PLEDGE | TURN | PRESTIGE

version3_intheheat

Screening:
Thursday – Sunday

 

Bild: Lena Ditte Nissen – THE PLACE I WILL HAVE LEFT

 

 

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)

Screening
Thursday – 5.00 pm (Preview)
Friday – 8.10 pm
Sunday – 4.00 pm

 

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)

Screening
Thursday – 5.45pm (Preview)
Friday – 11.10 pm
Sunday – 4.45 pm

 

PART III
11. Isabella Fürnkäs – ‘In Ekklesia,’ (3:16)
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)

Screening
Thursday – 6.55 pm (Preview)
Saturday – 10.00pm
Sunday – 5.55 pm

 

 

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]

 

Trailer from Mikołaj Sobczak & Nicholas Grafia – Sturm und Drang (5:28)

 

 

 

 

|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.)

 

 

 


 

 

 

{PLEDGE / TURN / PRESTIGE – PART I}

Screening
Thursday – 5.00 pm (Preview)
Friday – 8.10 pm
Sunday – 4.00 pm

 

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.

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).

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.

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.“

Leri Matehha - middle of march

 

 

 

 

 


 

 

{PLEDGE / TURN / PRESTIGE – PART II}

Screening
Thursday – 5.45pm (Preview)
Friday – 11.10 pm
Sunday – 4.45 pm

 

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.

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

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.

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.

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

lukasvondergracht - artstudentofthefuture

 

 

 

 


 

 

{PLEDGE / TURN / PRESTIGE – PART III}

Screening
Thursday – 5.45 pm (Preview)
Saturday – 10.00pm
Sunday – 5.55 pm

 

11. Isabella Fürnkäs – ‘In Ekklesia,’ (3:16)
The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. (Hyun Jeung Kim)

Isabella Fürnkäs (*1988 in Tokyo) is the recipient of the Förderpreis des Landes NRW and of the Paris Cité des Arts grant. In 2017 she received a travel grant from the Kunstverein für die Rheinlande und Westfalen as well as a residency from the Goethe Institut. She studies fine art with Andreas Gursky and Keren Cytter at the Kunstakademie Düsseldorf since 2011 and at the Universität der Künste Berlin as a guest student with Hito Steyerl.

Previously, she studied art history and philosophy at the Universität zu Köln, the Zürcher Hochschule der Künste, as well as fine arts at the Akademie der Bildenden Künste Wien. She uses different media such as Drawing and Video in her work and combines them into installations with performances. Since 2015 she has also worked as part of a performance-duo with Lukas von der Gracht.

Her work has recently been exhibited at the Nam June Paik Art Center Seoul, the Museum Abteiberg (with Lukas von der Gracht), CSA Space Vancouver, and in the project space of the Julia Stoscheck Collection in Düsseldorf.

In_Ekklesia_Isabella_Fürnkäs_2015

 

 

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)

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.

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.

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.

sebastian thewes - glimmer weeds