Picture: Rouzbeh Rashidi, videostill HSP, 2022
Videos from Rouzbeh Rashidi
HOMO SAPIENS PROJECT : SELECTION | 42′ |
Rashidi has always worked entirely away from mainstream conceptions of filmmaking, striving to escape conventional storytelling stereotypes. Instead, he roots his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as exploration rather than illustration. His work is deeply engaged with film history, and primarily concerned with mysticism, philosophy, esotericism, cosmology, phenomenology, and hauntology. The films are wildly experimental and often surrealist, magical realist, and mysterious, and have been associated with the Remodernist movement. They are unified by his oneiric imagination, idiosyncratic working methods, and the dreamlike experience of watching them.
The Homo Sapiens Project (HSP) is the distillation and, in some ways, the culmination of my experimental film practice. I have always been committed to making deeply personal, formally experimental work that collapses the boundaries between alienated subjective perception and the inexhaustible mysteriousness of the moving image. I view cinema (in the broadest sense of the word) as a laboratory. My audio-visual works are experiments in which my perception and inner life are employed as a ‘reagent’. My work begins with sound and image and works intuitively ‘outwards’ towards ideas. I generally eschew scriptwriting, seeing the process of making moving images as exploration rather than illustration. My work is deeply engaged with film history and personal life, both as an artist and individual.
This special edition of HSP was specifically curated for the studio im HOCHHAUS. It reflects the unsettled, mysterious, formally challenging and paradoxical nature of the series. It covers a decade of cinematic experiments from its inception in 2011 to the present day.
Rouzbeh Rashidi (born in Tehran, 1980) is an Iranian-Irish filmmaker. He has been making films since 2000, at which time he founded the Experimental Film Society in Tehran.
Roman Pfeffer and Christof Zwiener
The artists Roman Pfeffer and Christof Zwiener survey the world of things in the Studio im Hochhaus. On 16 November 2021, at 7 pm, the exhibition opens and gives an insight into their interventions and deformations. It can be seen until 19 January 2022 in the studio im HOCHHAUS at Zingster Straße 25.
In their works, both artists charge things with history and expectations and interrogate the materials in different ways: Pfeffer uses a wide range of artistic possibilities to investigate the dimensions and proportions of things and to bring them into new forms, as in the reshaped 12’rowing boat that can be seen as Braintwister in the exhibition. In Zwiener’s work, the narratives of found objects and places play the main role. Through the predominant use of readymades, which are arranged site-specifically and occasionally alienated, Zwiener makes the superimposition of times visible. Past, present and future are here directly linked to an object, a building or a place.
Roman Pfeffer was born in 1972 in Vöcklabruck, Austria. He studied painting at the Academy of Fine Arts with Gunter Damisch in Vienna and at the Kent Institute of Art and Design in Canterbury from 1996 to 2001. He is a member of the management team of the TransArts class at the University of Applied Arts in Vienna, where he also lives.
Christof Zwiener, also born in ’72, from Osnabrück, studied interdisciplinary sculpture at the HBK Braunschweig. He lives and works in Berlin as an artist and curator. He organises temporary exhibition projects at various locations, often in gatehouses.
Dekompostition (Dung Dung)
Dellbrügge & de Moll
Es ist nicht wahr
“Atlas of anatomy”
Idee, Zeichnungen, Sprecher: Matthias Beckmann
Ton: Dirk Schaefer
Filmtechnik: Matthias Daenschel
Kai Richter, Tommy Støckel
Construction Time Again
There is no secret
Where does narrative start and where does it end? A reworked horror film, with layers and cut outs;
onto which had been projected, simultaneous appropriation and alienation of pictorial material. How
pictures, painted over with the remainders of the previous image and remnants of time, contradict
linear time. Within this approach, a combination of numerous time lapses.
A notion of being pursued is central: A woman and her double, the performer. She imitates and
repeats the actions of the protagonist and sets in train an interplay between the filmic image and
performance. Settings are the nightly scenarios: Deserted streets and landscapes, a hotel room and a
church with organ.
Video, DE 2015 / 20 min / PAL 4:3 / Stereo
Doris Schmid / Jürgen Palmtag
Bild: Doris Schmid / Musik: Jürgen Palmtag
2. Kamera: Markus Otto / Performance: Fabienne Gallina-Baron
1:19 min, Venedig, 2015
Acqua alta (italienisch ‚hohes Wasser‘) ist das winterliche und alljährlich wiederkehrende Hochwasser in Venedig. Es entsteht, wenn bei besonders starker Flut und niedrigem Luftdruck der Scirocco das Wasser landeinwärts in die Lagune von Venedig drückt und dauert, da von den Gezeiten abhängig, nur jeweils wenige Stunden. Bei normaler Flut steigt der Wasserspiegel bis zu 90 cm über den Normalstand; wenn er höher steigt, ist „Acqua alta“.
Durch einfache Umkehrung der Horizontlinie wird das Geschehen auf der Wasseroberfläche auf den Himmel verlagert. Das bunte Treiben auf dem Canal Grande so zu sagen in göttliche Sphären gehoben. Von “Fluglotsen” gesteuert wogen kopfüber allerlei Schiffskörper über die wogenden Wolken, aus banaler Erdanziehung wird ein barockes Himmelsgetümmel alla Tiepolo. Heaven is a Place on Earth!
11:18 min, Berlin 2012
„Quasi Grün” ist ein Videoarbeit aus eingesprochenem Text und Fotos zu Gestaltungskonzepten städtischer Grünflächen und Parks.
„Eingebettet in »städtischer Restnatur« wirken jene rustikalen oder minimalistischen Ausstattungselemente oft grotesk, vielmehr noch wenn sie in ihrer Funktion missbraucht sind, oder ihr Planungskonzept verfehlen, wie Bänke als Vandalismus-opfer, Wege ergänzt durch Trampelpfade, und zufällige Steine, an zufällig geschlängelten Wegen. Der Park wird zur Kulisse, angereichert mit abgenutzten Mobiliar aus dem Planungsfundus.“
Die Texte zeichnen die angetroffenen Parkbesucher nach.
(“…) The Volkspark Prenzlauer Berg is one of Berlin’s 14 piles of rubble. In those historic sites Schönberger also researched for her work “641 objects without qualities”. Together with artist Christof Zwiener Schönberger collected fragments and shards of everyday objects which found their way through the mountains of rubble and debris of war to the surface in those parks. Within the exhibition “Scherben” in the Berlin Museum of Things (2013-2014) Sonya Schönberger met the “thing expert” Michael Engelke. In the video Michael (2014), Engelke situates selected pieces and objects and explains their original function. He connects each object to its history and gives the fragments a possible provenance. They are to memory fragments that allow the viewer an immediate access to recent German cultural history.” (Silke Wittig, nbk, 2015)