lensbased.net

Do show for Stefan Hayns fantastic screening series on Thu Fr, Sat. at Arsenal.!
Painting and Cinema
dates:
• screenings: Do, Fr, Sa 24./25./26.1. jeweils um 17h Arsenal cinema on Potsdamer Platz tickets 9E for all three screenings
• Seminar in R 115: Sa 19.1./ Fr.25.1./Sa 26.1. and Fr. 1.2. 12 to 17h Cinema and Painting (I) by Stefan Hayn
– The seminar will be partly in english and in german –
Dates in room 115, HA 133 19., 25., 26. of January and 1. of February, starting at 12:00
Saturday, 19.1.2013, 12:00 -17:00 • Presentation Stefan Hayn and introduction „Cinema and Painting“ • Students’ positions, discussion • The filmmaker Carl Theodor Dreyer (DVD), also in relation toward Straub-Huillet
Friday, 25.1.2013, 12:00 -16:00 • Discussion of the cinema screening of Dreyer’s GERTRUD on the previous evening • The American postwar positions in painting (especially AbEx and PopArt) in relation to the developments in cinema (texts by de Kooning and others) • The filmmaker Emile De Antonio (his film will be screened afterwards in the Arsenal)
Saturday, 26.1.2013, 12:00 – 16:00 • Discussion of PAINTERS PAINTING (the previous evening in the Arsenal) • What was cinema, what was painting from the sixties up to now? Dreyer, Novelle Vague, Pop-reception in Europe • Preparation of the screening of Markus Nechleba’s MALEREIEN UND GRAVIERUNGEN (PAINTINGS AND ENGRAVINGS) at the Arsenal
Friday, 1.2.2013, 12:00 -17:00 • Discussion of Markus Nechleba’s Film PAINTINGS AND ENGRAVINGS • Cinema – painting – new media? • Where/how does painting exist today? Painting in fictional films and in documentaries? Where/how does cinema exist today? • Discussion/summary and perspectives of a probable continuation of the seminar
Dates in the cinema ARSENAL, Potsdamer Str. 2 24., 25., 26. of January, starting at 17:00 (in time) The cinema screenings are a necessary pre-condition for the seminar! The ARSENAL will offer a reduced „Dreierkarte“ for 9.- €.
• Thursday, 24.1.2013, 17:00 GERTRUD by Carl-Theodor Dreyer (116 min, 35mm, b/w, danish original version with German subtitles, 1964 – VERY RARELY SHOWN!!! • Friday, 25.1.2013, 17:00 PAINTERS PAINTING by Emile de Antonio (117 min, 16mm, b/w, engl. original version, 1973) • Saturday, 26.1.2013, 17:00 MALEREIEN UND GRAVIERUNGEN (PAINTINGS AND ENGRAVINGS) by Markus Nechleba (73 min, DigiBeta, german-french Original versíon with engl. subtitles, 1998) Markus Nechleba will be present for the discussion at the Arsenal.
Cinema and painting (I)
„In Dreyer’s film GERTRUD nobody dies.“ (Wilfried Wiegand) Even in early Straub-Huillet films the uncanny (men) are shot (by women). Maybe Wiegands sentence points out the unsettling point of GERTRUD, but also of some of the late Straub-Huillet films. Whereas the men/women, witchery/inquisition relationships are developped in a more complex way thoughout the two lifeworks. What does all that have to do with painting? Morton Feldman says: „The Abstract Experience cannot be represented. It is, then, not visible in the painting, yet it is there – felt. In the same sense that Kierkegaard said the religious ‚dethrones’ the esthetic, one can say that the Abstract Experience in Gustons paintings dethrones the visible masterpiece before us.“ Analysing GERTRUD, PAINTERS PAINTING (by Emile de Antonio, USA 1972) and MALEREIEN UND GRAVIERUNGEN/PAINTINGS AND ENGRAVINGS (by Markus Nechleba, BRD 1998) we will try to reflect in a wide variety and rather basically on today’s production and reception of pictures. What’s the relation between cinema and painting?

• many thanks to Graduiertenschule für die Künste und die Wissenschaften and Einstein Stiftung Berlin

(Stefan Hayn)

SEMINAR BY JANUS HØM & MARTYN REYNOLDS + HITO STEYERL
14th and 15th of January at 115, 10-16
UPDATE: ARTIE VIERKANT WILL BE JOINING US ON MONDAY AFTERNOON TO TALK ABOUT “The Image-Object Post Internet”
http://rhizome.org/editorial/2010/dec/20/required-reading/

14.1 Hito: The New Flesh Material lives of images
Is the internet dead? This is not a metaphorical question. It does not suggest that the internet is dysfunctional, useless or out of fashion. Instead, the question is very literally whether it is dead, how it died and whether anyone killed it. Can we indict anyone in any court for this killing and under which jurisdiction?
On the other hand: how could anyone ever even suspect such thing? The internet is now more potent than ever. It has not only sparked but fully captured the imagination, attention and productivity of more people than at any other point before. Never before have more people been dependent of, embedded into, surveilled by and exploited by the web. It seems overwhelming, bedazzling and without alternative. So what could even trigger the suspicion that it might be dead?
The reading list is on the wiki. Since there is a serious gender issue in the post internet debate it´s all female. @NinaPower, pls write sthg, too!
15.1 Janus Høm & Martyn Reynolds: Lecture
Aggregating the endless scroll of post-internet art
Proposition: Criticality is a humanist function; so as technological/biological determinism has begun to erode humanism, criticality by default loses it’s effect. What has perhaps replaced criticality in this situation is aggregation. We want to talk about this progression through ‘post internet art’.
Vocabulary:
Post Internet: ‘Post internet’ does not suggest that we live in an age after the existence of the Internet, but that we live in a time after the Internet’s inception. In this view the Internet is no longer novel, it is a default experience for everyone, and so in light of this, when talking about ‘Post Internet Art’, one is not suggesting that you’re doing art about the novelty of the internet or even work in any way with the interfaces provided by the Internet. It merely means that everything we do is informed by the Internet’s pervasive nature.
Aggregation: Whether by individuals, organisations or machines, the activity of aggregation has become a significant tool as the resources of the Internet have expanded beyond manageable limits of consumption in any given field.
Reading list on wiki

Andrea Boehm works as a journalist mainly in areas of conflicts and crisis. She will talk about the conditions of her work and the job-related “deformations” that result out of this conditions, specially in the field of crisis reporting. When and how do journalists realize customary narrations in there own work and how can they leave these tracks, are questions that will be discussed and answered by Andrea Boehm in consideration of her own work.
Andrea Boehm writes for the politics sector of “Die Zeit” and recently published her second book, a travel report about the situation in Congo which she constantly investigates. In the last years she was mainly working in Africa and the Middle East and is supposed to open the new Middle East office of “Die Zeit” in Beirut in the beginning of the next year. She is also very active in the fight against the use and production of land mines and cluster bombs.
Please check out Andreas Blog as well:
http://blog.zeit.de/kongo/
http://boehmslogbuch.wordpress.com/
 

hello everybody and happy new year!
as mentioned, there won’t be any film screening on wed 2nd, so the next date will be:
wednesday january 9th 2013, 18.00, room 115 (or 143 if 115 is unavailable)
we’ll watch “Zerkalo” (“The Mirror”, USSR 1975, 108min) by Andrei Tarkovsky (and probably a short excerpt of “Ivans Childhood”, his first feature film) – despite (or rather because) the fact that the film is partly in color 😉
i’d also like to talk a bit about his book “Sculpting in Time” that i mentioned, it has been an incredible source of inspiration and courage to me over the years. I can strongly recommend a paper copy because it is great to to take along and flip through the pages again and again, but if you’re tight on money, or want to check it out first, there’s also a pdf floating around on the web, for example: http://ftf.vsmu.sk/files/Andrey_Tarkovsky_Sculpting_in_Time__2nd_edition_1987.pdf
here what he writes about Zerkalo:
“I had the greatest difficulty in explaining to people that there is no hidden, coded meaning in the film, nothing beyond the desire to tell the truth. Often my assurances provoked incredulity and even disappointment. Some people evidently wanted more: they needed arcane symbols, secret meanings. They were not accustomed to the poetics of the film image. And I was disappointed in turn. Such was the reaction from the opposition party in the audience; as for my own colleagues, they launched a bitter attack on me, accusing me of immodesty, of wanting to make a film about myself.
“In the end we were saved by one thing only – faith: the belief that since our work was so important to us it could not but become equally important to the audience. The film aimed at reconstructing the lives of people whom I loved dearly and knew well. I wanted to tell the story of the pain suffered by one man because he feels he cannot repay his family for all they have given him. He feels he hasn’t loved them enough, and this idea torments him and will not let him be….
“Mirror was not an attempt to talk about myself, not at all. It was about my feelings towards people dear to me; about my relationship with them; my perpetual pity for them and my own inadequacy – my feeling of duty left unfulfilled.”
 

Sowjetisches Ehrenmal Treptow, gingerbread cover version by Michelle Teran Franziska Kleiner Diana McCarty plus volunteers and 6 happy kids. Please note joint smashing of swxstika. picture source.
In other news:

It´s show trial!