Jonas Mekas, London | courtesy: Peter Sempel

In Memory of Jonas Mekas

Directors Lounge at Mitte Media Festival 2019. “Jonas in the  Jungle” by Peter Sempel. An essayistic exploration of Jonas Mekas (Dec. 24, 1922 – Jan. 23, 2019), the doyen of American Avant-Garde cinema.  In attendance of filmmaker Peter Sempel. Making an appearance on Earth, shortly after having left it, will be legendary off-the-waller Jonas Mekas, …

main attraction by Mario DeGiglio-Bellemare

Directors Lounge Presents: Bizarre, Hypnotic, Wonderful

Directors Lounge at Mitte Media Festival 2019. – Bizarre, Hypnotic, Wonderful – Selected Gems from the DL Archives. Get lost on a visual trip to the surreal, mystical and mesmerizing realm of bizarre, hypnotic and wonderful movies. Including works by Anton Corbijn, John Christopher Gibson, Guy Maddin, Mario DeGiglio-Bellemare, Allan Brown, Roger Deutsch, Masha Godovannaya. …

Directors Lounge Screening - Maria Korporal - Lines in Between the Maze

Maria Korporal | Lines in Between the Maze

Directors Lounge Screening Thursday, 28 March 2019 | 9pm 21:00 | Z-Bar Metaphors combine beauty with a call for a better life. The Berlin artist Maria Korporal studied in the Netherlands and was working and living in Italy until 2013. Her videos, installations and performances show a strong technical affinity, while at the same time, …

Directors Lounge Screening. Björn Speidel About the Depths of the Plateau

Björn Speidel | About the Depths of the Plateau

Directors Lounge Screening

Thursday, 28 February 2019 | 9pm 21:00 | Z-Bar

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.
The screening will include the first presentation of the „Video-Harp“ as a world premiere. … read more

Directors Lounge Screening. Gabriele Stellbaum My House Is On Fire

Gabriele Stellbaum | My House Is On Fire

Directors Lounge Screening

Thursday, 29 November 2018 9pm | Z-Bar

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. … read more

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.

Based on black and white techniques (mostly), the films seem to explore sheer blackness, instead of a black and white aesthetic. Strongly connected with punk music, dark wave and electronic noise, the filmmaker achieves a stunning quality of deep black color with his films. Experimental techniques of emulsion lifts and cracks, combined with black ink, sometimes with an additional tint of red or toning with blue, are combined with dark images of male and female characters. The driving rhythm of the sound track enhances the impression of blackness. Another connection is Aleister Crowley, a controversial figure, and a British occultist from the beginning of the 20th century who inspired a number of important artists and filmmakers like Kenneth Anger and even Fernando Pessoa. Welch’s film Aurum (super8 / digital) from 2018 is a contribution to Crowley’s Liber 777, a book related to occult or cabalistic games with numbers. For Johnny Welch, the occupation and meditation with occult theory may be a search for liberating ideas, or it may even be used as a release from the haunting personal messages once ago sent by peers. (Discharge Working I and II, 2017/18).

For the viewer, the work has an attracting, maybe haunting quality, tinted with a stunning black color. The black sun (in Aurum) for example is an amazing symbol without the need of occult references, and it is a beautiful image interwoven with blackness of painted film material that may stay in the mind of the viewer as a striking image on its own account.

The artist will be present and available for Q&A after the screening. Curated by Klaus W. Eisenlohr

Artist Link:
https://www.johnnywelchfilm.com/

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

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.

Favre’s background in sociology informs her research, her art project shifts towards contemporary ethnographic research with experimental forms that do not attempt to construct an “objective reality”. And she is a member of Labor Berlin. On a first step, she converted the original 8mm films to digital, and created a narrative from it, by repeating images, inverting them, by mixing letters found in real archives with personal comments she writes, in a way her subjective version of the archive. During her first visit, she also collected interviews with local people who used to work at the mission.

And she shoots 16mm (non-sync, in color and in b/w) for her new project: A series of portraits mixed with passages of landscape and combined with fictive letters to the late doctor of the mission by former members of the mission who live in South Afrika. At this screening, Laurence will present “Nwa-Mankamana” the film from 2013, an edited reel called “Shiluvane Talks” and excerpts of “Lettres au Docteur L” as work-in-progress.

The artist will talk about the different facets of working with archives that she became engaged in, and she is looking forward to discuss her work.

Artist Link:
http://lrncfvr.net/
https://dafilms.com/director/9946-laurence-favre

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

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

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 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