dl - Page 3 of 45 - Directors Lounge

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?

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.

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).

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.

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 SPECIAL ON FLYING VISIT AT BAIZ

VIVEK BUDAKOTI (INDIA) PIED PIPER

Seen through the prism of Bertolt Brecht, the film Pied Piper is a satirical folklore of a simple laundryman, Chunnilal, who is rumored to have acquired his beloved donkey’s brains in a freak accident. Charming millions with his asinine conscience that refuses to let go, Chunnilal soon rises to become the most popular hero of his time whom the establishments starts to fear. Laced with black humour, the film mirrors the current socio-political status in India ranging from extreme disappointment to almost juvenile hopefulness.

www.piedpiper.magiclantern.co.in

“Pied Piper” was shown in German premiere at the 10th Berlin International Directors Lounge.

TRT: 1:52:54

Location:
BAIZ, Schönhauser Allee 26A, 10435 Berlin, Wednesday, April 18, 7:30 pm

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

Istanbul > Berlin > New York and (surely) beyond: Erdal Inci in Times Square

Video loop Wunderkind Erdal Inci of Istanbul, not least known to DL-ers through our first-time-in-Germany presentation of his insistently circling light-and-shadow-plays at DLX in Berlin way back in 2014, is now plastering his hypnotic (and at times unsettling) digital visions in nowhere less than Times Square, in the heart and core of the Big Apple. The work involved is called “Centipedes” and is presented in collaboration with DL kindred souls Moving Image Art Fair. But then, we always knew his work was astounding. Congrats from all of us here in Berlin, Erdal!

If you want to delve deeper into this enigmatic man’s soul, dive into our DL Deep Feature on Erdal, “Knocked For a Loop” – just click here.

Directors Lounge Screening
Txema Novelo
Double Feature
Thursday, 22 February 2018
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Double Feature
*Déjalo Ser*
+ *Tercer Ojo, Tercer Mente, Tercer Mundo*

Txema Novelo from Mexico City is joining us for a Berlinale special to present a double feature of his new film „Déjalo Ser“ together with compilation of music videos that he created for alternative rock musicians in Mexico. Since Novelo started creating super-8 films for a punk music label he has managed in Mexico City. In the following years, he expanded his creative production in an exponential curve, with making his own films, with exhibitions of drawings and installations.
Novelo’s production at the same time stays faithful to his own spirit, and you could truthfully say, spiritual search for life, art, music and an alternative way to look at the world, which at the same time is mixed with irony and a good portion of humor.

“Déjalo Ser” is the story of a Rock Mexican band, who’s lead singer is suffering from a lack of inspiration. After a mysterious meeting with a foreign singer, the band embarks with her on a journey to Oaxaca in search of a mysterious psychoactive medicine. A trip inspired by Antonin Artaud exile into Mexico, a search for a primitive, deeper and purer reality.

Shot on Super 8mm with sync dialogues, this guerrilla style road movie, plays homage to George Kuchar’s films and transgression cinema in a unique Mexican way. Produced by LE FRESNOY under the tutelage of invited artist and film legend Bela Tarr, ‘Let it be’ has accomplished in the first six months of its completion a special mention at the Morelia International Film Festival, and a selection for international competition at Clermont Ferrand 2018 in France.

“Tercer Ojo, Tercer Mente, Tercer Mundo” (Spanish for: Third Eye, Third Mind, Third Word) is a selection of recent videos for musician, Novelo has supported for many years. They are shot in different formats of super-8, 16mm, 35mm film and digital video and in one way or the other make reference to avant-garde films. The films, and the music, are inspired by a desire for life and identity in a world of media domination, capital and crime, without ever taking things too seriously. They are full of iconographical quotes to rock and pop of the era that rock music still had a promise, and if it was the three minute fame promoted by Velvet Underground (or Andy Warhol), or when music was “my religion”. On the other hand, to the German audience and between the lines, they also show, a great deal of Mexican life and urban culture from the perspective of contemporary youth. Their relation to nature and Mexican popular culture, and the reality of urban live become the backdraft for audiovisual imaginations.

Artist Link:
http://www.txemanovelo.com/
https://issuu.com/txemanovelo

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

Directors Lounge Screening
Clara Bausch
Momentum
Thursday, 25 January 2018
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Observations through the camera combined in different ways create new realities. Clara Bausch, who is born in Berlin and lives here as artist, strictly works with analogue images in her films, installations and photography. She studied Fine Arts at UdK Berlin and is co-founder of Labor Berlin. It is the ordinary, simple things in life that capture her attention. And it is the combinations of impressions, occurrences and images that create reality. The new realities that Clara Bausch creates in her art work are by no means out of this world. On the contrary, they are different, sometimes very personal views onto our reality. Cinema, or the images of newsletters are as much part of this reality as is ordinary life. Rhythm, the space between, or unexpected combinations of images, all create an intermission, an interval between images, which makes it possible to receive a new meaning – the opposite of information overflow in broadcast and so called social media.

In a number of films, Clara Bausch uses white space between the images, created by clear film. Fully overexposed film, which for example happens if you open the camera; becomes clear during development. In “Blitzen #1”, this is what Bausch does recurrently with her super-8 camera in between taking pictures. She takes a day for herself on the streets of Athens for the 3-minute film, edited in the camera. Glimpses of reflections of buildings and street life on glass, shopping windows, car lights and mirrors are thus being combined as associations of images.

Another series of films work with the overlay of images that happen if you illuminate a newsletter page from the back. “And the smile is red on red” takes this simple technique of image production onto the roofs of Kairo in order to communicate with people from Kairo. The film shows people who gather on the flat roof top of a house in the evening, and at night with flashlights illuminating the newsletter cutouts Clara Bausch had brought from Germany. While editing, Clara creates a rhythm of montage and of spaces between the images, giving the viewer the opportunity to create the story by “reading between the lines”.

“Wald” shows the camera travel-panning over pieces of shrubbery on the edge of the woods. The sound is very present and seems to be original atmosphere sound. Over time, the viewer realizes that the pan travels through different seasons and different weather conditions, and what started as a meditation on nature on a winter day becomes more a more complex story about the city and nature as the time unfolds.

Artist Link:
http://www.clarabausch.de/

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

Hunters For Collectors!

They are places never far away on an cosmic scale, but the luminous chunks of NEW YORK, BERLIN and PRAGUE can still play a game of hide-and-seek where you don’t recognize the most sensation-fixated players at first or only find them later – and maybe miss joining the game. Enter “City Primeval, New York, Berlin, Prague”, 552 pages that can jump-start you into a new sport of visual and (con)textual pleasures, and let you in on the all-out amusements. At turns shiny, sinful, sensitive, senseless – it is all of this and more, a romp through three cities that will kill for art and good times, with 72 key figures taking you on a taste-test of their hangouts, hangovers and hang-ups, with vivid imagery lining the path. Weighing in at 2.6 pounds, it qualifies as an underground bible of sorts, showing how these sweat asylums thrive and interconnect, with a cast of enigmatic oddities including Nick Zedd, J.Jackie Baier, Nat Finkelstein, Max Dax, Lydia Lunch, Julia Murakami, Miron Zownir and many more, including previously unpublished pix and up-close stories of cult(ural) icons like Klaus Nomi, Iggy Pop, Keith Haring, Jean-Michel Basquiat and Brian Eno to boot.

Put together with pedantic precision in upscale fanzine style by known-everyone-been-everywhere New Yorker Robert Carrithers and partner-in-crime Louis Armand, the volume is following up its New York MoMA presentation earlier this month with among other things this zoom-in encounter. Back on Earth, six of the contributors will present the book close-up in the best way possible: in the flesh, at BuchHafen in the bosom of Neukölln. Besides Robert Carrithers, sidle up to Carola Göllner, Steve Morell, Mark Reeder, Kenton Turk and André Werner. An evening of feral tales and seductive stories from the earthly reaches of the heavens. Meteorites and falling stars welcome.

More info

Join the event on fb

Location: BuchHafen Berlin, Okerstraße 1, 12049 Berlin

________

pictured:

“Trans women on Ku’damm” (1985, Kenton Turk), taken from “City Primeval, New York, Berlin, Prague”

The book City Primeval: New York Berlin Prague documents the zeitgeist of art and culture in NYC, Berlin, and Prague from the 1960s to nowadays. Key artists document life in each city and offer a unique glimpse into their exceptional universe. Including moments from the lives of Lydia Lunch, Iggy Pop, Jean Michel Basquiat, Penny Arcade, Mark Reeder, David Černý and many others who have shaped the spirit of the time. “City Primeval” was curated by New York photographer Robert Carrithers and writer/critical theorist Louis Armand.

Program:
19:00-22:00 @ Kino Central: Book Release Event
Robert Carrithers, Louis Armand & contributors introduce the book with projected images, talks, and interact with the audience.
Presentations from photographers and Berlin film makers about their work:
Miron Zownir | J. Jackie Baier | Ilse Ruppert | Timo Jacobs | Mark Reeder
Live-Act: Song „City Primeval“ by Phil Shoenfelt and Marcia Schofield
22:00 @ Eschschloraque: Book Release Party – DJs, Performances, Live-Acts
DJs: Black Black God and Gina Dorio/Cobra Killer
Live Acts & Performances: Evelyn Frantti: Burlesque | Lady Gaby & Sean Derrick Cooper Marquardt | Mona Mur performs new poems by Miron Zownir | Viviana Druga: Ritualistic Action Royal Comfort (Oska Wald, Jimmy Trash & Big Daddy Mugglestone) | Phil Shoenfelt

The book release events will bring the stories visually into life in all the cities of their Creation – in Berlin on November 30, 2017 @ Haus Schwarzenberg, Rosenthaler Str. 39, 10178 Berlin!
Entrance: 5 Euros

Photo: Phil Shoenfelt playing at DL IX

Directors Lounge Screening
Marissa Rae Niederhauser
Unbinding Spell
Thursday, 30 November 2017
21:00
Z-Bar
Bergstraße 2
10115 Berlin-Mitte

Marissa Rae Niederhauser, dancer, artist and filmmaker from Seattle, United States, lives in Berlin for two years, now. Her films vary between radical body expressions, and transcending body-nature relations, the complications of desire, and the search for love while counteracting the (male) role expectations.

Her work as an artist is based on modern and contemporary dance. After learning ballet at an early age, she studied dance at Cornish College of the Arts in Seattle. Through documenting her early dance pieces, she learned how to edit video and moved from there to her own performances for the camera, while still frequently performing live dances. Though she does not have a formal training in visual arts, her process of working with video is surprisingly similar to visual artists working with performance and video. Like many artists, she often works alone or with only a small crew (camera/sound person) instead of big dance productions. Influences by artists like Ana Mendieta, Carolee Schneeman and Charlotte Moorman are becoming obvious in the pieces which have performance quality, while others are structured as dance choreography.

Marissa Rae Niederhauser will present a program of video work, all conceived and edited by herself. And she will be available for Q&A after the screening.

Artist Link:
www.marissa-rae-n.com/
http://marissaniederhauser.blogspot.de/

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

Mark Reeder, Bob Rutman, Dirk Kalinowski, Wolfram Spyra and YOU! Fri Nov 10th 7pm.

28 years after the tumbling of the Berlin wall our good friends of the Iron Curtain project celebrate the role of punk, chaos and art on both sides of the formerly divided Berlin. Still anarchists from the heart, the gang, together with friends will create a wild mash up of live music, video footage, old tapes and lost tunes into 28 minutes of pure chance, noise and fun.

And here’s where you can become part of this spontaneous symphony. Bring any tunes, recordings, tapes from that time and plug it into the sound systems. Tons of cables are at hand, but best if you come with your own device.

The frenzy starts at 7pm at the Galiläa church (now the home of the museum of youth resistance), Rigaer Straße 9, 10247 Berlin.

A true Fuck Yeah Old School event not to be missed.

See you there 🙂