Open Air Art Cinema ist ein Format, das von Studierenden des Studiengangs Time Based Media an der Muthesius Kunsthochschule im Rahmen des Projekts Nukleus Kiel kuratiert ist. Eigene filmische Arbeiten treten in Dialog mit Werken etablierter Künstler*innen sowie mit Filmen von Studierenden anderer Kunsthochschulen
Open Air Art Cinema is a format curated by students of the Time Based Media Program at Muthesius in the frame of Nukleus Kiel. Their own film works enter into dialogue with works by established artists as well as with films by students from other art schools.
Curated by
Lilly Altmann, Şeyda Okumuş, Sophia Lindner, Maxim Lewandowski, Jane Han
Programm\
Muthesius Kunsthochschule
* Jane Han, Dear. All the Red in the World, 2025 (10min)
* Tadeus Albertsen, Liebelein, (7:36mins)
* Maxim Lewandowski, What if the Computer wasn´t the Villian?, 2025 (08:31mins)
Artist Film: \
* Clemens von Wedemeyer, Surface Composition, 2024 (22:51min)
How do we arrange ourselves? How are we arranged? And how can one visualize the answers to these questions? Clemens von Wedemeyer’s new film delves into the question of the networked dimension of our existence and grapple with how to represent it.
Wedemeyer’s film, Surface Composition, illustrates the contemporary platforms on which people arrange themselves and by which they are arranged. Traveling in California, he recorded sites possessed of real-world network power like the headquarters of Apple, Meta, Amazon, Space X, and the United States Postal Service, as well as infrastructures of commerce, containers, mines, and other motifs, in impersonal documentary images. They show the nondescript building complexes of systemically relevant companies, empty streets, a few transport vehicles. The reality of today’s networks is opaque; their phenomenological blankness becomes manifest in the additive editing, sustained by a psychedelic soundtrack supplied by the Hungarian improvisational musician Zsolt Sőrés.
Conventional principles of the representation of power (and the mass) have been turned upside down in the networked feudalism of our days. The more influential the actors and structures, the places and processes are, the more invisible they seem to be.