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January 2014, living archive

"A Day’s Pleasure, Behind the Screen" – A Film Curatorial Performance by Clemens von Wedemeyer

For the Berlin premiere of Clemens von Wedemeyer’s film MUSTER (Germany 2012, January 18 at Arsenal Cinema), we have invited him to take a look at our collection and have made both of our cinemas and the foyer available to him for one day. The program A DAY’S PLEASURE, BEHIND THE SCREEN, which we will be presenting January 19, evolved through this invitation. "What would it be like if you broke down the walls of a multiplex cinema, if those watching entirely different films were to suddenly come together in order to watch separate films? The experiment: two complementing programs will be shown in parallel, with audience members able to choose and stroll between the two of them with the same ticket. The secret shuffling out of the cinema and the distracting sound of the door shutting become a part of a dispersed shared performance here. Much like during a film festival, only part of this marathon curated program can actually be seen, with another part of it always being missed in its place. The inspiration for the performance were two films by Charlie Chaplin." (Clemens von Wedemeyer)

Arsenal Cinema 1: A DAY'S PLEASURE The A DAY'S PLEASURE program is named after Chaplin's film about a family that goes on an outing on a pitching ship and shows films that grasp the cinema as space and generate or evoke feelings of dizziness and frenzy in the spectator. The viewer is seduced, dominated, and taken to unknown places by the corporeal effects of film. The key film here is Michael Snow's LA RÉGION CENTRALE, in which a camera mounted alone on a mountain revolves for three hours until the viewer perceives the cinema as forming a body and its own cosmos. Yet narrative films such as Cassavetes' A WOMAN UNDER THE INFLUENCE, which describes a sense of mental and social frenzy, are also part of the program.

A DAY’S PLEASURE, Charlie Chaplin, USA 1919, 25 min
INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE, Peter Tscherkassky, Austria 2005, 17 min
DISORIENT EXPRESS, Ken Jacobs, USA 1995, 30 min
LA REGION CENTRALE, Michael Snow, Canada 1974, 191 min
BRUCE LEE IN THE LAND OF BALZAC, Maria Thereza Alves, France 2007, 3 min
A WOMAN UNDER THE INFLUENCE, John Cassavetes, USA 1974, 147 min
MOTHLIGHT, Stan Brakhage, USA 1961, 4 min
CONTRE-JOUR, Matthias Müller, Christoph Girardet, Germany 2009, 11 min
LOOKING FOR MUSHROOMS, Bruce Connor, USA 1967, 13 min
ALLES DREHT SICH, ALLES BEWEGT SICH!, Hans Richter, Germany 1929, 8 min
VERTIGO RUSH, Johann Lurf, Austria 2007, 19 min
KARAGOEZ – CATALOGO 9,5, Yervant Gianikian, Angela Ricci Lucchi, Italy 1979, 48 min

NSTRUCTIONS FOR A LIGHT AND SOUND MACHINE: An attempt to transform a Roman Western into a Greek tragedy by manually working on light and material of every film frame. DISORIENT EXPRESS: Ken Jacobs reproduces a sequence of 1906 film shots depicting a journey by train, optically reprinting the footage with different formal manipulations. A STUDY IN CHOREOGRAPHY FOR CAMERA: The exploration of a man who dances in a forest, and then seems to teleport to the inside of a house because of how continuous his movements are from one place to the next. BRUCE LEE IN THE LAND OF BALZAC: Honoré de Balzac, French landscape and Bruce Lee – and there is no turning back. MOTHLIGHT: What a moth would probably see between birth and death, if black was white and white was black. CONTRE-JOUR: My Eyes! My Eyes! Flickering out from the screen and direct to your retina, CONTRE-JOUR is not for the optic neurotic. Blind spots gape between self-perception and the perception of others. RITUAL IN TRANSFIGURED TIME: A social event choreographed in the manner of a dance, illuminated by concepts drawn from Greek legend. LOOKING FOR MUSHROOMS: A three-minute color wild ride with music by the Beatles. ALLES DREHT SICH, ALLES BEWEGT SICH!: Everything Turns, Everything Resolves is a lively collage of a Berlin street carnival. VERTIGO RUSH: Uncompromising work made up of variations on a repeating shot of an approaching and withdrawing movement, with a very hypnotic effect. KARAGOEZ – CATALOGO 9,5: Slowed down, carefully crafted tinted and completely silent, this work stands out as one of the most beautiful found footage films.

Arsenal Cinema 2: BEHIND THE SCREEN The contrasting BEHIND THE SCREEN program also takes its title from a film by Charlie Chaplin, in which he rushes from problem to problem whilst working at a theater, and shows films that analyze media production in society and the conditions attached to it. The protagonists, mainly actors and other people involved in film, are shown at work or have their own reflection thrown back at them in the form of making ofs, whether on screen or on stage. The key film here is LA MACCHINA CINEMA about the solitary nature of work and the Italian cinema dream, as well as Samuel Beckett's FILM, a reflection on perceiving and being perceived in film starring Buster Keaton.

BEHIND THE SCREEN, Charlie Chaplin, USA 1916, 28 min
PROJECTION INSTRUCTIONS, Morgan Fisher, USA 1976, 4 min
FILM, Alan Schneider, Samuel Beckett, USA 1965, 21 min
LA MACCHINA CINEMA, Silvano Agosti, Marco Bellocchio, Sandro Petraglia, Stefano Rulli, Italy 1978, 268 min
A VISIT TO HANS RICHTER, Jonas Mekas, USA 2003, 9 min
CINEMA VERITE, FILMSTIL UND FILMTECHNIK (part 6), Ulrich Gregor, Michael Strauven, West Germany 1968, 31 min
A & B IN ONTARIO, Joyce Wieland, Hollis Frampton, USA 1984, 15 min
EH JOE, Samuel Beckett, USA 1966, 30 min
ELLE A PASSE TANT D’HEURES SOUS LES SUNLIGHTS, Philippe Garrel, France 1984, 138 min

PROJECTION INSTRUCTIONS: Projection Instructions puts the projectionist at the centre of the work, requiring his full attention, as all the textual instructions on the screen (”Turn sound off”, ”Throw out of focus”…) need to be read and respected. A VISIT TO HANS RICHTER: A compilation of all appearances of Hans Richter (and his environment) in the films of Jonas Mekas. A & B IN ONTARIO: A&B in Ontario presents a portrait where Joyce Wieland and Hollis Frampton have a visual conversation with each other through their cameras. CINEMA VERITE, FILMSTIL UND FILMTECHNIK (part 6): The film – whether in cinema or on television – is a common, self-evident medium: to entertain, educate and inform. EH JOE: Joe is quietly thinking he is safe but hears a woman’s voice. As the voice progresses we move closer and closer to Joe. ELLE A PASSE TANT D’HEURES SOUS LES SUNLIGHTS: A young film director is turning a movie with his friend Christa. In the film-within-the-film there are two couples, one real, one imagined.

Day pass for all screenings: 9,50 €.

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