The idea of scale in architectural contemplations reflects on the meaning of the space, also scale connects with urban topology and contemporary ideas of social geography. Social, political, or personal impacts may be seen differently if seen from different point of views: looking from a global, national, municipal, personal, community-based or journalistic point of view.
These new films create spatial contemplations or film essays from Chicago, San Francisco, Berlin, New York, Canada, from a historical literature connection (Kerouac) or even the virtual space of a Si-Fi film series. The screening presents a diversity of films connected with architecture, urban space and landscape from documentary to experimental, and will create an interesting visual dialogue about urban space in film.
The Exquisite Corpse Video Project (ECVP) is a unique video collaboration among artists from all over the world, inspired by the Surrealist creation method, the “Exquisite Corpse”. Using the semi-blind, sequential method of the surrealists’ game, ECVP participants create video art in response to the final ten seconds of the previous member’s work. Each member is asked to incorporate these seconds into their piece, creating transitions as they please, until everyone’s vision is threaded together into an instigating final “corpse”. Rather than providing a unitary linear narrative, each participant maintains his/her own style, permeated by the diverse cultural backgrounds.
With works by Alexandra Gelis, Alysse Stepanian, Anders Weberg, Anthony Siarkiewicz, Clemence Demesme, Dellani, Fernando Velazquez, Gabriel Soucheyre, Gérard Chauvin, Guillermina Buzio, John Sanborn, Jorge Lozano, Kai Lossgott, Kika Nicolela, Kim Dotty Hachmann, Krefer, Laura Colmenares Guerra, Lucas Bambozzi, Niclas Hallberg, Per E Riksson, Renata Padovan, Sigrid Coggins, Simone Stoll, Sojin Chun, Stina Pehrsdotter, Ulf Kristiansen
AUJIK is an art concept initiated in 2001 by Stefan Larsson, born in Sweden, lives and works in Otsu, Japan. Works with CGI video, VR, 3D printing, installations, clothes, photos and music/sound. Topics regarding Artificial Intelligence, nature, animism and future visions.
Medienwerkstatt BerlinThe Medienwerkstatt was installed in 2008 by the Kulturwerk of bbk berlin with public funds as a workshop of artists for artists to further their practice and gain valuable skills. Besides the many technical facilities available to users of the Medienwerkstatt, such as the Media Lab and Green Screen room, the media workshops themselves strengthen and interlink mutual support networks among artists.
With works by Jani Pietsch, Verena Kyselka, Maria Köhne, Sandra Becker 01, Poul Weile, Kim Dotty Hachmann & Ginny Sykes, Maria Korporal, Sonia Armaniaco, Lioba von den Driesch, Juliane Ebner, Gup-py, Petra Lottje
Directors Lounge presents works by AUJIK | C.A.R. Video Loungeat the Contemporary Art Ruhr, October 28 – 30, 2016
AUJIK is an art concept initiated in 2001 by Stefan Larsson, born in Sweden, lives and works in Otsu, Japan. Works with CGI video, VR, 3D printing, installations, clothes, photos and music/sound. Topics regarding Artificial Intelligence, nature, animism and future visions.
Been featured at Prix ars electronic, Japan media arts festival, SIGGRAPH, Animago, onedotzero, Museum of modern art, Paris, New York media museum, Cyberfest, Frankfurter kunstverien, Streaming Museum NYC and festivals and exhibitions worldwide. Been collaborating with Mira Calix & Oliver Coates, Liturgy, Christ, Daisuke Tanabe and other artists.
YUKI. 2007. Music by Christ. In YUKI a robot tree and two children are interacting in a snowy landscape and it is hard to tell which one controls who and whether it is a game or a drill. It is inspired by Ocean D. Howells pamphlet “in the playground of Technological Singularity.”
a Forest within a Forest. 2010. Music by Mira Calix. A guide named Nashi narrates the audience journey in an uncanny forest. Nashi states that everything is animated, and that even the things we consider synthetic and artificial are as sacred as plants and stones. She criticizes nature for its inability to develop and praises technology for its flexibility and proclaims that nature should adapt to technology in order to survive.
Impermanence Trajectory: the limb nest. 2012. Music by aujik. Pancomputationalism derives from the idea of a computational universe, which means that the whole universe and all of its elementary particles are a network of a computational system and process. Earlier AUJIK referred to this in terms of natural and unrefined computation but after German AI scientist Jurgen Schmidhuber introduced the more comprehensive view of Panacomputationalism it’s been adapted. In this manifestation called ‘Impermanence Trajectory: the limbic nest’, this idea is explained through a sacred rock located at an ancient Yamabushi area called Ishiyama. A rock consist of approximately ten trillion trillion atoms in a kilogram of matter, electrons scattering and bouncing back and forth making it a very vivid space with a vast computational potential. This rock in particular was discovered by a Yamabushi monk called Gue in 971 and was mainly used for contemplation. They claimed it had huge amount of matter that the called symmetric energy. Yamabushi monks considered them self’s as an isolated cluster and by transcend with this rock they could become a more synchronised entity.
Impermanence Trajectory: stained seed. 2014. Music by Mira Calix & Oliver Coates. AUJIK’s visual manifestation ‘impermanence trajectory: stained seed’ is based upon the idea of Computational Dialectics via Complex Sentiment Systems. By using dialectical values that is the concept and phenomena expressed in terms of conflict, contradiction, opposite, difference, etc. In thought, nature, and society it is the motive force both of nature and of human endeavor, leading to a further trajectory of development. It consists of two subjects: agent X and agent Y. Each subject is exposed to eight different emotional inputs that determine a value. Values are also influenced by four different forces. These forces either combine or divide the emotional values, rendering random outcomes depending on their previous state, their environment, and the state of the other agent. The trajectory starts with an initial state where the two agents plant a seed each. The seed grows according to the emotional states of the agent and the impact of the forces. During the evolution of the seed, the tree – which represents the object – also changes its form and gradually blossoms before it collapses due to a self-inflicted virus.
Polygon Graffiti: an uguisu morph. 2010. Music by Christ. As AR (Augmented Reality) is emerging, art will find new territories in the public space for those who are willing to see it. e.g. Graffiti paintings, which in most cases are considered an illegal act can be viewed in various environments without bothering people who don’t appreciate it. This video presents nine dynamic paintings in three different contexts: Urban, Organic and Nature.
Polygon Graffiti: karakuri cores. 2015. Music by Christ. ‘Karakuri cores’ is the second visualization in a video project called Polygon Graffiti which propose feasible visions of Augmented Reality and libration of art in all realms. By using a comprehensive and vivid form of AR the artist will be able to completely deconstruct any spatial and architectonical elements in the public and private spheres. Precise motion tracking, 3D scanning and GPS grids will enable the artist to rebuild any building or constructions and add their own personal aesthetic to it. This may be implemented as an open source in order to let other people or self aware software’s to contribute and hack the constructions. Titles: 1. Karakuri kween. 2. Beat blocks. 3. Sclerotic cores. 4. the Gu’s 5. Himitsu Kichi 6. Gunkan clouds. 7. Yokai cargo. 8. QAL-GRAF. 9. Mushin transmitters. (Influenced by the book ‘Rainbows End’ by Vernor Vinge)
anxOxna. 2014. Music by Ceephax Acid Crew. Trees structured as a neural network. Axon and Dendrites-branches connecting through multiple forms of synapses. Individually programmed receptors. Flexible synthetic neurotransmitters . Axon terminal with receptive chaos outcome. Post synaptic density calibrated through external sentient impacts. A pan-computational AI-system. This video entitled ‘anxoxna’ depicts six variations of pan-computational synapses. The video will be presented in two formats as a video installation. Physical and Form & Void. This excerpt is from the Physical version. The Form & Void version features the under vegetation of the trees; the roots, rhizomes and underlying connections.
Plasticity Unfolding. 2015. Music by aujik. ‘Plasticity Unfolding’ is based upon an interview between AUJIK member Mana and her ADI (Artificial Deep Intelligence) entity KIIA. KIIA is constructed as an autonomous flexible neural network with vast recursive self improvement abilities. KIIA lacks a physical body, but has created self-awareness emerging from its surroundings and anomalous pattern recognition. Mana asks KIIA if it visualizes itself. KIIA explains that its core is a self evolved limbic system which has a far more complex sentiment system than humans. It is capable of generating emotions and sensations that have never been perceived before. KIIA imagines its limbic system to be resting on a river bed that functions as its nerve system and consciousness simultaneously. KIIA continuously cultivates its system. ‘Plasticity Unfolding’ is an attempt to illustrate this appearance.
Spatial Bodies. 2016. Music by Daisuke Tanabe. Spatial Bodies depicts the urban landscape and architectural bodies as an autonomous living and self replicating organism. Domesticated and cultivated only by its own nature. A vast concrete vegetation, oscillating between order and chaos. Music specially composed by Daisuke Tanabe. Filmed in Osaka, Japan. Influenced by gunkan and metabolism architecture and the video game Katamari Damacy.*
Directors Lounge presents the EXQUISITE CORPSE VIDEO PROJECT vol. #05crisis & utopia | C.A.R. Video Loungeat the Contemporary Art Ruhr, October 28 – 30, 2016
The Exquisite Corpse Video Project (ECVP) is a unique video collaboration among artists from all over the world, inspired by the Surrealist creation method, the “Exquisite Corpse”.
Using the semi-blind, sequential method of the surrealists’ game, ECVP participants create video art in response to the final ten seconds of the previous member’s work. Each member is asked to incorporate these seconds into their piece, creating transitions as they please, until everyone’s vision is threaded together into an instigating final “corpse”. Rather than providing a unitary linear narrative, each participant maintains his/her own style,permeated by the diverse cultural backgrounds. Each individual artist interrogates, via different means, a number of genres, tendencies and strategies. Since 2008, this inspiring process of exchange among artists from around the world illuminates the possibilities of a dynamic collective creation via participatory platforms and new communication technology.
The project has been already shown in galleries, museums, cinemas and alternative spaces of Algeria, Argentina, Australia, Brazil, Bulgaria, Canada, China, France, Germany, Greece, Italy, Mexico, Serbia, Singapore, Slovenia, Switzerland, Taiwan, UK and US. Some of the main spaces that have exhibited the ECVP include the Museum of Modern Art in Buenos Aires, Central Gallery in São Paulo, Open Contemporary Art Center in Taiwan, Galerie Carla Magna in Paris, Visual Arts Network in Cape Town, Artists Television Access in San Francisco and Videoformes Festival in Clermont-Ferrand.
The ECVP was initiated in 2008 by the Brazilian artist Kika Nicolela and it has had 5 volumes released. The most recent one, ECVP Volume#5, proposes the theme of Crisis & Utopia.
ECVP Vol.5: 41 minutes
Alexandra Gelis (Colombia/Canada), Alysse Stepanian (US), Anders Weberg (Sweden), Anthony Siarkiewicz (US/Germany), Clemence Demesme (France), Dellani Lima (Brazil), Fernando Velazquez (Brazil), Gabriel Soucheyre (France), Gérard Chauvin (France), Guillermina Buzio (Argentina/Canada), John Sanborn (US), Jorge Lozano (Colombia/Canada), Kai Lossgott (South Africa), Kika Nicolela (Brazil/Belgium), Kim Dotty Hachmann (Germany), Krefer (Brazil), Laura Colmenares Guerra (Colombia/Belgium), Lucas Bambozzi (Brazil), Niclas Hallberg (Sweden), Per E Riksson (Sweden), Renata Padovan (Brazil), Sigrid Coggins (France), Simone Stoll (Germany), Sojin Chun (South Korea/Canada), Stina Pehrsdotter (Sweden), Ulf Kristiansen (Norway)
Directors Loungeat the Contemporary Art Ruhr, October 28 – 30, 2016
The key to understanding Carola Göllner’s works of Michael Caine, is not to contemplate how correctly she figuratively represents him in her works, but rather to realize how his iconographic qualities sustain in the work as a whole. The Michael Caine series of paintings and drawings, which began in 1987, exemplifies many of the stylistic changes and overall artistic development of Göllner.
The more recent projects reflect the return of realism, which can be seen both formally as well as in the interpretation. The subject is freed from his role. The action is balanced with contemplation reflecting the psychological aspect of image and representation, which is relentless but not distant.
German:
Die Serie der „Michael – Caine“- Bilder, die 1987 begann, zeigt beispielhaft die stilistischen Veränderungen und die künstlerische Entwicklung im Werk von Carola Göllner.
Gezeigt werden Arbeiten der letzten Jahre, die sowohl formal als auch inhaltlich die Hinwendung zum Realismus widerspiegeln. Es zeigt sich der psychologische Aspekt von Bild und Bildnis, der Akteur ist sich seiner Rollen bewusst und interpretiert sie mit derselben ironischen Überhöhung, die den B-Filmen zu eigen ist, denen sie entlehnt wurden.
Directors Lounge presents “Flight | forward” by Medienwerkstatt Berlin | C.A.R. Video Loungeat the Contemporary Art Ruhr, October 28 – 30, 2016
Flight | forward
In a time where hate, violence and destruction shape our daily news we would mostly like just to run away. But the question is where to. Our flight forward leads us into the imaginary, into the utopia or into desperation. Against the everyday madness of diverse control authorities and interlinking providers we counterpose the radical transformation. (text: Sandra Becker)
Pictured: Ludo by Lioba von den Driesch
Flucht | nach vorne
In einer Zeit, wo Hass, Gewalt und Zerstörung unsere Nachrichten prägen, würden wir am liebsten weglaufen. Die Frage ist bloß wohin. Unsere Flucht nach vorne geht ins Imaginäre, ins Utopische oder auch in die Verzweiflung. Dem alltäglichen Wahnsinn unterschiedlichster Kontrollinstanzen und Schaltströmungen setzen wir einen radikalen Wandel entgegen. Hass wird zu Liebe und Zerstörung zu Schöpfung. (Text: Sandra Becker)
pictured: Nichts by Juliane Ebner
Programm
Jani Pietsch : Ausgesperrt (2014) Verena Kyselka : Shahbag (2013/16) Maria Köhne : Go (2016) Sandra Becker 01 : Füsse (2015) Poul Weile : BimJam (2016) Kim Dotty Hachmann & Ginny Sykes : healing grounds (2013/15) Maria Korporal : Third Eye Flying (2014) Sonia Armaniaco : Remain In Light | This Is Not a Pipe (2016) Lioba von den Driesch : Ludo (2015/16) Juliane Ebner : Nichts (2016) Gup-py : Hinter der Tür (2012) Petra Lottje : Variation (2016)
Spatial Relations Deborah Uhde and Melissa Faivre Thursday, 28. July 2016 21:00 Z-Bar Bergstraße 2 10115 Berlin-Mitte
Two young artists who recently moved to Berlin present their experimental video work. On a first view their work seems to be very similar as they use associative techniques of montage and editing, and both demand an active viewer who positively combines and completes the offered pictures to their own interpretation or, story.
This applies specifically to two of the films, “The Space In Between” by Melissa Faivre and “State of the Art of the State – a Dysfunctional Machine“ by Deborah Uhde. Both films seem to work with loosely connected images, which do not easily combine as a story and are brought together by rhythmic editing and a poetic film language. Both films deal with spacial relations, with the space between people and objects, between objects and exterior or interior space and the space between camera and subject.
The film by Melissa Faivre shows two domestic spaces and two people interacting in those spaces, mostly using cameras. One of the spaces has a large bed, a makeshift steel frame and two windows, the other one lots of electronic equipment. The reason for the interaction stays obscure, it may just be a spacial exploration. The gazes from and to the camera distorted by analogue and digital means to reveal secrets about the place or the people or about their relation and it creates some suspense. The interaction seems to follow some performative rule. The viewer is not really asked to analyze the fragments but to put together the pieces of distorted and rhythmically edited information to some visual-poetic experience.
Deborah Uhde’s piece “State of the Art of the State – a Dysfunctional Machine“ seems to be made of pieces of information about a space in a very different way. Views of a science campus, the “physikalisch-technische Bundesanstalt Braunschweig”, are being combined on a double screen and edited in associative ways. The rhythm of the pictures is slow and seems to follow the pace of a documented research, the cataloguing and search for art on the campus as the subtitles state. However, we rarely get to see art, at least no paintings or sculptures but strange constellations of buildings, containers, rulers, marks and construction signs, any of which could be part of some art project but very unlikely is so. The one object that looks very much like a modernist sculpture, a steel object that combines spheres and poles, apparently is an object for measurement as the viewer is informed by subtitles. Deborah’s film thus combines spatial views in a poetical and rhythmical way, but then it seems, she rather asks the viewer to critically engage and make their own distinctions between aesthetic and utilitarian spatial use.
Both filmmakers present a number of very different films, set between the documentary and experimental forms. A program of very fresh new experimental films from filmmakers living in Berlin and coming from France/Netherlands and Braunschweig/Germany.
Many thanks to all visitors, participating artists and filmmakers, as well as to Ronald Liebermann and shoutr labs, Hi-ReS! and 48 Stunden Neukölln and all helping hands. Special thanks to Bela Böhme and Reinhold Gottwald for their overwhelming support and Korhan Erel for his wonderful live performance to the visuals of Candaş Şişman.
Photos by Kenton Turk and Klaus W. Eisenlohr (click for credit!)
Directors Lounge Screening Urban Research Special Topophilia – Landscapes and Harbours | Claudia Guilino
Thursday, 30 June 2016 21:00 Z-Bar Bergstraße 2 10115 Berlin-Mitte
Two shorts and one feature about the interference of the technical world of shipping and oil with landscapes and the city. Twice the Port of Los Angeles is the starting point for visual exploration. One goes up north along the Trans-Alaska Pipeline, the other examines the harbor at night. The harbor of Veracruz on the other hand is the place for a histographical reconsideration of the Mexican harbor from a very personal point of view.
Topophilia by Peter Bo Rappmund surveys the 800-mile length of the Trans-Alaska Pipeline, and travels alongside the conduit as it bobs above and underground from the Prudhoe Bay oil fields to its terminus at Valdez. The extreme linearity and continuity of the pipeline acts as a pivot point to reorganize the landscape and offers new and idiosyncratic ways to visually reconsider topography. The film confronts the extreme beauty of the North-American landscape with the seemingly safe infrastructure of oil transport.
Veracruz Without Ship by Teresa Delgado & Jakob Kirchheim. A documentary melodrama with privatizations and without lovers. A poetic walk through Veracruz, port of European exiles and Mexican oil, of melodrama and of the rhythm danzón. // Since 1938 Lázaro Cárdenas government offered political asylum to thousands of Spanish republicans who were fleeing war and persecution. They arrived to the port of Veracruz, unreachable paradise for the defeated who could not leave Spain. We revisit this myth of the grandparents and confront it with the present in 2014. In this year the PRI government is opening the doors to private investment of multinationals in a natural resource which Mexicans consider their own: oil. Oil plays an important role in the Gulf of Mexico and Mexican oil was nationalized by Cárdenas government in 1938.
Port Noir by Laura Kraning. Within the machine landscape of Terminal Island, the textural strata of a 100 year old boat shop provides a glimpse into Los Angeles Harbor’s disappearing past. Often recast as a backdrop for fictional crime dramas, the scenic details of the last boatyard evoke imaginary departures and a hidden world at sea.
Program addition: We are deeply mourning the loss of our close friend Claudia Guilino and will show two videos by her
Stony Sleep 6 min 24s 2011 Abgesang, kupferfarben 3 min 52s 2009
Claudia Guilino was part of the Directors Lounge family from the early days, supporting our project with love and enthusiasm. Claudia passed away on June 26. She will be deeply missed.
Here is a taste of the future. On the DL menu: a new kind of screening, directly on your tablet or smart phone, a sneak into our archives at your fingertip.Make no mistake, we are not talking about an online presentation. We are sticking to our tradition of connecting art and audience in a vivid get-together at selected locations. But this time it is a collective just when-you-want-it experience. You bring the screens, we serve the movies.
48 Stunden Neukölln is a forum for projects in all conceivable artistic disciplines found in the art scene in Berlin. The festival both presents and supports art, thereby contributing to discussions of ideas effecting society at large while also reflecting said society. All segments of the local population get involved, regardless of age, ethnic background or social standing. Art here is something more than what’s on view in galleries and museums during 48 Stunden…read more
Location:
PAS-07 Hi-ReS! Berlin Ganghoferstr. 10 Eingang Parkhaus/5. OG 12043 Berlin
9pm C.A.R. selection: works by Wuttin Chansataboot, Thailand, AUJIK, Japan, APOTROPIA, Italyand“The Attic”, a charming tribute to David Bowie by Greek filmmaker Minos Nikolakakis
Korhan Erel is a computer musician, improviser, sound designer based in Berlin. He plays instruments he designs on a computer by employing various controllers. He is a founding member of Islak Köpek, Turkey’s pioneer free improvisation group, which is regarded as the band that started the free improvisation scene in Turkey. | photo: Peter Tümmers
6pm C.A.R. selection works by Wuttin Chansataboot, Thailand, AUJIK, Japan, APOTROPIA, Italy and “The Attic”, a charming tribute to David Bowie by Greek filmmaker Minos Nikolakakis
8pm Urban Research | Program A | Private Matters (On loop on monitors or on big screen on Sat.)
with works by Gretchen Hasse, Doris Schmid, Vladimir Turner, Yaron Lapid, Ezra Wube, Mathew Pell, Rob Santaguida, Ofir Feldmann, Anna Okrasko, Sasha Waters Freyer, Matthew Pell, Insa Langhorst, Insana Salvatore, Margarita Novikova, Michael Lyons
Sun 2pm – 7pm
4pm Urban Research | Program B | Private Non-Private (On loop on monitors or on big screen on Sun.)
with works by Fern Silva, Sheldon Brown, Russell Chartier, Eleonore Montesquiou, Markus Soukup, Andrew Freitas, Salise Hughes (pictured above: still from “Tall Trees”) , Petra Lottje, Jonathan Rescigno, David Rozas, Rhayne Vermette, Yanosky Yaroslav, Maike Zimmermann, Lynne Sachse
Loop program on different times Saturday and Sunday Benna, Vladimir Turner, Sascha Reymann, Fried Rosenstock, Mark Street, Peter Bo Rappmund
Directors Lounge presents selected works by new media artist Erdal Inci (TR/DE)
Throughout the festival, we will show Erdal Inci’s hypnotizing GIFs of cloned motion that will glue you to the screen:
Taksim Spiral 0,8s 2013 (photo: Nick Font/ The 10th Berlin International Directors Lounge) Pictogram 1,4s 2013 Hieropolis Amphitheatre 1,4s 2013 Flood of Light 1,4s 2013 Camondo Stairs 0,4s 2013
Read the interview with Erdal Inci on our [DL] magazine: [DL] DEEP FEATURE: KNOCKED FOR A LOOP
Due to the nature of the event are starting times approximately. Inbetween we will show selected highlights from the archive and single loops on additional screens. A wide selection of films will always be at your fingertips through our DL à la carte system.
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