place: Sarajevo Vertical. The bridge, where arch-duke Franz Ferdinand was murdered, which gave way to the declaration of war in 1914, the name Tito on a bridge, and the white graves of killed Muslims from the most recent war, all appear in the film but only as a backdrop, or as the ground on which the visitor stands. If “Sarajevo Vertical” has or needs a symbolical/political reading is up to the viewer. First of all it is the rule of composition of filmmaker Cornish to align every image to a vertical line while shooting and then edit the film on principles of repetition, rhythm, acceleration and size of the vertical line.

Toby Cornish is interested in metric structures, in interferences of loops with different lengths, which due to their complexity might lead to a chance operation, similar to musical structures of John Cage or Steve Reich, and which in the end where the result may surprise the artist as much as the audience. With “Rückbau”, a film about the destruction of the East German parliament building, he takes this strategy further. With the help of digital programming, the film composes itself and anew on each presentation.

Johannes Braun, on the other hand is less interested in chance operations but in the totality of visual-acoustic composition. His film Teufelsberg also shows his background as trained architect. The images unfold his explorations of building structures while he tries to capture traces “of hope and disillusion, of making and destroying, still to be sensed” in the rubble and the left-over walls. They also comment on already past (and forgotten) plans for future developments, including architecture drawings and a former model apartment of the already scattered utopia for a commercial hot-spot on Teufelsberg. The visually dense composition thus not only shows the beauty of the bygone structures but also contains an edge of irony.

With “Gaz”, a collective product, the filmmakers again show their strength of working with compositional structures. Gaz was composed to a graphical score, which the filmmakers and the 2 musicians worked on independently of one another. The film celebrates the early industrial designs around gasometers and gas-lights, still to be found in Berlin’s city center.

More infos and film stills:

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!


•    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)


KIng Kong
Klaus W. Eisenlohr

Ladybugs do not Dream
Directors Lounge Screening
Maru Ituarte and Ute Ströer

Thursday, 28 October 2010
Bergstr. 2
D-10115 Berlin-Mitte
U-Rosenthaler Platz

Ladybugs do not Dream
– Marienkäfer träumen nicht –

Two female filmmakers present their work at Z-Bar, the upcoming Directors Lounge screening. Both show a clear female point-of-view onto their subject without calling themselves feminists. Maru Ituarte, born in Monterrey, Mexico, has recorded and collected images of her surrounding with a critical view onto the violent, destructive and male-oriented aspects of a society that separates the male and female spheres at large. A found box of Hi-8 tapes, meant to be recorded over, became the source for a work called „Mexican Goulash“, which has a stunning similarity to a compilations of those self-obsessed clips to be found on Youtube in our days. It becomes the portrait of a certain part of the middle class.

Ute Ströer’s interest in film is based on her love for fairy tales and horror movies. The filmmaker meticulously works on the look of her images, strives for perfection in color and composition, and with her film characters she tries to achieve the largest band-with of expression and possible interpretation. The narrator we might have believed to hear exists only in the viewer’s head, the story we read only exists in fragments of symbols, a “Glasperlenspiel” of meanings.

Thus, as much as the aesthetic of the two artists may differ, they have much in common. Both invite, even seduce the viewer to follow onto a subjective journey of female perspective, when half-way on seemingly secure roads the viewer realizes, it’s their own imagination that has been triggered, their own story they have lived through, and actually, there is no such simple interpretation.

The artists will be present and available for Q&A.
(Curated by Klaus W. Eisenlohr)

video program
curated by Klaus W. Eisenlohr

Artists Links:


Daumenlutscherin     Ute Ströer    12:17
Schlafende Füchsin    Ute Ströer     15:07
La Metafisica Del Yoyo    Maru Ituarte    2:30
Reproduktion    Maru Ituarte     9:13
Hotel Rex    Maru Ituarte    3:06
Mexican Goulash    Maru Ituarte    9:55
Noa Noa Narko Tour    Maru Ituarte    5:01
Fleisch    Maru Ituarte     6:30
Phreak Show    Maru Ituarte    10:23
Matrijoschka    Ute Ströer     7:33

Directors Lounge presents:

The Destructive Power of Happiness
Video and Film Works by
Thursday, 23 September 2010

Bergstraße 2
10115 Berlin-Mitte

Riccardo Iacono, London-based artist and filmmaker, presents a selection of films and video from three different bodies of work: abstract videos, hand-painted films and performance tapes (produced between 1993-2007).

“I like the destructive power of fire”, a friend stated to Riccardo. It became the source for the title of the show in Berlin. Riccardo’s fire might be his anarchistic disposition to destroy static concepts. However, he does not avoid the pains, the exhaustive efforts it takes to make art from “happiness”.

In his process of working with film, the painted film became the silent musical score for the making, the re-photographing of the film. By means of an optical printer, he developed a way to have light reflected from the 3-dimensional surface of the paint, while at the same time still illuminating it from the backside. Although such animation techniques usually are tedious work, Riccardo already tried to achieve some immediacy while printing film to film. This urge for directness, and a need for improvisation and contact with people have possibly let to his more recent body of work: “Shooqui”. The whole series of videos, which involves throwing peas or clothes, is the opposite of camera-less film. The artist holds the camera, aiming and tracking the prospective trajectory of the object being thrown by his other hand. The body connection between holding and throwing leads to a compulsive and circular movement of the camera when throwing larger objects. “It is almost like the recoil action of a gun upon firing.”
(Curated by Klaus W. Eisenlohr)

From Memory 1994-2003 16mm, colour silent 15.00
Open 1994/2003 16mm optical sound 2.30
Fuzzy Lover 2003 16mm B/W silent 2.10
Pea Video 2006 DV colour Stereo 2.00
More Light 2004 DV colour Stereo 4.55
Recess 2007 DV colour stereo 1:00
P-Sample 1 2006 DV colour Stereo 2:45
Play 2001 DV colour stereo 3:50
The Electric Garden 2004 DV colour Stereo 5.55
Radiator 1994 DV colour stereo 4:15
Roadside Mix 2006 DV Colour stereo 1:31
Cold Tape 2000 DV colour stereo 1.11
Kinky 2006 DV Colour stereo 1:45
Walk 2001 DV Colour stereo 3:30
A Lecture In Throwing A Pea 2006 DV colour Stereo 1.00
Universe Energies Sustain Us 2002 DV colour Stereo 14.00
Elephant 2007 DV colour Stereo 7:30


Detailed program info: