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
NUKLEUS Kiel ist ein interdisziplinäres Kunstprojekt, das den Stadtraum Kiels als Forschungsfeld versteht. Internationale Künstler*innen und lokale Studierende der Muthesius Kunsthochschule arbeiten über mehrere Monate hinweg an künstlerischen Interventionen, die Fragen nach urbaner Teilhabe, öffentlichem Raum und demokratischem Miteinander aufwerfen. Kuratiert von Sven Christian Schuch (SPCE, Muthesius)
Artist Film:
Blaise Kirschner, UNICA, 2022 (36min)
UNICA is named after the writer and artist Unica Zürn (1916 – 1970), whose illustrated text The House of Illnesses (1958) figures her body and her institutionalisation as one formation. Rethinking contemporary forms of immersion in simulated worlds through Zürn’s body-building, UNICA attends to the syncretic lifeforms that emerge from the intra-actions between the organismic, technological and phantasmal today. The latent presence of an unnamed catastrophe is repeatedly evoked by the protagonists, an artist and a motion-capture performer, via overlapping references to post-apocalyptic computer games, drawings, and dreams. This deliberate indeterminacy is extended to Teufelsberg, a forested hill on the outskirts of Berlin made from the debris of Second World War ruins, where parts of the work were filmed. By merging motion capture with quasi-archaeological procedures, UNICA calls attention to the artificial naturalisation of historical and ongoing violence, and the conditions of possibility for its decoding and disruption.
Royal Institute of Art, Stockholm
* Carl-Oscar Sarfati, GHOST (The Ingmar Bergman Syndrome) (8min)
* Roda Abdalle, A LETTER TO HER, (9 min 58 sec)
* Mattias Carlos Håkanson, SOM ETT MINNE, BLÅTT, (20 min 47 sec)
* Carl-Oscar Sarfati, GHOST (The Ingmar Bergman Syndrome) (8min) The reoccurring father-son relationship in Swedish filmmaker Ingmar Bergman’s films, collected and put side by side. All of the fathers, all of the sons interacting through their frames and settings. Discovering the duality of Bergman simultaneously as father and son, the repetition and need for processing the generational aspects of his inner life, through the art of cinema discovering his father’s struggle and confusion.
* Roda Abdalle, A LETTER TO HER, (9 min 58 sec) „A Letter To Her” revolves around the narrative of a” an inner calling in a young woman’s heart”. Through a voice she hears from within, which guides the way to something unknown that she is seeking. Imagine trying to escape something indefinite. I place the body alongside the unfamiliar and use it as a subject as well to observe emptiness and the space around and in between, individual displacement and passing time. I search for a feeling akin to being in a dream where you are immersed in light while simultaneously as in the darkness of infinity.
* Mattias Carlos Håkanson, SOM ETT MINNE, BLÅTT, (20 min 47 sec) On a passage of longing, Som ett minne, Blått starts on the Pacific coast in Antofagasta, before shifting between lakes, mountains and urban landscapes of Argentina and ending in Swedish winter. An artificial voice parallels metaphors of water/ forest/ desert with memories of land/ violence/ heritage. “Ett minne blott” translates to “merely a memory”, but here the memories are blue.