Directors Lounge Screening:

James Harrar
Cinema Soloriens Screening

Thursday, 15 October 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

James Harrar, experimental filmmaker, video artist and musician from Atlanta, Georgia comes to Berlin for this screening. The artist, who mostly collaborates with musicians for live shows under the name Cinema Soloriens, is currently on tour in Europe. His films – and music – take on a lucid form of audio-visual communications with the audience. They are often meditations on beauty, perception, allegory, sensuality and visual phenomena. The material of his videos may be found footage, material he is filming on travels, or dense abstract work that may be digitally created, or just clouds of ink.

Music and film merge together in a trance-like experience for the audience. A kind of lyrical film-poetry that Harrar has pursued since the late 80’s. “Throughout his career, Harrar has tried to give the viewer new visual experiences while challenging fixed notions of visual language and individual seeing. He is exhibiting all over the world at venues such as the Museum of Modern Art, Anthology Film Archives, Yamaguchi Center for Art & Media and The Andy Warhol Museum to name a few.”

James Harrar will personally introduce his films and perform live soundtracks to them. Curated and presented by Klaus W. Eisenlohr.

Artist Link:
http://www.cinemasoloriens.com
https://www.facebook.com/Cinema-Soloriens-213086542062882/

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

Christa Biedermann
No One’s Fool – Girl from Vienna

Donnerstag, 24. September 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Christa Biedermann, an Austrian artist living in Berlin and Vienna, shows animations and performance films. The artist, who eludes any kind of categorization, paints, draws, photographs and makes films and videos, mostly appearing herself in front of the camera. In her videos, she critically and ironically questions society and its demands on the artists, especially on female artists. She thus markedly disappoints expectations of her work as image-artifacts as well as the expected image of her as woman and artist. Even though she hence carries on with the tradition of artists such as Carolee Schneemann and Valie Export, the sources of her inspirations are rather related to actresses and comedians of the 1920’s. Or, as she quotes Tucholsky: “What is satire permitted to do?– Everything!” Always paired with humour, Christa Biedermann will also give some live contributions, playing piano and as live act accompanying some of her films. Curated and presented by Klaus W. Eisenlohr.

(German text:)

Christa Biedermann, österreichische Künstlerin, die in Berlin und Wien lebt, zeigt Videos, Animationen und Performancefilme. Die Künstlerin, die sich mit ihrer Arbeit jeder Kategorisierung entzieht, malt, zeichnet, photographiert, macht Filme und Videos, auf denen sie meist selbst vor der Kamera erscheint. In ihren Videos setzt sie sich auf ironische Weise mit der Gesellschaft und dem was die Gesellschaft von Künstlern, vor allem von weiblichen Künstlern erwartet, auseinander. Diese von ihr in markanter Weise enttäuschte Erwartung mag sich auf das von ihr erstellte Bild-Werk als auch das von ihr erwartete Bild als Frau und Künstlerin beziehen. Werk und Selbstbild werden so zum Artefakt, zum Gegenbild. Auch wenn Christa Biedermann damit die Arbeit von Performance Künstlerinnen wie Carolee Schneemann oder Valie Export fortsetzt, so liegen ihre Inspirationen eher bei Schauspielerinnen und Komikern der 20er Jahre des letzten Jahrhunderts.
Immer mit Humor gepaart, wird sie zu den Filme auch einige Live-Einlagen geben, einmal zu einigen Filmen am Piano, zum andern als weibliche Figur im Film. Kuratiert und präsentiert von Klaus W. Eisenlohr.

Artist Link:
http://christa-biedermann.jimdo.com/

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

Taylor Dunne and Eric Stewart
Mountain Time

Thursday, 25 June 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Mountain Time – Films from the Interior of North America

Taylor Dunne and Eric Stewart are artists currently living in Colorado (USA). They share an affinity for 16mm filmmaking, they use photochemical processes as a means to explore the interconnectedness of time, history and the landscape. They are currently collaborating on a film investigating the history of uranium mining and nuclear weapons testing in the American Southwest.

The program comprises camera-less films and personal documentaries. They try to connect personal experiences with some parts of the North American landscape, history and nature. All shot in 16mm, it seems they have a mission for simplicity but also for the complications of Native American heritage. The two filmmakers are currently touring Europe with this program, and giving classes for chemical manipulations of analogue film.

Furthermore, on June 24 & 25, Taylor Dunne and Eric Stewart will teach the workshop LIFT OFF: An Emulsion Lift Workshop at LaborBerlin. Please contact LaborBerlin if interested.

The artists will be available for Q&A. Curated be Klaus W. Eisenlohr

Artist Links:
http://taylordunne.com/
https://vimeo.com/ecstaticerratic

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

Directors Lounge Screening:

Clint Enns
Embodying the Intention

Wednesday, 17 June 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Embodying the Intention: The Selected Works of Clint Enns

Born in Winnipeg, Manitoba, Clint Enns is a video artist currently living in Toronto, Ontario. He originally studied mathematics before changing his focus to the study of cinema and media studies. His work is multifaceted and eclectic, and therefore resists easy classification. Mostly using found material, he manipulates analogue film, screen captures video chats and computer games, transforms videos into ASCI code, uses lo-fi toy cameras, close-circuit feedback and found footage. He has presented his works in festivals and alternative cinema spaces and writes about cinema.

Although his work is primarily short in length, it is intended for theatrical presentation, and not as installation work, single or multi-channel, as most other media artists do. His being in favour for the screening format, and the playful anarchy of his films, reflect also the vibrant micro-cinema culture that exists in both Toronto and Winnipeg: communities that create and discuss films and that are open to a new generation of filmmakers and video artists working in unconventional and non-academic ways (though many established and academic elders contribute to the community such as Guy Maddin, Mike Hoolboom, Phil Hoffman and John Porter, all from Canada) These are the kind of communities that echo the old days of Cinema 16 where Amos Vogel and his peers showed a mixture of avant-garde films, splash films, instructional and science movies together with subversive political films.

In Enns’ work you may find traces of the joyful, deconstructing practice of Nam June Paik, who used magnets and other tools to bend the beam of the cathode in order to distort the television image. Enns nowadays also uses scripting and electronic errors in order to create or alter his images.  Still, it seems as if the artist is using a quote of Paik for his work: “When too perfect, lieber Gott böse” (When too perfect, dear God turns angry). With this show at Z-Bar, Clint Enns invites us to a microcosm of electronic and analogue images, which can only be seen as the antithesis to the over-real, sharp, High Definition images, and as an ironic response to some overly serious avant-garde heroes, emblematic of the Cult of the Bolex.

His mathematical studies have not only provided Enns with the knowledge to use algorithms for the creation of his images, but have also liberated some diabolic and playful humor (all out of love), which sometimes requires a savvy viewer to fully read the irony embedded in the image.

Artist Link:
http://clintenns.tumblr.com/

Links:
Directors Lounge
http://www.directorslounge.net
Details:
http://www.richfilm.de/currentUpload/
Z-Bar
http://www.z-bar.de
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Sneak Preview II:

Directors Lounge at the Contemporary Art Ruhr, Media Art Fair, May 29 – 31, 2015

‘One Minute Volume 7 and ‘One Minute Volume 8’ curated by filmmaker Kerry Baldry is a touring programme of artists moving image which has been screened widely in galleries and film festivals. The One Minutes contain an eclectic mix of approaches, techniques, media and processes, all having one thing in common – that they have been edited within the time limit of 60 seconds. Both programmes which be shown as part of the C.A:R. Video Lounge.

One Minute Volume 7

John Smith, Rose Butler, Tony Hill, Steven Ball, Alexander Costello, Leister/Harris, Kayla Parker and Stuart Moore, Louisa Minkin, Claire Hope, Max Hattler, Guy Sherwin, Steven Woloshen, Lynn Loo, Lumiere and Son, Tansy Spinks, Gary Peploe and Peter Nutley, Eva Rudlinger, Michael Szpakowski, Zhel (Zeljko Vukicevic) , Matthias Kispert, Stuart Pound, Sellotape Cinema, Alex Pearl, My Name Is Scot, Kerry Baldry, Esther Johnson, Marty St. James, Nicki Rolls, Katherine Meynell, Chris Paul Daniels, Riccardo Iacono, Edwin Rostron, Martin Pickles, Grant Petrey, Annabel Dover, Kelvin Brown

One Minute Volume 8

Paul Rooney, Nicky Hamlyn, Claire Morales, Nick Jordan, Gordon Dawson, Sana Ghobbeh, Tony Hill, Alex Pearl, Sam Meech, Greg Pope, Kayla Parker and Stuart Moore, Philip Sanderson, Martin Pickles, Guy Sherwin, Olga Jurgenson, Kerry Baldry, Tansy Spinks, Sam Renseiw, Katherine Meynell, Philippos Kappa, Kelvin Brown, Chris Paul Daniels, Stuart Pound and Rosemary Norman, Julia Dogra-Brazell, Marty St. James, Shaun Hay, Virginia Hilyard, Eva Rudlinger, Louisa Minkin, Steven Ball, Kate Jessop, Zhel (Zeljko Vukicevic), Riccardo Iacono, Karen Densham, Mary Stark, Nicolas Herbert, Michael Szpakowski, Max Hattler, Steven Woloshen, John Kippin, Daniela Butsch, Leister/Harris

Thug Life by Henrike Naumann

Triangular Stories, 2012 by Henrike Naumann

Triangular Stories, 2012 by Henrike Naumann

Sneak Preview, Part I:

Directors Lounge at the Contemporary Art Ruhr,
Media Art Fair, May 29 – 31, 2015

Among the artists and filmmakers that we will present at the C.A.R. is Henrike Naumann with Triangular Stories and her installation Thug Life.

Thug Life
VHS Installation, Photography, 2015 at the Directors Lounge Booth

In 1996, the american rapper Tupac ,2pac‘ Amaru Shakur was shot in Las Vegas. He died at the age of 25. There are many conspiracy theories around his killing, as people cannot believe the early death of such a great artist. The work Thug Life collects evidence of the fact that he was not killed, but left his gangsta lifestyle in America to start a new life in Marrakech.

Photography: Nadia Mounier
2pac: Nourdine Qachbane
King: Ayoub Chazi

Triangular Stories, 2012 by Henrike Naumann will be shown as part of the Directors Lounge program (C.A.R. Video Lounge/auditorium)                               

1992. Both home videos have the same date. Both videos reveal intimate things from the life of three teenagers. While few of them can‘t wait to take Ecstasy for the first time at the Amnesia, the world of the others ends behind Jena‘s tower blocks. The artist Henrike Naumann (born 1984) is from Zwickau, where the Nationalsocialist Underground (NSU) lived in bourgeoise underground and spanned their neonazi extremist murderers. This video work is a very personal approach to dealing with the fascist tendencies in her old home are as well as with the hedonistic self-optimizing drive of her generation. The obsolete medium VHS (Video Home System) in its loss becomes a mirror for that generation.

Henrike Naumann is a video and installation artist. Born 1984 in Zwickau, former GDR, she experienced the blossoming of the right-wing scene in the 90s. Her first video installation Triangular Stories (2012) focussed on the the origins of the terrorist group National Socialist Underground (NSU). Her work orbits around the aesthetics of political concepts and youth culture.

More information about DL at the media art fair will follow soon!

Directors Lounge Screening:

Distruktur –
Melissa Dullius & Gustavo Jahn
perspectives – on moving

Thursday, 28 May 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

A program of shorts by the artist couple Melissa Dullius and Gustavo Jahn with some new and rare films. Distruktur – Dullius and Jahn – claim a space fluctuating somewhere between the big and small cinema. Consequently working with analogue film while shooting and mostly also developing their own material, their films seem to create a kinematic time-space that is distinct from the ordinary even though they often use film settings of daily life.

The films could be described as experimental-narrative, as they use script, actors and often costumes, both artists often act as protagonists of their own film, but they avoid the conventional dramaturgy of mainstream and its psychological realism that mostly leads to melodrama. The film “Abril (2002)” in some short scenes seems to be a direct quote of Maya Deren’s “Meshes of the Afternoon”. It is an early film, from the time when Melissa and Gustavo were not working together as directors and which has not been shown in Berlin, yet. The moment of “trance” – or mystery – though disappears and becomes resolved as it did not really happen, as it is just a memory that stays but cannot be explained in rational ways.

Time seems to be ambiguous in the movies of the director duo. Even though Triangulum (2008) and Time Machine (2015) are set “in the future” as the narrated texts explain, they make no direct references to science fiction movies. The action does not pretend to be from the future, but the time of the narrative could be the past, the present or the future. Are we looking into the future, or looking back from the future to the past, to the present?

This ambiguity gives the film Triangulum, which is set and was shot in Cairo and Alexandria, an interesting contemporary perspective. With the background of the more recent “Arabic Spring”, the radical political movements in Egypt and wars in Near East – and the not so long ago longing for a mythical Orient prevalent in the West, the film has a surprising actuality.

It will be even more interesting to think about the references given in the films of the program, as Melissa and Gustavo have more recently created films that could be placed in the past. Not in any exact historical past, but in a past of myths. “Don’t Look Back ⁄ Labirinto”(2014, German Premiere) has been filmed in Berlin and obviously references the antique theme of Orpheus, while “In the Traveler’s Heart”(2013) was shot in Nida, Lithuania and seems to present a protagonist from an indigenous Latin American background. However, the narrative time of both do not try to create a realistic story. Time does not seem to proceed as a clockwork – on a narrative timeline, nor does it seem to be a dream. The image seems to be contemporary and timeless at the same time. This ambiguity of time, space and narrative the artist couple is creating, together with the atmospheric image of hand processed analogue film makes a unique viewing experience with many possibilities of interpretations.

Artist Link:
http://distruktur.com

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

Jan Soldat
Vom Rande her

Thursday, 26 February 2015
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Jan Soldat
Peripheral Vision
Vom Rande her

In his films, Jan Soldat portraits people whose private life defer from the social norm. The practice of sadomasochism, or love to animals does not find understanding by many, and thus these persons have been confronted with social marginalization. Watching the films of Jan Soldat may be even more disturbing, because he does not work with theater-like enactments as it is known from many trendy productions about the SM scene. Jan Soldat meets his leading characters in their private life. Instead of creating the illusion of sexual phantasies or fulfilled desires, the filmmaker is interested in the ordinary routines of daily life. And here, he creates exceptional captivating pictures, as he meets these men at eye level and gives them space to express themselves, making them true protagonists. And, the ways he frames and later on edits the scenes with much love to those details, he creates the attention that is needed to listen to the stories told and depicted in front of the camera.

(German Text)
Jan Soldat nähert sich in seinen Filmen Menschen, deren Privatleben von der sozialen Norm abweicht. Gelebter Sadomasochismus oder Liebe zu Tiere fällt bei vielen Menschen auf Ablehnung und führt entsprechend zu gesellschaftlicher Ausgrenzung. Verstörender noch können die Filme sein, weil Jan Soldat nicht auf theaterhafte Inszenierungen setzt, wie wir sie als bekannte „Szenebilder“ kennen, sondern den Menschen in ihrem Alltag begegnet, und gar nicht versucht, Begierde oder sexuelle Phantasien in Szene zu setzen. Viel eher interessiert ihn die Begegnung mit den Menschen. Hier leistet der Filmemacher außerordentliches, indem er den Menschen auf Augenhöhe begegnet und ihnen nicht nur Raum gibt, sich auszudrücken. Sondern auch indem er in der Inszenierung mit der Kamera und später im Schnitt mit Liebe zum Detail ihnen mit jener Aufmerksamkeit begegnet, die es benötigt, um sie als „Protagonisten“ selbst sprechen zu lassen.

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The artist will be available for Q&A. German with English subtitles.
Curated by Klaus W. Eisenlohr

Programm:
Zucht und Ordnung ⁄ Law and Order 2012 D 8:42 min
Geliebt ⁄ Be Loved 2010 D 15:45 min**
Der Unfertige ⁄ The Incomplete 2013 D 47:53 min

Artist Links:
http://de.wikipedia.org/wiki/Jan_Soldat
http://www.filmuniversitaet.de/de/filmuniversitaet/alumni/alumni/regie/tma/detail/7032.html

Film Links:
https://www.facebook.com/pages/Der-Unfertige-The-Incomplete/170591753144653
https://www.facebook.com/pages/ZUCHT-und-ORDNUNG-LAW-and-ORDER/1428891620657840?fref=ts
http://www.filmuniversitaet.de/de/filmeprojekte/filme/detail/geliebt/0.html
**GELIEBT ist eine Produktion der Filmuniversität Babelsberg KONRAD WOLF
www.filmuniversitaet.de – distribution@hff-potsdam.de

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

Doris Schmid
projektionen

Thursday, 25 September 2014
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

The artist Doris Schmid, who lives in Berlin, works in very subtle ways with the meaning of images, and against it. She uses the instance of implied narratives, or better saying the seduction of narration as an opportunity to enhance other image qualities such as perceptions of time, augmented spacial illusions, the vanishing of the image, or its apparition. Schmid for this purpose uses layering of video images, and then condenses them by a meticulous editing process.

Layers bring different or similar images together and create a multi-dimensional image composition. Initially however, the layers are being created by projecting on 3-dimensional surfaces, instead of digital compositing. These surfaces may be hand-made cut-outs that look like drawings from stills, or they may be moving surfaces, projections from a car or a train onto houses; but they are always closely related to the moving image in some ways. The final videos seem to have an analogue and performative quality, and they thus unsettle the common image perceptions of film.

The artist will be available for Q&A. Curated by Klaus W. Eisenlohr.

Artist Links:
http://www.dorisschmid.net/

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

CHRISTINA MCPHEE
The Delicate Landscape of Crisis
at REMISE
FREIES MUSEUM BERLIN
April 15, 2011

A premier survey of California-based McPhee’s experimental films from 2002-2011 will screen at 21:00 , 15 April , 2011 at  Freies Museum, Potsdamer Strasse 91 Berlin http://www.freies-museum.com/
Curated by Klaus W. Eisenlohr of Director’s Lounge, Berlin.

“Delicate structures arise in the transport of trauma”:  Christina McPhee traces landscapes of crisis, performing video montage like drawings in a data-field. From earthquake landscapes in the California desert, to Ground Zero in New York, to the oil spill in the Gulf of Mexico, McPhee tracks the intimate topographies of environmental crisis in America.  McPhee (b. 1954 Los Angeles) is a visual and media artist whose films have shown most recently at Art Cologne OpenSpace with Vernissage.tv; Director’s Lounge, Berlin; Cinéphèmère at the Tuileries for FIAC, Paris; San Francisco Cinematheque, and ISEA, Belfast. Christina McPhee is represented by Silverman Gallery, San Francisco

“ McPhee…imbues documentary realism with subjective evocation to such an extent that the project effectively displaces the importance of the documentary imag°òs indexicality… Still photographs, composited images and video clips of the landscape, environment and vernacular shrines allow the viewer to piece together the relationship between geological instability and psychological trauma…. ”
Sharon LIn Tay, film critic, London (Studies in Documentary Film 2008)

http://www.directorslounge.net
http://www.freies-museum.com/
http://www.richfilm.de/currentUpload/index.html

with support from Walden http://www.galerie-walden.de/
and Galerie Suomesta http://www.suomestagalleria.net/