Slow Space
Ein Filmkunstprojekt von Klaus W. Eisenlohr
Premiere im Kino Arsenal/ Freunde der Deutschen Kinemathek
7 Juni 21 Uhr
Arsenal Kino, Potsdamer Straße 2, 10785 Berlin, U / S Potsdamer Platz

SLOW SPACE von Klaus W. Eisenlohr ist eine Premierenaufführung. Das Projekt ist eine analytische Reise durch die Glasarchitektur in Chicago. Untersucht werden die Beziehungen zwischen Körpern und ihrem architektonischen Umfeld in der Großstadt. Eisenlohr führt Interviews mit den Künstlern und Filmemachern Deborah Stratman, Chris Harris, Gretchen Till, Ken Fandell, Thomas Comerford und Eduardo Pradilla.

Filmed entirely within the urban constructed environment that makes up the contemporary North American city of Chicago, Slow Space is a visually arresting investigation into how space is described, defined and ultimately experienced. Berlin filmmaker Klaus W. Eisenlohr commutes this relationship with the outside 'world' via an array of constructed transparencies in the glass domes and atriums that formed so much of architecture's modernist preoccupation for a constructed inside/outside dialectic. Descriptions and ultimately opinions on the status of public space in Chicago form part of the film's identity via a series of interviews conducted from the participant's private domains. Looking out and sealed behind the glass of their window panes a number of Chicagoans talk about their own experiences on the private/public borders of contemporary urbanity.
Slow Space is a film of many photographs if one considers it's over 3000 edits. Each frame in this 67 minute film it seems has been invested with a quality of aesthetic authorship normally attributed to the production of single images. Employing a staggering depth of compositional artistry Klaus W. Eisenlohr has enabled a joint optic relationship to come into view between maker and film spectator returning the film experience to an almost first time phenomenological encounter. I am, after seeing the film, reminded of my capacity to see, absorb and recognize spaces as images and spaces imagined simultaneously, i.e. to be totally stimulated with my senses activated to the fields of vision being presented. Seeing this film, it becomes apparent how visually stimulating the film experience can be.

Ben Anderson

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