Deconstructing Border, Presentation, Research trip, IFA, Feb. 2017
(in preparation for exhibition, ngbk)
First day:
Introductory presentation of Limina, Mario Rizzi, (thank you!)
discussed in relation to Daddy Knows, Metatheodosia (excerpt online)
and Havarie, Philip Scheffner (trailer) - of particular interest to me was the question of popularization of political themes. The film Havarie, widely discussed, specifically aims at reaching a wide audience. It creates empathy, a sense of shared tragedy and does not polarize. By contrast, Daddy Knows shows a young woman in Berlin discussing politics with her reactionary father in Athens in a bored and annoyed yet also connected and somehow accepting manner - as opposed to Havarie, it leaves the viewer perplexed, annoyed, offended and frustrated in recognizing something like a complicit privileged ineffectiveness - a too early acceptance of an inability and unwillingness to "getting dirty" and arguing things through. The father figure presented within this project in 2013 appears to prefigure and be somehow oddly directly related to Donald Trump and his troupe in his illogical and disconnected paranoia, chauvinism, antisemitism, homophobia, and xenophobia.
This is not feel good art. Implying complicity, it does not let viewers off the hook, implies personal responsibility on a much deeper level rather than placing it in a system preventing direct action (Havarie) and thus appeals to a more direct sense of agency.
Introductory presentation of Limina, Mario Rizzi, (thank you!)
discussed in relation to Daddy Knows, Metatheodosia (excerpt online)
and Havarie, Philip Scheffner (trailer) - of particular interest to me was the question of popularization of political themes. The film Havarie, widely discussed, specifically aims at reaching a wide audience. It creates empathy, a sense of shared tragedy and does not polarize. By contrast, Daddy Knows shows a young woman in Berlin discussing politics with her reactionary father in Athens in a bored and annoyed yet also connected and somehow accepting manner - as opposed to Havarie, it leaves the viewer perplexed, annoyed, offended and frustrated in recognizing something like a complicit privileged ineffectiveness - a too early acceptance of an inability and unwillingness to "getting dirty" and arguing things through. The father figure presented within this project in 2013 appears to prefigure and be somehow oddly directly related to Donald Trump and his troupe in his illogical and disconnected paranoia, chauvinism, antisemitism, homophobia, and xenophobia.
This is not feel good art. Implying complicity, it does not let viewers off the hook, implies personal responsibility on a much deeper level rather than placing it in a system preventing direct action (Havarie) and thus appeals to a more direct sense of agency.
Filmstill, Fever, 2017
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Second day:
Premiere of Fever, 7 mins documentary film, at Cine Tonala and introduction of Skyjacking Above, Tunnel Below (ngbk) FEVER Light installation in the „Strahlenhörsaal“ (former women’s clinic) Alexanderufer/ Invalidenstrasse, Berlin Nov 4-9 2016, 6pm to midnight Sequences of light and dark based on biometric data from a temperature chart from the Thirties |