Text Zeichen Bild – Historical Voyager

archive-single-event-detail.php

curated by Michael Freerix

with the following films:
Lilli Kuschel/Anna Fiedler: Tallaght (2007, 20 min.), William Raban: A 13 (1994, 12 min.), Jan Ralske: Entlassen (2018, 6 min.), Helga Fanderl: Weybridge (1997-2000, 4 min., no sound), Arata Mori: Carmino Negro (2013, 15 min.), Distruktur: La Mort d’un Investigateur (2008, 2 min.), Omilonta agalmata (2015, 3 min.).

Lilli Kuschel/Anna Fiedler: Tallaght (2007, 20 min.)
A ritual takes place in a suburb of Dublin: People pile up large heaps of bulky waste and wood, which remain standing for a while and seem like erratic signs of an inexplicable cult, before they are lit one night and result in fire towers visible from far away, around which the whole neighbourhood gathers. These fires and their production transform the ‘too much’ of this world into a cultic sign for one night, from which only mysterious wisps of smoke remain in the morning.

William Raban: A 13 (1994, 12 min.)
The A13 is a main road, built in the early 19th century, which also runs through an area that underwent a complete structural transformation in the time of Margaret Thatcher. Formerly a site of low-cost housing for dock workers, these buildings were completely demolished and transformed into a new-fangled business area through which the extended A13 runs. The construction process took longer than a decade and was accompanied by numerous protest actions, which can be seen in the film, which was shot over several years, in the form of graffiti and poster campaigns.

Jan Ralske: Entlassen (2018, 6 min.)
Nazim Hikmet was a Turkish poet and playwright who was released into freedom in 1950 through an amnesty after 13 years in prison. Afterwards, the 48-year-old poet, who had a heart condition, was threatened with induction into the military. He evaded this by escaping by ship across the Black Sea to the USSR. The film was shot at the exact spot where Hikmet boarded the ship and shows the last glimpse he had of his homeland, combined with one of his poems taken from a play.

Helga Fanderl: Weybridge (1997-2000, 9 min., no sound)
In the early stages of British industrialisation, the entire country was covered with a network of canals to manage the transport of materials and people. From a bird’s eye view, the entire island is covered with an erratic-looking system of waterways. The film ‘Weybridge’ thematises this sign system of the industrial revolution.

Arata Mori: Carmina Negro (2013, 15 min.)
In his works, Mori relates body and image as well as body and things with cinematic means. In his films, bodies are something fluid, evanescent, as well as solid and rigid. Bodies produce images as if they were spinning themselves into their own cocoon like silkworms. Mori refers to the media theories of Marshall McLuhan, in which he describes how images establish themselves as a continuation of our bodies. In our present, bodies have lost their corporeality; they are pure images.

Distruktur: La Mort d’un Investigateur (1.5 min., 2008, Brussels), Omilonta agalmata (3 min., 2015, Athens)
Two films from an endless series by the two artists, who have been publishing their work for a good 20 years under the joint identity ‘Distruktur’, with which they began in 2007. One roll of film (approx. 3.5 min.) was exposed in each new city, where the filmmakers intuitively went in search of traces that imposed themselves on them in each city. Where tourists send postcards of their sojourns in the world to friends and acquaintances, this series attempts to produce postcards in the form of short films about the atmosphere or the specific sign structure of a city.

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