filmografie / filmography clemens von wedemeyer * * * * * * * 2000

Transcription

FILMOGRAFIE / FILMOGRAPHY CLEMENS VON WEDEMEYER
*******
2000 – 2013
AFTERIMAGE
2013, 6min semicircular video installation, colour, sound
The main character of Afterimage is the camera, navigating space as though searching for
something, a ghost looking for its own body, walking through an abandoned store of
sculptures. The location is the workshop of Cinears, the oldest company at Cinecittà Studios,
which has been producing sculptures and props since the beginning of the Italian film
industry. It is now run by the fourth generation of the De Angelis family. Hundreds of
sculptures, in the form of resin and plaster moulds, are gathered in the workshop, with figures
representing gods as well as other religious, mythical and historical characters that have been
used in films, some of which are copies of famous artworks. The original space was scanned
by laser technology and transformed into a point cloud - a system of pixel coordinates that
exist in a virtual space - and then an animated film was made from this during postproduction. The film installation translates into space the field of vision of the human eye,
thus creating an immersive experience. Reflecting the crisis affecting the cinema industry, the
Cinears workshop was temporarily closed in spring 2013.
Protagonista di Afterimage è la macchina da presa che si muove nello spazio di un deposito di
sculture abbandonato nel tentativo di trovare qualcosa, come un fantasma alla ricerca del
proprio corpo. Il luogo è Cinears, il più antico laboratorio di Cinecittà, oggi gestito dalla
quarta generazione della famiglia De Angelis, che ha prodotto sculture e materiali di scena per
l’industria cinematografica italiana sin dai suoi albori. Al suo interno sono raccolte centinaia
di sculture utilizzate in molti film, alcune delle quali copie di famose opere d’arte, calchi in
gesso e resina, che rappresentano divinità, figure religiose e mitiche, personaggi storici. Lo
spazio del laboratorio è stato scansionato con una tecnologia laser e trasformato in un “point
cloud”, un sistema di coordinate pixel che esistono in uno spazio virtuale. Nella fase di postproduzione è stato realizzato un film d’animazione. L’installazione trasporta nello spazio il
campo visivo dell’occhio umano, creando così un’esperienza immersiva. Rispecchiando la
crisi che ha colpito l’industria cinematografica, Cinears è stato temporaneamente chiuso nella
primavera del 2013.
Sculture/Sculptures: Cinears
Digital 3D Scan: Trigonart, Berlin
3D Animation and Rendering: Celluloid
Visual Effects, Berlin
VFX Supervisor: Holger Hummel
CG Artist: Dennis Mielke
Sound Design: Neuton BLN, Thomas
Wallmann
Rumorista/Foley Artist: Peter Roigk
Progettazione esecutiva/Installation
Development: Eidotech, Berlin
*******
THE BEGINNING. LIVING FIGURES DYING
2013 , 18 min, Video
The Beginning. Living Figures Dying depicts the relationship between humans and
sculptures throughout cinema history. The video is made up of fragments of films that deal
with the phases of the creation, adoration and destruction of humanoid sculptures in cinema.
The found-footage film was collected during the research process for the exhibition The Cast:
from early films by Méliès and Cocteau, to later ones by Fellini and Godard, every sequence
has to be seen in relation to the other. The video is projected onto the glazed floor of Gallery 5
in an experimental ‘timeline’. The existing 10 windows of the lower floor have been turned
into projection screens. Each screen shows the same film but with a delay of six seconds. In
this way the spectator is invited to move and follow the progression of the film in space.
The Beginning. Living Figures Dying mostra la relazione tra uomini e sculture attraverso la
storia del cinema. Il video è composto da frammenti di film che riguardano le diverse fasi di
creazione, adorazione e distruzione di sculture antropomorfe nel cinema. Gli spezzoni sono
stati raccolti durante la fase di ricerca per la mostra The Cast: dai primi film di Mélies e
Cocteau, a quelli più tardi di Fellini e Godard, ogni sequenza deve essere vista in relazione
all’altra. Il video è proiettato sul pavimento vetrato della Galleria 5, formando così una
sperimentale “linea del tempo”: le dieci lastre di vetro, che si affacciano al piano sottostante,
sono state trasformate in altrettanti schermi di proiezione. Ognuno di questi mostra lo stesso
film ma con un ritardo di sei secondi rispetto al precedente. In questo modo lo spettatore è
invitato a muoversi seguendo la progressione del film nello spazio.
Editing: Clemens von Wedemeyer, Janina
Herhoffer
Assistenza/Assistance: Dalibor Knapp
Sound Design: Thomas Wallmann, Neuton
Berlin
Rumorista/Foley Artist: Peter Roigk
*******
THE CAST: PROCESSION
2013,14 min, HD Video, suono/sound
The film recalls an incident that took place in 1958 in Cinecittà (Rome) during the shooting of
the movie Ben Hur, when thousands of extras tried to force the gates and enter the studios
demanding work. In the film, a Roman procession scene is being rehearsed on set and a
casting is taking place in preparation for shooting when the scene is interrupted by the
demonstration outside and the production team calls for intervention by the police. The
following actions reveal that Procession is staged by a contemporary crew and the cast of the
film is in fact composed of actors and activists from the Teatro Valle Occupato. The Teatro
Valle, one of the oldest theatres in Rome, was occupied in 2011 and has since turned into a
self-organised cultural centre. The narrator of the film is the eyewitness Mino Argentieri, a
critic and cinema historian, who wrote the article about the incident for the newspaper l’Unità
on 7 June 1958. In this film von Wedemeyer employs different genres to create a unique
visual atmosphere: from documentary essay to theatrical choreography.
Il film rievoca un episodio avvenuto a Cinecittà nel 1958 – in occasione delle riprese del film
Ben Hur – quando migliaia di comparse tentarono di forzare i cancelli degli Studios
reclamando un lavoro. Mentre si effettuano le prove di una processione in costume romano e
il casting si prepara per le riprese, la scena è interrotta dalle manifestazioni che hanno luogo
all’esterno e dal conseguente intervento della polizia allertata dallo staff. Le azioni successive
rivelano che Procession è messo in scena da una crew dei nostri giorni, il cast del film è infatti
composto da attori e attivisti del Teatro Valle Occupato. Il Valle, uno tra i più antichi teatri di
Roma, è stato occupato nel 2011 e da allora trasformato in un centro culturale autoorganizzato. La voce narrante del film appartiene al critico e storico del cinema Mino
Argentieri, che scrisse su l’Unità del 7 giugno 1958 l’articolo a proposito della protesta delle
comparse. In questo film von Wedemeyer utilizza generi diversi per creare un’atmosfera di
visione unica, che spazia dal documentario alla coreografia teatrale.
Script: Clemens von Wedemeyer
Drammaturgia/Dramaturgy: Berardo
Carboni
Ricerca scientifica/Scientific Research:
Paolo Caffoni
Cinematografia/Cinematography: Frank
Meyer
Scenografia/Production Design: Gianpaolo
Rifino
Costume and Make-up Design: Andrea
Sorrentino
Sound Design: Thomas Wallmann
Direttore di produzione/Production
Manager: Ernek Reder
Produttore/Producer: Ute Leonhardt
Produzione esecutiva /Executive
Production: Panorama Films
*******
MUSTER (Rushes)
2012, 79 min, BluRay – LINEAR VERSION
Clemens von Wedemeyer's film MUSTER is the linear version of a three-channel film
installation that was shown at the dOCUMENTA (13) to great acclaim. It shows the Breitenau
monastery in its former function as an "education and labor camp" during the liberation by the
US army in 1945, the Guxhagen house of correction for girls during the film shoot for Ulrike
Meinhof’s Bambule, and the Breitenau Memorial Museum during a school excursion there.
The individual passages are edited together so that memories and shifts in time are produced
all of which revolve around the same location.
Der Spielfilm MUSTER von Clemens von Wedemeyer ist die lineare Fassung der
dreikanaligen Filminstallation, die bei der dOCUMENTA (13) mit großer Beachtung gezeigt
wurde. Sie zeigt das Kloster Breitenau als "Arbeitserziehungslager" während der Befreiung
durch die US-Armee 1945, das Mädchenerziehungsheim Guxhagen während der Verfilmung
von Ulrike Meinhofs Bambule, sowie die Gedenkstätte Breitenau während der Exkursion
einer Schulklasse. Die einzelnen Passagen sind so ineinander geschnitten, dass es immer
wieder zu Erinnerungen und Zeitverschiebungen an demselben Ort kommt.
Arndt SCHWERING-SOHNREY,
Teacher/ Translator/ Director
Amelie KIEFER, Amelie
Tarik GOETZKE, Assistant August
Oona VON MAYDELL, Oona
Sabine WACKERNAGEL, Rector
Jeff BURRELL, Sergeant
Tómas LEMARQUIS, French prisoner
Angela MELITOPOULOS, American
Photographer
Production Advisor/ Produktionsberatung:
Costanza Julia Bani
Set Location Manager/ SetAufnahmeleiter: Mehran Foroughi
Camera/ Kamera: Frank Meyer
Soudn/ Ton: Tobias Böhm, Thomas
Wallmann
Editing/ Schnitt: Janina Herhoffer
Costumes/ Kostüme: Julia Schiller
Music/ Musik: Die Fremden_
Redaktion: Nicole Baum, 3sat
Clemens von Wedemeyer Production
Script/ Director/ Poduction / Editing
Buch, Regie, Produktion, Schnitt: Clemens
von Wedemeyer
Dramaturgy/ Dramaturgie: Eiko Grimberg
Director Assistant/ Regieassistenz:
Alexandra Neuss
Production Manager/ Produktionsleitung:
Caroline Kirberg
Commissioned and co-produced by
dOCUMENTA (13) with ZDF 3sat and
Kadist Art Foundation, Paris; Medienboard
Berlin Brandenburg; Nordmedia, Hanover;
Hessische Filmforderung HR, Frankfurt/
Main; Galerie Jocelyn Wolff, Paris
*****
SUN CINEMA LOCATION
HD video, 59 min, 2010 - 16:9
In the context of “My City“ five artists have been invited to develop unique projects, each for
a different city in Turkey. Clemens von Wedemeyer has developed a sculptural openair
cinema at the border of the old city of Mardin, overlooking the Mesopotamian plain. Hereas
the front of Wedemeyers‘ double sided screen construction serves for film projections at
night, the back of the screen functions as a mirror, reflecting the afternoon sun down to valley.
Wedemeyers‘ own film SUN CINEMA LOCATION documents the project from a subjective
camera position, filmed during the production of the openair cinema while depicting everyday
life in the city of Mardin, it’s rituals in public space
The film was be among the first films to be shown at this new venue. –
*******
INTRO (THE FOURTH WALL)
16 mm film loop, B/W, 3 min, 2009
Shot in black and white 16mm film, the film features a casting session with an actor who later
appears in the installation’s final film The Gentle Ones, a play inspired by the Tasaday staged
in the Barbican Theatre.
Cast: Laura Eagland
Camera: Clemens von Wedemeyer, Frank
Meyer
Producers: Tracy Bass, Pinky Ghundale
Production Manager: Mark Gibbons
1st Assistant Director: David Dickson
Art Director: Emma Landolt
Photographer: Sheila Burnett
Costume Designer: Heather MacVean
Hair/Make-up: Danielle Hooker
Mit Unterstützung durch das/supported by
Medienboard Berlin-Brandenburg
*******
WOOD (THE FOURTH WALL)
2 channel installation, HD video, 6:30 min, loop, 2009 - 16:9
Shot from a helicopter, the front projection simulates the gaze of an observer, the explorer
who seeks and imagines the encounter, while the reverse shows an empty piece of wood from
within, where nothing happens.
Camera: Frank Meyer
Editor: Janina Herhoffer, Production Manager: Fabienne Bideau
Produced in collaboration with Utopics. 11th Swiss Sculpture Exhibition, Biel/Bienne, Mit
Unterstützung durch das/supported by Medienboard Berlin-Brandenburg
*******
AGAINST DEATH (THE FOURTH WALL)
35 mm film transferred to HD video, 9 min. , 2009
16:9/ 1:1,85
Shot in 35mm film in a Barbican flat in London, an explorer is seen telling his anthropologist
friend about a ritual he undertook which granted him immortality. The scene concludes with
the explorer demonstrating his inability to die, and then seamlessly loops back to the
beginning. Like the endlessly repeating film, the explorer is frozen in a loop outside real time
due to his immortal status.
Cast
Production Designer: Imogen Hammond
Explorer: James Rochfort
Friend: Geoffrey Burton
Art Department Assistant: Charlotte
McE
wan
Costume Designer, Stylist: Heather
Editor: Janina Herhoffer
Mac
Director of Photography: Frank Meyer
Vean
Focus Puller: Oliver Ledworth
Camera Assistant: Pearce Crowley Grip:
Hair/Make-up: Danielle Hooker
Alex Coverley
Special Effects: Artem
Steady Cam Operator: Barney Davies
Digital Effects: Andreas Tröger
Gaffer: Mathias Beier
Sound Recordist: Nigel Batting
Sound Editor: Thomas Wallmann
Foley artist: Foley Studio Berlin
*******
THE GENTLE ONES (THE FOURTH WALL)
HD video, 28 min, 2009
16:9
‘The Gentle Ones was initially inspired by the Tasaday, who were secretly audiotaped in their
cave. The transcriptions of the tapes, which were published in John Nance's book, The Gentle
Tasaday: A Stone Age People in the Philippine Rain Forest (1975), gave me the impression,
as if the recordings were staged, in a sense that these transcriptions were probably real, but
written almost like a theatre play. The probable isolation of the Tasaday reminded me of
actors who have to isolate themselves from the outside world for the duration of rehearsals.
So I wanted to show actors rehearsing for a play that was inspired by the Tasaday. On stage.
They could even live on the stage to try to make their play more ‘real’. This is a technique
often used by actors and directors: to go into isolation and to try to live through the same
things the play is dealing with.’ CvW
Cast/ Ensemble: Natasha Baria, Shalini Baria, Kingsley Ben-Adir, Karl Brown, Drew Caiden,
Natalie Codsi, Andrew Duffus, Iana Eastmond, Tyrone Eastmond, Ryan Finch, Annabel
Foley, Tess Foley, Lewis Goody, Lois Graham, Rebecca Hallam, Ellen Jennings, Elisa
Lombardi, Tony Maskell, Mirella McGee, Parinay Mehra, Kesty Morrison and Emily Page
Writer: Leis Bagdach Editor: Janina
Herhoffer
Focus Puller: Oliver Ledworth
Grip: Alex Coverley
Boom Operator: Brendan Crehan
Art Department Assistant: Charlotte
McE
wan
Costume Assistants: Katie Hill, Emma
Heath, Holly Freeman
Hair/Make Up: Gina Anderson, Danielle
Hooker
*******
RECEPTION (THE FOURTH WALL)
3 channel video installation, 13 min. , 2009
3x 4:3
Party is a triple projection showing the celebrations after the theatre premiere of The Gentle
Ones. Shot in the Barbican Conservatory it features the first contact between the actors
performing as members of the cave-dwelling group inspired by the Tasaday and their theatre
audience. Significantly, this interaction between observed and observing is the point at which
the ‘fourth wall’ is broken.
Cast: Drew Calden, Karl Brown. Josh
Gaffer: Wayne King
Hart, Kae Yukawa, Kesty Morrison, Brett
Sound
Curry,Editor:
Lewis Goody,
ThomasKingsley
Wallmann
Ben-Adir,
Elisa Lombardi, Natalie Codsi, Parinay
Mehra, Tony Maskell, Ryan Finch and
Lois Graham
Hair/Make Up: Gina Anderson, Danielle
Hooker
Writers
: Leis Bagdach, Clemens
Stills Photographers: Joachim Muellervon Wedemeyer
Ruchholtz, Sheila Burnet
*******
FOUND FOOTAGE (THE FOURTH WALL)
Digital video, 31 min, 2008-2009, 4:3
A carefully compiled selection of found footage ranging from news reports and feature films
to anthropological documentaries. Directly addressing the audience, the artist emphasises the
didactic content of the film.
Editor: Janina Herhoffer, Clemens von Wedemeyer
Speaker: Stephen Jacob
Mit Unterstützung durch das/supported by Medienboard Berlin-Brandenburg
*******
THE INNER CAMPUS
2 Kanal Videoinstallation
HD video, Blu-ray, stereo, loop, 12 min, 2008
aspect ratio 16:9
Diese Serie von Interviews wurden im Mai 2008 an der Universität Santa Barbara in
Kalifornien während eines Workshops in Zusammenarbeit mit Studierenden aufgenommen.
Insgesamt wurden in einer Woche 14 Interviews geführt. Hier werden 10 Interviews
vorgestellt. Die Fragen und Antworten kreisen um den geografischen und psychologischhistorischen Raum des Campus und das Selberverständnis der Studenten, ihre Beziehungen
zueinander.
Der Workshop “The Inner Campus” wurde auf Initiative von Professor Sven Spieker von
Clemens von Wedemeyer im Mai 2008 während einer Woche auf dem Campus der University
of California Santa Barbara durchgeführt. Die Studenten waren an der Auswahl der Fragen,
den Dreharbeiten und als Interviewer beteiligt.
*******
DIE PROBE (The Test)
HD video, stereo, loop, 12 min, 2008
aspect ratio 16:9
The unedited sequence shows the backstage area of an events venue. A politician enters; he
has just been elected president, to excited cheering from his supporters. After the press and
the jubilant election team have left, the politician and an advisor go over his acceptance
speech. They are looking for words to turn down the office he just gained: The newly elected
president wants to refuse the power that has been invested in him. After a quick rehearsal he
returns to the stage; the backstage area is empty once more, the film starts all over again.
Die ungeschnittene Sequenz spielt sich im Backstage einer Halle statt. Ein Politiker wurde
gerade zum Präsidenten gewählt und zieht sich zu einer Besprechung mit seinem Berater
zurück. Nachdem sich die Presse und Wahlanhänger nach einer kurzen Feier wieder
zurückziehen, gehen sie den Text für die erste Rede zum Amtsantritt durch. In dieser Rede
versuchen sie dafür Worte zu finden, dass der Politiker die Wahl nicht annehmen, sondern
sich verweigern will. Nach der Textprobe geht der designierte Präsident wieder auf die
Bühne: Die Hinterbühne leert sich, der Film beginnt von vorn.
Hauptdarsteller/main cast: Bernhard
Schütz, Mirko Böttcher, Christian Victor
Keune, Anja Karmanski, Ludmila
Skripkina, Holm Taddiken
Kamera/camera: Frank Meyer
Ausstattung/production design: Anamarie
Michnevich
Kostüme/costume design: Katja Kirn
Casting:
Miriam Locker
Maskenbild / Make–up Artist
Anja Heinemann
Tonaufnahmen/sound recording: Rainer
Gerlach, Thomas Wallmann
Tongestaltung/sound editing: Thomas
Wallmann
Regieassistenz/assistant director: Gesa
Knolle
Produktionsleitung / Production Manager
Patrick Lambertz
Produktion/produced by: *.* Mit
Unterstützung durch das/supported by
Deutsche Guggenheim
*******
VON GEGENÜBER (From The Opposite Side)
35mm, 38:30 min, loop, Farbe/ color, DolbySR, 2007
„At first glance Von Gegenüber (From the Opposite Side, 2007) is a documentary about 24
hours in the life of the railway station, but one soon notices well-placed staged episodes.
Urban space – the unifying abstract theme of Sculpture Projects Muenster 2007– is condensed
here in a concrete image of reality whose adequacy can be immediately inspected by the
visitor on leaving the cinema. The use of the first-person camera introduces the sculptural
moment into the film, using dizzying spatiality as opposed to the linear grammar of montage.
By positing a semi-fictional but concrete urban space and using the subjective, hand-held
camera, von Wedemeyer does justice to the much-discussed advancement of film to the status
of a sculptural medium in this year’s Sculpture Projects.“
(Dietrich Diedrichsen for frieze.com)
Kamera/ Cinematography: Frank Meyer,
Kostüm / Costumes: Katja Kirn, Ton/
Sound Recordist: Alexander Heinze,
Sound Design: Thomas Wallmann,
Regieassistenz/ Assistant Director: Rita
Gloria Curvo, Sabine Huzikiewiz,
Produktionsleitung/ Production Manager:
Silvia Loinjak Aufnahmeleitung/ Set
Managment: Stella Denis, Maske: Kim
Kemper, Oberbeleuchter/ Gaffer: Mathias
Beier, Kameraassistenz/ Camera
Assistant:: Marco Dreckmann,
Materialassistenz/ Key Grip: Axel
Zschernitz, Willem Bramsche,
Kostümassistenz/ Wardrobe Assistant
Kathrin Heller, Produktionsassistenz/
Production Assistance: Hannes Lichte,
Ximena Rodriguez
Produziert für /produced for „skulptur
projekte münster 07“, Münster, Germany
*******
METROPOLIS, REPORT FROM CHINA
Mit/ with Maya Schweizer
Video/35mm/DVD, stereo, 42 min, 2004 - 2006
Format/aspect ratio 4:3
Die Dokumentaion einer einzigen Reise nach Shanghai und Beijing im Jahr 2004, auf der
Recherchematerial für eine Wiederverfilmung des Klassikers „Metropolis“ von Fritz Lang
gesucht wurden: In Interviews mit Arbeitern werden die Arbeitsbedingungen in der
zeitgenössischen chinesischen Stadt unter Konstruktion, und in Gesprächen mit Architekten
ihre Zukunft untersucht. Der Film zeigt immer wieder Referenzen zu „Metropolis“ und stellt
die Frage nach der Aktualität von Stadtutopien und ihrer sozialen Realität. The film essay
documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather
research material for a remake of Fritz Lang's cinema classic "Metropolis": Construction
workers talk about their experience on urban building sites; architects are asked about the
future of Chinese cities. The film continues to show references to "Metropolis" and questions
the currency of urban utopias and their social reality.
Kamera/camera, Schnitt/ editing:
Clemens von Wedemeyer, Maya
Schweizer
Tongestaltung/sound design
Thomas Wallmann
Interviews:
Zeb Raft/ Mit Unterstützung durch
das/supported by
Centre Georges Pompidou Paris, France
*****
RIEN DU TOUT
mit Maya Schweizer
HD Video/35mm/DVD, stereo, 30 min, 2006
Eine Regisseurin will in der Pariser Banlieue einen Mittelalterfilm drehen. Sie konzentriert
sich während des Castings auf eine Person. Die jungen Laiendarsteller warten vor dem
Theater auf einem Parkplatz, der bald zum Schauplatz der eigentlichen Handlung wird.
Während sich drinnen Regisseurin und Assistent zunehmend entfremden, feiern draussen die
Überflüssigen und tanzen.
Der Film wurde 2006 in Bretigny-sur-Orge, Frankreich gedreht. Die Dialoge sind in
französischer Sprache. Rien du tout ist eine gemeinschaftliche Arbeit von Maya Schweizer
und Clemens von Wedemeyer.
Une réalisatrice veut tourner un film médiéval dans la banlieue de Paris. Pendant le casting,
elle se concentre sur une seule personne. Le parking, devant le théâtre, sur lequel les jeunes
acteurs attendent leur tour, devient vite le décor de la nouvelle scène. Pendant qu´à líntérieur,
láliénation entre la réalisatrice et son assistant, atteint son paroxysme, commence à
léxtérieur, la danse des « superflus ».
Le film à été tourné en 2006 à Brétigny-sur-Orge en France. Les dialogues sont en français.
Rien du tout est une réalisation de Maya Schweizer et de Clemens von Wedemeyer.
A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During
casting, she is focused upon one person. The car park in front of the theatre where the young
amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as
the director and her assistant grow increasingly estranged, the superfluous figures outside
begin to celebrate and dance.
The film was shot in 2006 in Bretigny-sur-Orge, France. The dialogue is in French. Rien du
tout is a joint work by Maya Schweizer and Clemens von Wedemeyer.
Hauptdarsteller/main cast:
Inge Offermann, Yann Chermat, Sabine
Kuntoff
Buch/script
Clemens von Wedemeyer, Maya
Schweizer Kamera/camera:
Frank Meyer, Rosario Romagnosi
Kostüme/costume design:
Clara Camus
Tonaufnahmen/sound recordings:
Karim Soufi
Tongestaltung/sound design
Thomas Wallmann
Regieassistenz/assistant director:
Aurélio Cardenas
Produktionsleitung/production
management:
Florence Alexandre
Aufnahmeleitung
Gaspard Hirschi
Produktion/produced by:
CAC Bretigny, BB4 Berlin Biennale,
Château-Rouge production, Gaëlle Jones,
*.*
Mobley-Springmeier Collection, Suisse,
Galerie Jocelyn Wolff, Paris
*******
OTJESD (WEGGANG/LEAVING)
16mm/DVD, stereo, loop, 15 min, 2005
Eine gemeinsam mit russischen Immigranten in Berlin nachgestellte Szene vor dem deutschen
Konsulat in Moskau: Menschen stehen für ein Visum an. Die deutsche Bürokratie hält für
jeden Reisegrund einen anderen Eingang bereit. Eine junge Frau läuft an der wartenden
Schlange vorbei und wird von einer Beamtin aufgehalten. Ihre Tasche ist zu groß und muss
abgegeben werden. Sie sucht einen Platz, um sie abzustellen. Die Dialoge sind in russischer
Sprache. Der Film wird zusammen mit dem The Making of Otjesd gezeigt.
A scene enacted in Berlin, featuring Russian immigrants in front of the German Consulate in
Moscow: people have queued up to obtain a visa. The German bureaucracy has a different
entrance for each reason for travel. A young woman runs past the waiting queue and is
stopped by an officer. Her bag is too large and must be checked in. She looks for somewhere
to put it down. The film dialogue is in Russian. The Film is shown along The Making of
Otjesd.
Hauptdarsteller/main cast: Rita Breitkreiz,
Ekaterina Choulman, Victor Choulman
Ausstattung/production design: Mascha
Deneke
Kostüme/costume design: Sabin Fleck
Tonaufnahmen/sound recording: Hans
Brammer, Immo Trümpelmann
Tongestaltung/sound editing: Thomas
Wallmann
Regieassistenz/assistant director: Leis
Bagdach, Norman Richter, Dietrich
Limpert
management: Sylvia Loinjak
Produktion/produced by: *.* mit Christina
Schachtschabel und Joachim von
Vietinghoff
Goethe Institut Moskau, 1st Moscow
Biennale
*******
THE MAKING OF OTJESD
Video/DVD, stereo, loop, 10 min, 2005
The Making of Otjesd zeigt Aufnahmen vom Set in Berlin sowie Bilder von der Recherche
vor dem Konsulat in Moskau im Dezember 2004. Aus dem Off hört man Erzählungen von
beteiligten Schauspielern, die von ihren eigenen Erfahrungen in Kiew und Moskau berichten.
The Making of Otjesd offers shots of the set in Berlin as well as pictures taken during
research in front of the Consulate in Moscow in December 2004. The off-camera narration
includes narratives by actors and actresses involved in the production, reporting their own
experiences in Kiev and Moscow.
Erzähler/narrators: Victor Choulman,
Valerie Sikorskij Videoaufnahmen
Berlin/video camera Berlin: Niklas Förster,
Maya Schweizer
*******
OHNE TITEL (REKONSTRUKTION)
16mm/DVD, 3 min, 2005
Ein Tänzer verlässt immer wieder den unbestimmten Bildraum – er scheint mit dem Blick der
Kamera bis zur Erschöpfung zu streiten. Dazwischen wartet er still mit dem Gesicht zu Wand.
Die Aufnahmen zum Film entstanden während der Proben zu einem Solostück des Tänzers
und Choreografen Alexandre Roccoli in der Villa Gillet, Lyon (Ersatz – When was the last
time you sweat on a dancefloor? 2005). Sie wurden in einer neuen Montage zeitlich verändert,
bearbeitet und nachträglich vertont. Der Film ist als Schleife angelegt.
Over and over again, a dancer vanishes from the vaguely defined visual space – he seems to
be in a clash, to the point of exhaustion, with the camera’s gaze. In the intervals, he waits
quietly, his face to the wall. The footage in the film was shot during rehearsals for a solo piece
by dancer and choreographer Alexandre Roccoli in Villa Gillet, Lyon, France (Ersatz – When
was the last time you sweat on a dancefloor? 2005). In this new montage, their time sequence
has been altered, processed and subsequently set to music. The film is shown as a loop.
Choreograf und Tänzer/choreographer and
performer: Alexandre Roccoli
Tongestaltung/sound editor: Thomas
Wallmann
*******
DAS BILDERMUSEUM BRENNT
Digital video, DVD, stereo, 27 (3 x 9) min, 2004–2005
Videoinstallation auf drei Projektionsflächen/video installation on three screens
Ein Schauspieler in verschiedenen Rollen: Als Besucher, Bewacher und illegaler Bewohner
läuft er durch ein leeres Museum. Die einzelnen Charaktere bemerken, aber begegnen sich
nicht. Die 27- minütigen Loops sind in der Installation auf drei Projektionsflächen je um ein
Drittel versetzt. So erscheinen die Handlungen simultan und aufeinander folgend zugleich.
Die Aufnahmen entstanden 2004 im unfertigen Neubau des Museums der bildenden Künste
Leipzig.
An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty
museum. The individual characters are aware of one another but never meet. The 27-minute
loops are staggered by one-third on each of three projection screens in the installation. This
makes the action seem to take place both simultaneously and in sequence at the same time.
The footage was shot in 2004 in the unfinished new building of the Museum der bildenden
Künste in Leipzig.
Darsteller/cast:
Mario Mentrup
Kamera/camera:
Frank Meyer
Ausstattung/production design:
Arthur Zalewski
Kostüme/costume design:
Clemens von Wedemeyer, Walter Barrotta
Tonaufnahmen/sound recording:
René Blümel
Tongestaltung/sound design:
Thomas Wallmann, Niels Loewenhardt
Dirk Waldeck
management:
Holm Taddiken
*.*
Mit Unterstützung von/supported by
Museum der bildenden Künste Leipzig und
der Kulturstiftung der Hypovereinsbank
*******
DIE SIEDLUNG (THE NEW E STATE)
Digital video/DVD, stereo, 20 min, 2004
Eine Recherche zu einem Film: Schauplatz ist der Leipziger Stadtteil Grünau, ein
Plattenbaugebiet, an dessen Rändern sich verlassene Militärbaracken sowie seit den 1990er
Jahren Einfamilien- und Reihenhaussiedlungen finden. Die Kamera trifft auf Personen, deren
Erzählungen von Stagnation und gescheiterten Utopien zeugen. Die Off-Stimme in diesem
Videoessay kommentiert die Umnutzung des Gebietes.
Location research on a film: the setting is the Grünau district in Leipzig, an area of pre-fab
blocks of flats surrounded by abandoned military barracks and, since the 1990’s, by housing
estates of detached and terraced houses. The camera captures people whose stories are
testimony to stagnation and failed utopias. The off-camera voice in this video essay comments
on the conversion of the area.
Mit/with: Glummie Riday, Wayra Riday,
Revermann Projekte und Peter
Produktion/produced by: *.*
Mit Unterstützung von/supported by:
Sächsisches Ministerium für Wissenschaft
und Kunst, „Kunst und Kommunikation
der Universität Leipzig“, Ulrike Kremeier
*******
SILBERHÖHE
35mm/DVD, stereo, loop, 10 min, 2003
Format/aspect ratio 1:1,66
In Halle-Silberhöhe, einer Plattenbausiedlung in Ostdeutschland, werden Wohnblocks
abgerissen. Der Film thematisiert die Aufgabe eines urbanistischen Konzeptes der
Spätmoderne. Die Montage fügt die einzelnen Kameraeinstellungen zu einer trostlosen
Szenerie zusammen und referiert dabei auf eine Technik, die Michelangelo Antonioni in
seinem Film L’eclisse von 1962 anwandte. In Halle-Silberhöhe, an area of pre-fab blocks of
flats in East Germany, blocks of flats are being torn down. The film addresses the mission of
an urban-planning concept in the late modern era. The montage assembles the separate
camera shots together to create a bleak setting, at the same time a comment on a technique
used by Michelangelo Antonioni in his 1962 film L’eclisse.
Tonaufnahmen/sound recording: Dirk
Sommer
Tonmischung/sound mixing: James
Welburn
management: Holm Taddiken
Produktion/produced by: *.*, neufilm
Co-produziert von/co-produced by:
Schrumpfende Städte, ein Initiativprojekt
der Kulturstiftung des Bundes
*******
BIG BUSINESS
Big Business ist ein Remake des gleichnamigen Slapstick-Klassikers von Stan Laurel und
Oliver Hardy (USA, 1929). Die Beiden verkaufen Weihnachtsbäume und klingeln bei James
Finlayson, der sie unfreundlich abweist. Ein Streit entbrennt, in dessen Verlauf sowohl
Finlayson’s Haus, sein Klavier wie auch Stan und Ollies Auto zerstört werden. Der Film
wurde in der Justizvollzugsanstalt Waldheim in Ostdeutschland gemeinsam mit den Insassen
realisiert und wird zusammen mit The Making of Big Business gezeigt.
Big Business is a remake of the slapstick Laurel and Hardy classic (USA, 1929) of the same
name. The pair are Christmas tree salesmen and ring the doorbell of James Finlayson, who
rather brusquely turns them away. An argument breaks out in the course of which Finlayson’s
house, his piano and Stan and Ollie’s car are demolished. The film was shot on location with
inmates of Waldheim Prison, in East Germany, and is shown here along with The Making of
Big Business.
Kamera/camera:
Frank Meyer
René Blümel
management:
Holm Taddiken
*.*, neufilm
Mit Unterstützung von/supported by
Kunst im Gefängnis e.V., SachsenLB
*******
THE MAKING OF BIG BUSINESS
Das Video kommentiert die Dreharbeiten des Filmes Big Business in der Justizvollzugsanstalt
Waldheim, dem ältesten Gefängnis Deutschlands. Neben Interviews mit Gefangenen und dem
Gefängnisdirektor werden sowohl die Geschichte des Ortes, die Rahmenbedingungen der
Produktion als auch das Alltagsleben der Inhaftierten gezeigt.
The video comments on the shooting of the film Big Business in Waldheim Prison,
Germany’s oldest prison. Along with interviews of inmates and the prison warden, the video
also tells of the history of the place, the conditions of production and the everyday lives of the
inmates confined there.
Kamera/camera:
René Blümel, Frank Meyer, Clemens von
Wedemeyer
Sprecher/voice:
Maya Schweizer, Clemens von
Wedemeyer
*.*, neufilm
*******
OCCUPATION
35 mm/DVD, stereo, 8 min, 2001–2002
Format/aspect ratio 1:1,85
Eine nächtliche Massenszene soll gedreht werden. Zusammengehalten durch ein auf dem
Boden markiertes Rechteck warten 200 Statisten auf Anweisungen, doch Regie und
Aufnahmeleitung widersprechen sich. Die Atmosphäre wird zunehmend angespannt. Die
unruhige Menge entwickelt ein Eigenleben, und das Filmteam versucht, die Situation zu
kontrollieren.
A nighttime scene is to be filmed. Held together by a rectangle marked out on the ground, 200
extras await their cues, and yet the direction and production staffs are in conflict with one
another. The atmosphere grows increasingly tense. The restless crowd develops a life of its
own as the film team attempts to keep the situation under control.
Hauptdarsteller/main cast: Julia Berke,
Jörn Knebel, Berndt Stübner
Oberbeleuchter/gaffer:
Mathias Beier
Musik/music: Mathias Pintscher
Toneffekte/sound effects: Niels
Löwenhardt
Regieassistenz/assistant director: Leis
Bagdach
management: Holm Taddiken
Produktion/produced by: *.* / neufilm
*******
The Making of Occupation
Video, 10 min, 2002
Das Video The Making of Occupation zeigt die Arbeit des Filmteams mit den Statisten bei
den Dreharbeiten in Leipzig 2001.
The video, The Making of Occupation, shows the work of the film team with the extras
during shooting in Leipzig in 2001.
Kamera/camera: Arthur Zalewski
*******
SAND
Video/DVD, stereo, 25 min, 2000
Fünf Personen in einem leeren Krankenhaus. Ein junger Arzt (Dr. Sand) ist neu angekommen
und muss sich mit den Ritualen einer sich selbst genügenden Gemeinschaft
auseinandersetzen. Die Klimaanlage brummt und illustriert ihre Sprachlosigkeit, als Dr. Sand
die Räume der Klinik wie in Selbstversuchen entdeckt. Der Film entstand in einem
aufgegebenen Bürokomplex in Leipzig.
Five people in an otherwise empty hospital. A young physician (Dr. Sand) has just arrived and
must learn to deal with the rituals of a self-sufficient community. The air conditioner drones
and illustrates their speechlessness as Dr. Sand discovers the rooms of the clinic as if
experimenting on himself. The film was shot in an abandoned office complex in Leipzig.
Hauptdarsteller/main cast:
Marco Albrecht, Heike Ronniger, Martina
Eitner, Johanna Marx, Simon Brusis
Kamera/camera:
Sven O. Heinze
Buch/script
Leis Bagdach, Clemens von Wedemeyer
Ausstattung/production design:
Alexandra Gaul
Oliver Schneider, Joachim MüllerRuchholtz
Leis Bagdach, Tomek Mzyk
management:
Holm Taddiken
*.*
Mit Unterstützung durch die/supported by
Mitteldeutsche Medienförderung MDM
*******
STROMSCHNEIDER (Current Cutter)
Digital video/DVD, stereo, 1999
Videoinstallation, Format/aspect ratio 4:3
Verteilt in einem abgedunkelten Raum stehen mehrere Monitore, die für Sekunden
freigestellte Objekte (Autos, Flugzeuge, Passanten ...) zeigen und auf der Mattscheibe
verblassen. Jeder dieser visuellen Reize ist mit einem künstlich erzeugten Ton versehen.
Distributed throughout a darkened room are several monitors, displaying random objects
(cars, aeroplanes, passers-by…) for seconds at a time before the images fade away again.
Each of these visual stimuli is accompanied by an artificially generated sound.
Toneffekte/sound effects: Oliver Schneider, Joachim Müller-Ruchholtz
*******
MASS
Video/DVD, stereo, 3 min, 1998
Überblendungen von Found Footage Bildern von Massenaufläufen und politischen
Demonstrationen aus den 1920er Jahren verdichten sich zu einer grauen Fläche. Kaum hat
sich der Blick auf ein Detail geöffnet, überlagern sich die Ebenen wieder. Das Video basiert
auf Szenen aus Panzerkreuzer Potemkin (UdSSR. 1925) u.a.
Fade-overs of found-footage sequences of mass assemblies and political demonstrations from
the 1920’s thicken into a grey surface. Scarcely has the viewer’s gaze landed on a detail when
the layers pile up over one another again. The video is based on scenes from Panzerkreuzer
Potemkin (USSR, 1925), among others.
*****

filmografie / filmography clemens von wedemeyer * * * * * * * 2000

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