PLAY/III Screen­ing
Ex-Capi­tol The­ater Wor­ringer Platz

 

FarOff BlackBox @ PLAY/III SCREENING Hochschulen


PLEDGE | TURN | PRESTIGE
|plɛdʒ//| [təːn]/ | [pʁɛs.ˈtiːʒ]

Kun­sthochschule für Medi­en Köln & Kun­stakademie Düs­sel­dorf
Auswahl: Alisa Berg­er (FAR OFF)

Mit exper­i­mentellen Fil­men und Videoar­beit­en von:

PART I
1. Mona Kakanj: Fly­ing Pig (05:30)
2. Mikołaj Sobczak & Nicholas Grafia – Sturm und Drang (5:28)
3. Ste­fan Ramirez Perez – AS MUCH AS ANYONE (16:43)
4. Fran­ca Scholz – Rad­i­cal Slack­erism (3:11)
5. Leri Mate­hha – Because it’s the mid­dle of march (8:38)

PART II
6. Nico­la Gördes – TEN by MAETH (3:42)
7. Wal­ter Solon – Detach­ment Mis­sion (24:02min)
8. Peter Haas – Sat­ur­days (5:30)
9. Jorge Loureiro – Tran­scen­den­tal: The Impact­ing Secrets of Dai­ly Life/ An Attempt to Self-Rein­vig­o­ra­tion (15:05)
10. Lukas von der Gracht, Roman @____why_not, Mag­da @magdammit, Casper @casperbeautiful, Artur @artrchrszcz, Misa @misa_chu_chan, Hen­ry @glogowitz, Den­nis @denniswintermeyer, Stel­la @stella_multi, Morys @kmorys – #art­stu­dentsoft­he­fu­ture (16:49)

PART III
12. Jonathan Omer Mizrahi – THE RABBIT’S FOOT (7:55)
13. Miri­am Goss­ing & Lina Sieck­mann – Ocean Hill Dri­ve (20:00)
14. Lena Ditte Nis­sen – THE PLACE I WILL HAVE LEFT (15:01)
15. Sebas­t­ian Thewes – Glim­mer Weeds (3:26)

The visu­al artist, the film­mak­er, says Her­zog, under­stands at some point that she is always per­form­ing illu­sion. And work­ing with the imma­te­r­i­al – only a pro­jec­tion of light – doing this all your life makes you just a clown. (inevitable process). (its embar­rass­ing.) (before eat­ing his shoe.)

The three stages: pledge/turn/prestige are loose­ly inspired by the film “The Pres­tige” by Christo­pher Nolan. Like the fig­ures of the film, visu­al artists have become magi­cians, pro­tag­o­nists that have to inspire, amuse and seduce the audi­ence, to pos­si­bly trans­form the world.

1) THE PLEDGE: (The) mag­ic show
/plɛdʒ/ – Ver­sprechen (Verkün­dung, Ankündi­gung) – The future +
2) THE TURN (with­out a body):
[təːn] – ̶w̶̶e̶̶n̶̶d̶̶e̶ warp – Vol­ta
3) THE PRESTIGE: NIMBUS
[pʁɛs.ˈtiːʒ] – Blendw­erk, Gel­tung, Ruhm, Ruf, Trick, Leu­mund, Image, Glo­ri­ole, Wolke, Nebel“[1]

|plɛdʒ//| [təːn]/ | [pʁɛs.ˈtiːʒ]
– Thoughts from the audi­ence.: Notes from a ̶s̶̶p̶̶i̶̶r̶̶i̶̶t̶̶u̶̶a̶̶l̶ jour­ney.
Are we fol­lowed by illu­sions or are we fol­low­ing them? What is your deep­est illu­sion? What one you hold on to the most? or what is the dark­est illu­sion you are seek­ing. What is our illu­sion of the world? Of real­i­ty? Of sur­face and ingre­di­ents? Of sense, pur­pose and con­nec­tion? What is our illu­sion of iden­ti­ty? What is our illu­sion of sex­u­al­i­ty?

What are you search­ing for?“ is the com­mon ques­tion you hear from locals dur­ing your jour­ney, who want to under­stand your need to sat­is­fly you with exact­ly this one illu­sion you are seek­ing for.

An illu­sion is nev­er the unex­pect­ed. It is con­trolled, like lucid dream­ing, a tech­nique a young girl I meet in Goa is des­per­ate to learn. She quit law school and now is deeply into prac­tic­ing and learn­ing to heal,while her deep desire is actu­al­ly to learn lucid dream­ing and start to fly.

The unex­pect­ed is the oppo­site of an illu­sion. It hits you when you least expect it, like the death of a friend who was alive just days ago. Though maybe death is one illu­sion to pre­vent the real­ly unex­pect­ed. “Always, you choose!” peo­ple answer me when i ask them for advice out of inse­cu­ri­ty. (Illu­sion of free­dom of choice seems to lie close to illu­sion of secu­ri­ty.)

The mag­ic of the illu­sion is sold to you just a minute after it was tak­en out of your own pock­et. The biggest sat­is­fac­tion is the fact that you know it was just tak­en out of your own pock­et, but you didn’t catch the moment, so it is mag­ic – expect­ed and con­trolled – while an eter­nal sym­bol for the free and uncon­trolled.

The truth­ful answer is the para­dox answer. It is the oppo­site of illu­sion, as it is a para­dox in itself. “It is adven­ture i am seek­ing”, is my answer to the famous ques­tion of anoth­er seek­er, while my answer is just a mir­ror to his answer that I was secret­ly ask­ing (with­in) myself. I add: “And an illu­sion that might last over its nat­ur­al time.” One that becomes para­dox by expir­ing its dura­tion and by that becomes the entrance to anoth­er some­thing.

But what is illu­sion? Does it real­ly exist, or is illu­sion only world, just the sur­face of time?
Lets project the light.
(A.B.)

1. Mona Kakanj: Fly­ing Pig (05:30)
Video | Colour | Sound | Sin­gle Chan­nel | 16:9 | 00:05:30 | 2012
Fly­ing Pigs takes a crit­i­cal view of social, intel­lec­tu­al and cul­tur­al issues. The video con­veys a sar­cas­tic alien­at­ed per­spec­tive. Fly­ing Pigs sets off a dis­course on the writ­ten intel­lec­tu­al his­to­ry of a cul­ture. While the cam­era exhibits a naïve and puz­zled point of view, the nar­ra­tion sug­gests an intel­lec­tu­al aca­d­e­m­ic lec­tur­ing on his­to­ry.

Mona Kakanj ist Medi­enkün­st­lerin. Geboren und aufgewach­sen in Teheran, wohnt und arbeit­et sie seit 2007 in Köln. Ihr Diplom für Medi­ale Kün­ste an der Kun­sthochschule für Medi­en Köln absolvierte sie 2015. In ihrer Arbeit benutzt Mona Kakanj eine ver­frem­dende Per­spek­tive. Durch das Hin­ter­fra­gen von Nor­men und Konzepten und durch deren Posi­tion­ierung außer­halb des kon­ven­tionellen Kon­texts set­zt sich Mona Kakanj kri­tisch mit den tradierten Wertesys­te­men auseinan­der.

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Mona Kakan­ji — Fly­ing Pig

2. Mikołaj Sobczak & Nicholas Grafia – Sturm und Drang (5:28)
Mikołaj Sobczak and Nicholas Grafia start­ed to col­lab­o­rate in 2015. With­in their artis­tic prac­tice, which is focused on video, per­for­mance and paint­ing they are tak­ing on con­tem­po­rary social and polit­i­cal issues, plac­ing them against ele­ments of west­ern and east­ern pop cul­ture, while mak­ing use of dif­fer­ent modes of visu­al nar­ra­tion. In the movie “Sturm und Drang” they are try­ing to cre­ate a remix of TV real­i­ties, pol­i­tics and lit­er­a­ture, work­ing against the back­drop of Ger­man poet Ghoete’s „Urfaust“. They are jok­ing, but in a seri­ous way. So, with­out fur­ther ado, have a look and let them invite you to this bit­ter cock­tail.

Mikołaj Sobczak – was born in 1989 in Poz­nań, Poland. He has stud­ied at the Acad­e­my of Fine Arts War­saw, the Uni­ver­sität der Kün­ste Berlin, and the Kun­stakademie Mün­ster in Ger­many. In 2016 he was a recip­i­ent of the schol­ar­ship pro­gramme ”Young Poland”.
Nicholas Grafia – was born in 1990 in Ange­les City, Philip­pines. He has stud­ied at the Kun­stakademie Mün­ster (DE), School of Arts and Cul­tures New­cas­tle (UK) and the Kun­stakademie Düs­sel­dorf (DE).

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miko­laj und nicholas — Surm und Drang 3

3. Ste­fan Ramirez Perez – AS MUCH AS ANYONE (16:43)
„I’ve done a lot of work. Real work, inter­nal work over the years. I had to. With all my expe­ri­ences, I had to get in touch with my val­ue and who I am as a per­son, and know­ing that what I bring is wor­thy and good and all that. So i just had a lit­tle con­ver­sa­tion with myself.“
AS MUCH AS ANYONE fus­es doc­u­men­tary footage of aspir­ing and for­mer actress­es in Los Ange­les with (re)staged scenes appro­pri­at­ed from films about actress­es. Four actress­es take on var­i­ous roles, play­ing them­selves, and re-stag­ing each oth­er. As rep­re­sen­ta­tion­al modes alter­nate between fic­tion and doc­u­men­tary, iden­ti­ties are con­tin­u­ous­ly shift­ing and form an ambigu­ous body of at times con­tra­dict­ing nar­ra­tives ques­tion­ing notions of authen­tic­i­ty and con­struc­tion of the self.

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Ste­fan Ramirez Perez — As much as any­one

4. Fran­ca Scholz – Rad­i­cal Slack­erism (3:11)
For the video Rad­i­cal Slack­erism a dancer is filmed which is doing rep­e­ti­tion­al, machine-like prac­tices. These scenes alter­nate with a char­ac­ter lying in a bed. In the dura­tion of a music video, these scenes are split­ed through text, a whis­per­ing voice and sound. The idea is to cre­ate a space of thoughts that doesn‘t fol­low lin­ear nar­ra­tion. The video deals with dif­fer­ent ques­tions about the human body in the dig­i­tal age, with the female body and mind and the reflec­tion of becom­ing a cyborg. Through ques­tions that seek in dif­fer­ent direc­tions about the body and the pos­si­bil­i­ty of a new play­full­ness with its mate­ri­al­i­ty, dif­fer­ent dis­cours­es and state­ments are acti­vat­ed.

 

5. Leri Mate­hha – Because it’s the mid­dle of march (8:38)
„An impres­sion­is­tic film-essay about the found­ing his­to­ry of the state of Israel: body­build­ing as the aes­thet­i­cal lead­ing theme of this movie becomes inter­twined with the myth of build­ing up the state of Israel and the need of self-pro­tec­tion.“

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Leri Mate­hha — mid­dle of march

{PLEDGE / TURN / PRESTIGEPART II}

6. Nico­la Gördes – TEN by MAETH (3:42)
MÆETH war eine Band, die im Jahr 2014 in Ital­ien gegrün­det wurde. Der im gle­ichen Jahr ent­standene Song „Ten“ machte aus der Gruppe ein One Hit Won­der.
Passend zum Song brachte die Band ein Musikvideo her­aus, das sich in sein­er Ästhetik an den 90er Jahren ori­en­tiert. Mit ihrer ersten und einzi­gen Sin­gleauskop­plung feierte MÆTH im Jahr 2014 ihre größten Erfolge.
Die Idee zu dieser Gruppe hat­te Nico­la Gördes, die später Man­agerin der For­ma­tion wurde. Nach dem Erfolg der Sin­gle tren­nte sich die Band unter mys­ter­iösen Umstän­den im Jahr 2014 wieder. Es gab danach lange Zeit Gerüchte über ein Come­back der Band. Bish­er hat man allerd­ings nie wieder etwas von der For­ma­tion MÆTH gehört.

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TEN_C

7. Wal­ter Solon – Detach­ment Mis­sion (24:02min)
This Detach­ment Mis­sion is due to Cap­tur­ing Dance, a col­lab­o­ra­tive project between the Phil Collins sem­i­nar at KHM and SODA/HZT, Berlin. Valentin Tszin was teach­ing a work­shop in Lis­bon and I joined him for six days of club­bing, smok­ing, hang­ing, loca­tion-scout­ing, shar­ing a small apart­ment and shoot­ing impro­vised dances. After a year and sev­er­al cuts, I set­tled at this longer ver­sion, which includes some back­stage dis­cus­sions and a diary of roman­tic events from before, dur­ing and after the shoot. It’s all true. – Wal­ter Solon

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Wal­ter Solon — Detach­ment mis­sion

8. Peter Haas – Sat­ur­days (5:30)
Sat­ur­days is a short film show­ing some events set in my par­ents‘ gar­den. While my father is mow­ing the lawn, a typ­i­cal thing to do on a warm sum­mer Sat­ur­day, five dancers per­form frag­ments of Yvonne Rainer‘s chore­og­ra­phy “Trio A“. The move­ments begin when the motor of the lawn mow­er starts and end when my father fin­ish­es.

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Peter haas — Sat­ur­days

9. Jorge Loureiro – Tran­scen­den­tal: The Impact­ing Secrets of Dai­ly Life/ An Attempt to Self-Rein­vig­o­ra­tion (15:05)
There are thou­sands of peo­ple film­ing and per­form­ing the unbox­ing of goods and shar­ing their record­ings on the inter­net. In the video, this per­for­mance is reen­act­ed, unfold­ing it into a nau­se­at­ing nar­ra­tive. The video reflects upon leisure, and the nor­mal­iza­tion of cer­tain modes of pri­va­cy and self-expo­sure.

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jorge_unnamed_300dpi

10. Lukas von der Gracht, Roman @____why_not, Mag­da @magdammit, Casper @casperbeautiful, Artur @artrchrszcz, Misa @misa_chu_chan, Hen­ry @glogowitz, Den­nis @denniswintermeyer, Stel­la @stella_multi, Morys @kmorys – #art­stu­dentsoft­he­fu­ture (16:49)
First pre­sent­ed at Rundgang 2016 at Kun­stakademie Düs­sel­dorf @knstkdmdssldrf.
A study of the social fab­ric of cre­ative edu­ca­tion, ampli­fy­ing its entre­pre­neur­al and com­mer­cial poten­tials. Com­bin­ing dream- sell­ing aes­thet­ics, career-mind­ed art school vocab­u­lary and sen­si­tive fash­ion, #art­stu­dentsoft­he­fu­ture pro­pos­es one strat­e­gy of glob­al and self-moti­vat­ed art stu­dent orga­ni­za­tion. (Jeppe Ugelvig)
cam­era: Jan Klein (part­ly) / pho­tog­ra­phy: Leri @valeriaherklotz (part­ly) / edit­ing: @____why_not / music: @____why_not / styling: Lukas @ssaalliivvaa Marc @3lsn3r / make-up: @____why_not

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lukasvon­der­gracht — art­stu­dentofthe­fu­ture

{PLEDGE / TURN / PRESTIGEPART III}

12. Jonathan Omer Mizrahi – THE RABBIT’S FOOT (7:55)
2017 thriller / exper­i­men­tal film 8 min
Tem­per­ing radioac­tive mat­ter is not an easy task. It takes patience and accu­ra­cy. What often seems motion­less and dor­mant might quick­ly unbal­ance as pos­si­ble radi­a­tion, cir­cu­lat­ing in a con­cen­tric drawn towards its nucle­us cen­ter (IS THERE AN OFF SWITCH?!?). The alarm­ing urgency of dis­so­lu­tion or pol­lu­tion is accom­pa­nied with the neces­si­ty of inte­ri­or con­fig­u­ra­tions. The Rabbit’s Foot moves from dead rats to a brief­case and silent cars, with­drawn from the mind in behalf of a large scale threat, lurk­ing in every cor­ner.

Film by: Jonathan Omer Mizrahi / Voic­es by: Leri Mate­hha, Eradj Yakubov,
Cur­tis Friend, Jonathan omer mizrahi, Hila Gluski­nos / Music by: Yuval
Goren. / With found Footage from Mis­sion: impos­si­ble III (2006)

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jonatan omer mizrahi

13. Miri­am Goss­ing & Lina Sieck­mann – Ocean Hill Dri­ve (20:00)
Ocean Hill Dri­ve exam­ines a rare phe­nom­e­non, the so-called ‚shad­owflick­er’, that occurs in a sub­ur­ban area on the out­skirts of Boston. As a result of an erro­neous­ly installed wind tur­bine, the flick­er effect, which brings to mind struc­tural­ist exper­i­men­tal cin­e­ma , appears instead in doc­u­men­tary images show­ing the land­scape and archi­tec­ture of a Mass­a­chu­setts coast town.The film focus­es on the visu­al qual­i­ty of the pul­sat­ing shad­ows that intrude the sub­ur­ban domes­tic sphere and dis­rupt the social and psy­cho­log­i­cal equi­lib­ri­um of the com­mu­ni­ty. Doc­u­men­tary images are com­ple­ment­ed with a female voiceover, which is based on mul­ti­ple inter­views that were tran­script­ed and assem­bled into a sin­gle nar­ra­tion. The film slow­ly uncov­ers frag­men­tary mem­o­ries from the time when the flick­er began. An atmos­phere of sus­pense and intan­gi­ble fear is gen­er­at­ed through­out the film, while the actu­al source of the flick­er­ing lights remains unknown.

Deutsch­er Kurz­film­preis in Gold
Bester Film – Inter­na­tionale Kurz­film­tage Ober­hausen

As a duo Miri­am Goss­ing and Lina Sieck­mann have pro­duced sev­er­al exper­i­men­tal doc­u­men­tary films on 16-mm film. Their works are shown inter­na­tion­al­ly in exi­bi­tions and at film fes­ti­vals (e.g. Inter­na­tion­al Short Film Fes­ti­val Ober­hausen, Rox­ie The­atre San Fran­cis­co – USA, Goethe – Insti­tut Toulouse – FRA, Euro­pean Media Arts Fes­ti­val Osnabrück, WNDX Fes­ti­val of Mov­ing Image ‚Cana­da). They live and work in Cologne, Ger­many.

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miri­am gossing&lina sieck­mann — ocean hill dri­ve

14. Lena Ditte Nis­sen – THE PLACE I WILL HAVE LEFT (15:01)
THE PLACE I WILL HAVE LEFT was shot around Rio Cata­tum­bo in Venezuela, the area where most light­nings in the world strike down. The film is about the expe­ri­ence and absorp­tion of some­thing non-digestible. Some­thing for­eign and oth­er, that does not assim­i­late, that remains with­in our selfs as a for­eign body and pro­vokes rejec­tion reac­tions. The short and destruc­tive ener­gy of a light­ning is delat­ed into a state of sta­sis as an over­re­ac­tion.

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version3_intheheat

15. Sebas­t­ian Thewes – Glim­mer Weeds (3:26)
This Video was shown at the Beyond 3d Fes­ti­val 2011 at ZKM in Karl­struhe. It is a com­pi­la­tion of dif­fer­ent exper­i­men­tal 3d ani­ma­tions done in Blender.

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sebas­t­ian thewes — glim­mer weeds