may 2019, living archive

Stoffwechsel

Film Feld Forschung has set itself the goal of using the interior and exterior spaces of silent green for theoretical and practical research into the medium of film. Starting in May, a series of events, workshops and exhibitions will take place, dealing with the materiality of the Earth's film as a medium of memory as an archive. How does the cinema relate to its carrier material and the materiality of what is depicted? What is the physical relationship between the body and the landscape and the image and thus with the viewer and its environment? The focus will be on the concept of permaculture, among other things, for the construction of living spaces that are preserved in the field of tension between observation, productivity and temporality of the earth itself. What role does this assumption play for cinema and its archives? The series begins with an installation of cinematic works by Arthur and Corinne Cantrill, Kerstin Schroedinger and Mareike Bernien.

30.5.–2.6. @ silent green Betonhalle. An Archive außer sich project.

may 2019, living archive

The Whole Life: Archives and Reality

From May 19 to 25, an international academy entitled "The Whole Life: Archives and Reality" is taking place in Dresden followed by a conference. Arsenal and the project partners of "Archive außer sich" are also involved in the program as part of the large-scale "The New Alphabet" project. Taking the Archiv der Avantgarden as its starting point, the conference grasps archives as social networks of object biographies.

may 2019, living archive

Public Screening – The Harun Farocki Institute present

In accordance with the condition that the “public screening” format be used for first encounters with films and their Arsenal archive prints (and in keeping with a small tradition on feminist and ethnological films within the program), the Harun Farocki Institute presents A RUSTLING OF LEAVES: INSIDE THE PHILIPPINE REVOLUTION (Nettie Wild, Canada 1988) on May 16. The director placed her work within complex political constellations, in the triangle of participatory observation, partisan engagement and radical ethnography. Her first longer film is set between the fronts of the 1980s revolution in the Philippines, which escalated in 1986 when Corazon Aquino became the first woman to accede to power in the country. The film was shown in the Berlinale Forum of 1989 and received global attention. That’s as much or as little as we know at the moment.

may 2019, living archive

Youssef Chahine Again and Forever: AL NASSER SALAH AL-DIN

april 2019, living archive

Vaginal Davis präsentiert: Contemporary Vinegar Syndrome

On April 8, our archive researcher Vaginal Davis and Daniel Hendrickson are guests at b_books! b_books is a bookstore, publisher, film production company, and event space in Kreuzberg and on hand each year at the Berlinale with a stand in the Arsenal foyer. Two films produced in collective contexts will be shown. Kartemquin Films has been producing documentaries in Chicago for over 50 years: WINNIE WRIGHT, AGE 11 (1974) tells the story of a working-class family living in Gage Park, Chicago, where African-Americans are increasingly moving to the previously mainly white district. Pacific Street Films was founded in 1969. FRAME-UP: THE IMPRISONMENT OF MARTIN SOSTRE was made in 1972 about the Puerto Rican owner of a bookstore in Buffalo, who is wrongly sentenced for drug possession and assault and is incarcerated in Attica.

april 2019, living archive

Filmmakers’ Choice: Estonian Films in the Soviet Union

On April 11, Eléonore de Montesquiou will present a programme as part of our series Filmmakers' Choice: AEG MAHA (Time Out, 1984) is an animated film by Priit Pärn about a cat whose day transforms into a series of surreal dreams. PÔRGU (Hell, 1983) by Rein Raamat enters into the life of Estonian graphic artist and painter Eduard Wiiralt from the early 1930s in three steps (“The Preachers”, “Cabaret”, and “Hell”). In HULLUMEELSUS (Kaljo Kiisk, 1968), a Gestapo officer looks for a spy in a psychiatric hospital. The film, a critique of totalitarianism, was banned, but Tallinnfilm, who produced it, hid the archived duplicate. Today, prints of the film exist in Tallinn and in the Arsenal film archive. Thanks to the Eesti Filmi Instituut.

march 2019, living archive

Public Screening – The Harun Farocki Institut presents

On March 13, another public screening will be organised by the Harun Farocki Institut: Ethnographic film was a constant point of reference for Harun Farocki and offers an example of how film and research are intertwined. Of Jean Rouch’s 12 films in Arsenal’s archive, we will screen one of the least known. FOLIE ORDINAIRE D’UNE FILLE DE CHAM diverges from traditional ethnographic work and is instead a multi-layered media translation. “Taking a text by Julius Amédée Laou, a young author from Martinique, that was staged in the theater by Daniel Mesguish, Jean Rouch transposed the plot to a hospital to give it a “scientific” frame: A psychiatrist named Charcot presents a spectacular case to his colleagues so that they can themselves evaluate it. The viewers are the witnesses of this presentation alongside the doctors.” (Forumsblatt) The film will be preceded by a film in which Raymond Depardon and Jean Rouch film each other filming.

march 2019, living archive

Public Screening re-selected: American Experimental

The next public screening as part of the Arsenal and Oberhausen Short Film Festival re-selected project will take place on March 10.

Karola Gramann was the director of the International Short Film Festival Oberhausen from 1985 to 1989. Her leaving gift was a retrospective entitled “American Avant-Garde and Experimental Films of the 1960s” curated by Alf Bold and Christine Noll Brinckmann. Alongside Heide Schlüpmann, Gramann has compiled a “reprise” of the program, which made a statement at the time, from the archives of the Arsenal and the Oberhausen festival where experimental films had to be fought for. When they were screened, they polarized audiences like nothing else. Films by Kenneth Anger, Bruce Baillie, Bruce Conner, Larry Gottheim, Standish Lawder, Marie Menken, Robert Nelson, Ron Rice, Lee Savage, Anita Thacher. Guests: Karola Gramann, Heide Schlüpmann and Christine Noll Brinckmann.

The re-selected project is part of Archive außer sich.

february 2019, living archive

Filmmakers’ Choice: Maman: Mother-daughter relationships revisited

Our series Filmmakers' Choice is to be continued on February 18. The program’s curators - Eva Heldmann and Katja Wiederspahn - are linked by a deep friendship and working relationship, which from the start involved watching and discussing films together, especially – in the 1980s - those made by lesbian and/or feminist filmmakers. A central concern was the critical exploration of their own relationships with their mothers, particularly regarding their mothers’ experiences during the Nazi era, as well as the relationship between sexual taboos and maternal love formulated by Louise Bourgeois.

january 2019, living archive

Public Screening—the Harun Farocki Institute Presents

On January 9, the Harun Farocki Institure presents another public screening: Eliane de Latour makes documentaries and features, as part of her work as an anthropologist, which also involves texts and photographs. We are interested in this practice because it promises to redress or even dissolve the borders between disciplines. De Latour has said that she fixes her gaze on the closed worlds behind a geographical or social border. CONTES ET COMPTES DE LA COUR (Tales and Tallies, 1992) portrays the four wives of a marabout in Niger. They are enclosed in the eponymous courtyard of a building complex, but manage to develop micro-economic strategies to form relationships with the exterior world. “Through the circulation of objects, they continue to participate in social life,” wrote Latour who spent weeks with the women in the courtyard. “There was no difference between the moments when I filmed and those when I just listened.”