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  • A Look Back...
    to cut a film I had shot in fall The cuts were to be independent of any continuous movement of the actors being derived entirely from a pattern of numbers which were prescribing the length of each sequence The film was called GOING TO STUTTGART and it looked great with the music of the Mothers turned on But I saw no possibility at the time to incorporate the approach into a larger structure and so I developed into a different direction Perhaps this was because of the complete absence of any theory of film which might deal with non continuous montage During the summer of 68 I shot 10 films all 8mm and arranged a screening in the Brüderstrasse in Hamburg attended by quite a few people This encouraged us to start a sort of movie theater which we opened in Werner s basement We fitted it with some benches and mattresses and drew up a few programs that mixed Werner s and my films And usually we made abt a hundred Deutsch Marks which was far above the production costs of my films Werner probably was more ambitious in this respect In the meantime the Hamburg filmmakers cooperative had been founded the first Hamburg film show had taken place there was the scandal concerning H Costard s BESONDERS WERTVOLL and the amazing solidarity among filmmakers in Oberhausen But all those events do not stand out sharply any more in my memory in Sept 68 I left Germany in order to work in New York as a physicist It was difficult to get used to Hamburg again I got a room in the coop and there I assembled like a madman DÄMONISCHE LEINWAND an 8mm movie that has a duration of 6 hrs I met Werner and Dore again when we drove to the Intermedia in Heidelberg There I saw ALASKA the beauty of which was to overwhelm me time and again during the years to come Maybe it is the revelation that I owe to Werner s film KELEK which was at the root of my incapability to face NEBULA and T W OMEN intensely I always had a slight aversion against these films I quickly found a terminology which solidly underpinned this aversion Terms like contentwise bourgeois came to mind Undoubtedly the guy shown in NEBULA who is tying himself up is an image from the bourgeois arsenal as is the chap turning ladies shoes into a fetish and surely the constellation of women in T W OMEN is solidly anchored in a bourgeois surplus economy But these terms which describe my uneasiness are focused unambiguously on content related systems The formal structure of NEBULA is not different enuf from that of KELEK to provoke a rejection and especially T W OMEN is an extremely progressive explorative work in terms of its structure My critique thus concerns the motif and the motif is an aspect of content In so far my aversion appears to me at times as

    Original URL path: http://www.art-in-society.de/AS3/Wiborny/ALB.shtml (2016-04-25)
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  • Hamburg Memories
    scene of murder to Lady Macbeth and the camera pursues Lady Macbeth stage by stage thru the castle down to the sea What is striking is the effectful way of cutting leaving out transitions giving separate looks on Lady Macbeth in front of us at eye level then looking down on her then far down at the shore then again in close up at the shore the water coming and going letting her be on land and in the sea alternatingly Early in the film the theaterlike abstract presentation after a while of patient getting accustomed to it is quite impressive especially the doubling of movements of Macbeth and Lady Macbeth whose shadows appear to the left behind them an allusion to be read in the context of Jungian theory Later the fight between Macbeth and Macduff in the mist in the snowy winter landscape strangely reminded me of the fight between a man and a woman about to be deflowered there was something deadly and determined to subdue and on the other hand not to be subdued wch was not free of a hilarious also a helpless pitch But maybe this is generally true of hunter and hunted victim and the man woman relationship that I associate is as much elucidated by the fight as it elucidates it What is strange is perhaps the prominence of Lady Macbeth who is clearly the more active but then also a haunted figure in her movement as well as vocally Soundwise the film moves from the Shakespearean text very quickly to articulation that has completely left the semantic plane and is wholly on the emotional plane giving an impact that you either accept or evade by laughing it off as ridiculous What comes to mind is Artaud s insistence on gesture overdone gesture in the theater in his case of cruelty here very often bordering on the or rather being already beyond the melodramatic When the sound realization returns again to sense the specific realization has been prepared by the initial Verfremdung 6 words are separated into syllables mechanically each syllable gets exactly the same amount of time still later sentences are spoken almost normally but repeated again and again The modulations and transformations of language at times seem even more fascinating than the visual side of the film Chimney Piece Klaus Wiborny s latest film is a very different work one that has moved away from clear structuring clarity of images abstraction block wise realization of time toward minute changes haziness all that is fleeting imperceptible changes from one state to another neighboring one Street scenes alternate with barely visible indoor scenes which seem to last eternally considering what little information they give Then again and again the streets of a city which is obviously Hamburg a shifting trembling skyline the railing of a bridge which while we pass it becomes blurred the details fading into each other From under the bridge leaves of trees which seem to move while everything else remains stationary again and again the long front of a cafe people in front of it suddenly one of them drops out of the picture an effect that is at the same time sad and grotesque and hilarious Or the intersection that a car crosses quickly driving backwards This too is shown repeatedly the air is one of nostalgia Structurally the film is not tight as previous films of Wiborny have been but why shd it Maybe to move in this direction towards great indeterminacy is however difficult it may be a good thing and worth exploring But the colors rarely move from vague yellowish grey to something more interesting and emotional intensity is evoked flashlike between long intervals Such a rhythm certainly is more troublesome than the beautiful but much shorter films Wiborny showed last year After the Goldrush and Dallas Texas especially Dore O s film Kaldalon which was already shown on last years film show was screened once again It is really a film eminently about time and time in it is to a large extent movement movement thru space When the film starts the island seen from above moves and by implication we know there is that airplane moving which we later see in motion when the camera is already on the ground Such shifting space that implies a mover a moving eye a moving camera occurs again when the camera leads us thru a house around corners a staircase up then to the outside along the wall of a house that same house paralleling the street and in again to pick up the movement of dancers Like later it picks up men women in motion figures across a field towards a house that they enter and step out of again the door opens outside something is moved by the wind is it grass is it a hammock A waterfall moves downward circular movement movement that stays in place A geyser moves upward A stone rolling linear movement that enters leaves the frame Two people are standing on a mud bank in shallow water the wind foam water move while the camera catches them there Suddenly the people move away from each other a counterpointal effect Again the standing people endurance some movement Time suddenly moves on slowly as they stay in place are busy completing something Yes some move straight on like a stone linear Some like the waterfall remain in place The shifting of the landscape itself 7 tells us that place the space in which all the movements occur is relative too we move in it unstable while it is no secure point of reference itself Dore O s latest film Blonde Barbarei was shot in black white and later sepia colored thruout It uses music reminiscent of a Gregorian chant a figure a woman moves in front of windows looking down on houses on roofs into a courtyard with trees The atmosphere is that of rain of sadness a closed in

    Original URL path: http://www.art-in-society.de/AS3/Weiland/Hamburg.shtml (2016-04-25)
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  • Scientific documentation on: Fahrenheit 9-11 (Part I)
    to not screen the film Both theater chains which were not in domestic distributor Lions Gate s original 800 theater release plan are protesting the content of Moore s film According to Fridley Theatres Web site the theater chain has received a deluge of e mails phone calls and letters some praising the action and others criticizing it But a statement from owner Robert Fridley said the company is not playing the film because it believes that Fahrenheit is propaganda It has always been and will continue to be our policy to refuse to play what we feel are propaganda films no matter the source It was and is our feeling that Fahrenheit 9 11 falls into that category he said In a statement to a local newspaper GKC Theatres president Beth Karasotes confirmed that her chain with 270 screens at 29 theaters will not show Moore s film as long as the country is at war We believe in Michael Moore s freedom to make this movie Karasotes told the Michigan based Mining Journal We trust that our customers will recognize and respect our own freedom to choose not to show it During a time of war the American troops in Iraq need and deserve our undivided support Calls to Karasotes were not returned Fahrenheit 9 11 has already grossed more than 60 million since its release two weeks ago Lions Gate s expansion into 2 011 theaters is expected to generate an additional 9 million this weekend Lions Gate Films president of releasing Tom Ortenberg said that in addition to the two chains in the Midwest a few independent one or two screen theaters also have refused the film This is a horrible precedent to be setting for someone to be putting their personal politics above the needs

    Original URL path: http://www.art-in-society.de/AS3/fa/censureship.shtml (2016-04-25)
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  • was born April 27 1921 in Czechoslovakia A member of the antifascist Resistance and after his arrest a political prisoner he welcomed the liberation of Czechoslovakia by the Red Army in 1945 Always a humanist with a strong awareness of the social dimensions of art he was soon disillusioned by the day to day reality of real socialism The second part of this issue features the work of Canadian expatriate artist Angelo Evelyn This section honors the 60th birthday of the artist who on this occasion had a beautiful retrospective exhibition of his oeuvre at the museum in Kranenburg thanks to the late Hans van der Grinten the renowned Beuys collector Angelo Evelyn s work consisting of many fine drawings paintings lithographies and examples of his collage and mixed media technique often a combination of enlarged xerox copies turned into silkscreens plus painting or of woodcut or etchings plus lithography has been focused on by Christian Krausch an art historian working in a museum context in Moenchen Gladbach as well as the artist himself the art critic Gene Markopoulos and the poet and writer of these lines Andreas Weiland It is Christian Krausch who points out the vital relationship between PLACES that is to say locations that mattered in the life of the artists and his WORKS which means for one thing his SUJETS or subject matter but perhaps also other more strictly formal aspects A third part is comprised of merely one article that focuses on the German artists Gerhard Betterman and Klaus Boettger as well as the Czechoslovak artist Ernest pitz Time and place immersion in the artistic cultural and even political climate affecting different generations are factors reflected when attempting to throw light on the diverse realist approaches of these artists Each asks us to be regarded

    Original URL path: http://www.art-in-society.de/AS2/Editorial2.shtml (2016-04-25)
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  • Pavel Branko, Documentary Film as Art
    investigative fieldwork and archival research However neither of them applies the instruments of artistic form giving or shaping The authors probably did not feel any ambitions in this direction specific formal shaping apparently has not been the line of their approach though it is hard to say why What I mean by that type of ambition I would like to demonstrate by means of another typical factual film from the cycle Historická panoráma History Panorama realized by public Slovak TV production STV which overwhelmingly does not reveal such ambitions either In the sequel dedicated to Karol Šmidke Shmidke the director Rudolf Urc Urtz on the one hand resorts to staging rather dubious in case of a documentary by showing an illegal border crossing which definitely wasn t shot on scene when the real thing occurred and which therefore belongs to creative non fiction where an event is reconstructed either with original partakers or with actors But on the other hand he closes the picture by an effective counter point the concluding sentence and history went on is sounded parallel with a stoptrick bringing the marching troops to a standstill which provides the statement with a double bottom and gives it a deeper meaning In my opinion non fiction filmmakers should work this way principally not only in the moment of happy inspiration Why is it that these aesthetic emotionally effective devices practically do not occur in most factual films That s the question of questions for me And this because full blooded documentaries which intentionally form their substance in such a way remain rare exceptions in the sphere of professional production in Slovakia Dušan Hanák s Dushan Hanak Papierové hlavy Paper Heads and Času je málo a voda stúpa So Little Time and the Water Rises by Dezider Ursíny and Ivo Brachtl Brakhtl By the way the standard TV environment does not seem to welcome such pictures either see the on the air fate of the latter This brings us to the brink of a paradox in the development history of two audio visual media About fifty years ago technical development contributed greatly to an updating of two crucial audiovisual tools and made come true the experimenters dreams dreamt by filmmakers of the Dziga Vertov sort The former mastodon camera which considerably interfered with the authenticity of shot surroundings thus practically torpedoing spontaneous reactions was discharged by the camera pen as French pioneers of cinéma vérité dubbed the new visual and acoustic recorders And the expensive celluloid film endangered on its way to the final form by so many snares was replaced by the magnetic record soon to be once more replaced by the even more flexible digital one In contrast to the classical film the latter makes it possible to fine tune even further the final editing process and in theory it offers far greater dynamics with respect to the visual and acoustic orchestration than the classic celluloid film possibly could Thus the purely technical parameters could lead to

    Original URL path: http://www.art-in-society.de/AS2/Docu-Film.html (2016-04-25)
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  • Pavel Brankos Reflexion ueber Dokumentarfilm als Kunstform
    und mich mit ihm d accord weiß schlage ich eine winzige Präzisierung vor der massenmedientypische Non Fiction Film wird meiner Meinung nach ja Pavel Branko hat recht in der Tat eher durch das Wort als das Visuelle das nur illustriert nur Beiwerk ist wodurch durch die sogenannte von den Massenmedien produzierte und reproduzierte mainstream logic also in DIESEM SINNE von LOGIK er wird mithin konstituiert durch die sich als nicht ideologisch gerierende Ideologie durch das vorherrschende Denken unserer liberalen oder post liberalen Gesellschaften Eine solche AFFIRMATIVE LOGIK die keine Risiken eingeht besitzt auch keine Sprengkraft nichts Aufrüttelndes Wachmachendes Infragestellendes Kritisches Besitzt keine force Kraft weder emotional noch visuell noch intellektuell da alles Kritische an ihr nur inszeniertes Getue nicht etwas Tiefergehendes Authentisches ist In DEM Sinne also spreche ich den ganz offensichtlich von einer art LOGIK vom WORT von der NARRATION dominierten massenmedientypischen NON FICTION FILMEN die LOGIK als etwas KRITISCHES WACHES und WACHRÜTTELNDES ab Und im selben Sinne mich auf einen holländischen auf den ersten Blick sehr idealistisch und formalistisch erscheinenden Künstler Piet Mondrian berufend der von der Anthroposophie angeblich beeinflusst war der aber auch den frischen Geist seiner Zeit der Zeit des Widerspruchs des DADA des Anti Kriegs Denkens und Fühlens und künstlerischen Arbeitens und eines dem imperialistischen Europa und SEINER durch den Krieg usw diskreditierten Zivilisation gegenüber kritischen Denkens vor allem wohl kurz nach 1918 atmete schlage ich vor daß wir uns an Mondrians Ausspruch über den neuen Menschen erinnern im Grunde einen Ausspruch darüber was der Künstler sein sollte und was jeder Mensch als zur Kunst befähigter kreativer sein sollte und könnte und irgendwann vielleicht als freierer denn derzeit im Normallfall möglich sein wird Mondrian sagte über diesen ihm als Ziel als Vision vorschwebenden neuen von der Last des Diskreditierten befreiten emanzipierteren Menschen wenn er fühlt denkt er und wenn er denkt fühlt er Also er überwindet die Trennung welche die psychischen Äußerungen und Möglichkeiten des Menschen kompartmentalisiert dissoziiert Und ich denke in diesem Sinne haben sie alle Wertow Eisenstein Godard Straub Huillet Chris Marker Robert Kramer die Trennung überwinden wollen zwischen DENKEN WACHEM VERSTAND FRAGENDEM INFRAGESTELLENDEM KRITISCHEM VERSTAND und EMOTION als Bastion des AUTHENTISCHEN nicht als das was sie in einer Verschiebung Deformation ihrer selbst AUCH ist Spielplatz der Manipulationen der Verführungen durch sogenannte Rattenfänger die aber alle nicht erfolgreich sein könnten wenn die Menschen sich nicht konditionieren lassen würden auch durch die Massenmedien zum sich DUCKEN wenn sie sich nicht KONDITIONIEREN LASSEN WÜRDEN zum WARTEN DARAUF UNTERHALTEN ZU WERDEN oder darauf andere FÜR SICH DENKEN ZU LASSEN usw Die starke EMOTIONEN wachrufenden IMAGES bei Chris MARKER haben auch den Sinn die Konsequenz daß sie zum Denken provozieren die BILD MONTAGE etwa soll sie nicht gerade den Zündfunken AUCH des DENKENS und nicht nur der EMOTION abgeben Noch etwas ich gebe Pavel Branko recht daß gerade dieser Widerspruch typisch für mass media typische Non Fiction Filme ist sie sind langatmig schleppen sich in dem Sinne hin daß sie shallow emtions flache Emotionen eine ästhetisch schwache

    Original URL path: http://www.art-in-society.de/AS2/WPB/AWdocu.shtml (2016-04-25)
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  • tendency of reduction and in fact simplification of the use of art materials that has become more and more visible over the years and notwithstanding an increasing concentration on one dimensional offensive statements or strategies that address the observer emotionally and or intellectually it is still the experience emotion and awe of the artist confronted with life and its testimonies which takes preference among all the possible points of departure Bears The series Keys to Global Warming from 1998 is for instance based on images of weather maps taken from newspapers and combined with the silhouette of a key Similarly the series Bears Bulbs Brains Backbones and Borders completed two years later and done on the basis of a re worked map of Europe dissected into 16 parts clearly reflect Evelyn s physics and natural history background but also his expressive freedom as an artist The same is true of three woodcut and lithography prints The lungs of the Earth I II III which owe their statement to the connecting of chestnut leaves with a view of a lung as suggested from an X ray image On closer scrutiny the partly legible written text that has been integrated into the works appears as a formula for photosynthesis In this way Evelyn once again unites in his works factual objectivity and the fascination with processes normally studied in the context of the natural science Lungs of the Earth III A generous field for such an emotional confrontation is also apparent in the landscape motifs which have been part of Evelyn s works over the years Some early example of these can be found in such major paintings already done in 1982 as Kriegs Mythos and Zen Taurus tachist and expressive works imbued with landscape motives by way of which Evelyn was beginning to consolidate his personal artistic point of view The stylistic closeness to Francis Bacon and the thematic research of the figure and space which were typical of him at the time of his studies at the art school in Bremen in 1979 and 1980 have been left behind now Henceforth it is the landscape subject which in 1983 drew attention by way of integrated postcard images as in Dutch Tulip Landscape or Alternative Energy or in Deja Vue or Why Wait for Spring Do it Now They also formed variations of fantasy filled areas full of camels and sheep as in Desert Landscape and Umbrian landscape In 1985 Evelyn dedicated himself to the Canadian Island as a theme which for biographical reasons in varied form through the years remained important Already in the same year the image appears in copied and over painted form four times in All the four Seasons or in Two Views of a Canadian Island Two Views of A Canadian Island Determined by his stay in Norway in 1988 Evelyn assessed the depth of the North Sea Landscape in a series of large scale works in which his perspective changes occasionally from the accustomed horizontal

    Original URL path: http://www.art-in-society.de/AS2/Krausch/Krausch.shtml (2016-04-25)
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  • A Brief Look at Angelo Evelyn's Weather Keys
    of the maps Locked into them are the logos of car companies The conventional symbols of weather maps mingle with these logos but even more strikingly with the rubbed off imprints of Asian American or European coins objets trouvés as much as collective symbols that ask to be deciphered they seem to be falling from heaven like snow flakes The effect is a striking combination of popular icons which can be read visually in various ways depending on the type or category of reader or spectator involved Basically a symbolic reading is suggested that in some way or other succeeds to connect the different elements or layers incorporated in each work The simplistic newspaper weather maps that at the outset were mere recognizable representations of a corner of the world East Asia North America Europe three centers of polluting industries have been transformed into something more complex and thus less likely to trigger a clear and easy one dimensional interpretation The by and large fairly controlled build up of dynamic visual elements of each work leaves us with specific impressions faintly remindful at times in its cool elegance and the timbre of colors chosen of classical Japanese prints of the 18th or early 19th century This is especially true of Keys to Global Warming N America Keys to Global Warming Europe II Keys to Global Warming E Asia all measuring 110 x 75 cm Other works like Keys to Global Warming Europe and Keys to Global Warming East Asia both 56 x 76 cm show a more dramatic quality that results in almost landscape like impressions These may in effect be linked with or give rise to associations that are perhaps suggestive of recent turmoil of weather patterns irregularities even catastrophes The superimposed keys recurring in all of these works

    Original URL path: http://www.art-in-society.de/AS2/Markopoulos/Weather.shtml (2016-04-25)
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