by Declan Clarke
In development:
1 / 11
Two A.M.
Switzerland, Germany, 2016, 40 mins, HDV
Punky, streetwise Sanna (Theadora Davis) bridles at her aunt’s traditional ways. Her adopted family are members of the Watchers, powerful information-obsessives whose unusual telepathic abilities and sociopolitical pretensions only manage to get on Sanna’s nerves. But after she abandons the family home and her young lover for the city, her dream of a brilliant urban life quickly falls flat. From her half-sister Algin (Emily Sundblad), in despair over a faded singing career, to Algin’s love-obsessed partner Lisko (Emile Clarke), to Hedy (Jim Fletcher), the splenetic, paranoid journalist who’s inadvertently caught Lisko’s eye, everyone in the big city seems to be totally wrapped up in their own serial dramas and star-crossed affairs. She quickly acquires a problem of her own when her lover, Franz (Andrew Kerton), reappears in the city along with her unpredictable, sinister Watcher sisters (Mira Partecke, Yuko Torihara). Sanna and her friends bounce from bar to bar towards a party that will bring everyone’s minor ennuis and compulsive intimacies together with unforgettable results. (Jeff Nagy)
written, directed and produced by
Loretta Fahrenholz
WITH:
Theadora Davies, Emile Clarke, Emily Sundblad, Helga Wretman, Jim Fletcher, Sophie Fives, Mira Partecke, Yuko Torihara, Annika Glass, Andrew Kerton, Paula Knüpling, Michael Bornhütter, Leonie Kosser.
-
vitakuben are executive producers
—
EXHIBITIONS:
Two A.M. was produced for Fahrenholzʼ exhibition at Fridericianum (September 2016–January 2017).
The film has also been shown in her solo exhibitions at the Stedelijk Museum (December 2016–March 2017) and Galerie Buchholz (January–February 2017)
—
Feel free to ask us for a screener
Punky, streetwise Sanna (Theadora Davis) bridles at her aunt’s traditional ways. Her adopted family are members of the Watchers, powerful information-obsessives whose unusual telepathic abilities and sociopolitical pretensions only manage to get on Sanna’s nerves. But after she abandons the family home and her young lover for the city, her dream of a brilliant urban life quickly falls flat. From her half-sister Algin (Emily Sundblad), in despair over a faded singing career, to Algin’s love-obsessed partner Lisko (Emile Clarke), to Hedy (Jim Fletcher), the splenetic, paranoid journalist who’s inadvertently caught Lisko’s eye, everyone in the big city seems to be totally wrapped up in their own serial dramas and star-crossed affairs. She quickly acquires a problem of her own when her lover, Franz (Andrew Kerton), reappears in the city along with her unpredictable, sinister Watcher sisters (Mira Partecke, Yuko Torihara). Sanna and her friends bounce from bar to bar towards a party that will bring everyone’s minor ennuis and compulsive intimacies together with unforgettable results. (Jeff Nagy)
written, directed and produced by
Loretta Fahrenholz
WITH:
Theadora Davies, Emile Clarke, Emily Sundblad, Helga Wretman, Jim Fletcher, Sophie Fives, Mira Partecke, Yuko Torihara, Annika Glass, Andrew Kerton, Paula Knüpling, Michael Bornhütter, Leonie Kosser.
-
vitakuben are executive producers
—
EXHIBITIONS:
Two A.M. was produced for Fahrenholzʼ exhibition at Fridericianum (September 2016–January 2017).
The film has also been shown in her solo exhibitions at the Stedelijk Museum (December 2016–March 2017) and Galerie Buchholz (January–February 2017)
—
Feel free to ask us for a screener
1 / 6
Historia del Miedo
Argentina, Uruguay, France, Germany, 2014, 79 mins, 2K
Drama | Mystery | Thriller
A hot summer. A private district with an enormous park. An abandoned plot of land in the suburbs and an uncontrollable wave of smoke spark uncertainty and chaos.
written and directed by
Benjamin Naishtat
cast:
Jonathan Da Rosa (Pola), Tatiana Giménez (Tati), Mirella Pascual (Teresa), Claudia Cantero (Edith), Francisco Lumerman (Camilo), César Bordón (Carlos), Valeria Lois (Beatriz), Elsa Bois (Amalia), Edgardo Castro (Marcelo), Mara Bestelli (Mariana), Daniel Leguizamón (Teenager).
-
vitakuben are german minority co-producers.
—
for sales inquiry regarding German territories, please contact Ryan Kempe at Visit Films.
—
for press inquiry during Berlinale 2014, please contact Annabel Hutton at Premier Films.
—
Historia on facebook
Historia on IMDB
Feel free to ask us for a screener
Drama | Mystery | Thriller
A hot summer. A private district with an enormous park. An abandoned plot of land in the suburbs and an uncontrollable wave of smoke spark uncertainty and chaos.
written and directed by
Benjamin Naishtat
cast:
Jonathan Da Rosa (Pola), Tatiana Giménez (Tati), Mirella Pascual (Teresa), Claudia Cantero (Edith), Francisco Lumerman (Camilo), César Bordón (Carlos), Valeria Lois (Beatriz), Elsa Bois (Amalia), Edgardo Castro (Marcelo), Mara Bestelli (Mariana), Daniel Leguizamón (Teenager).
-
vitakuben are german minority co-producers.
—
for sales inquiry regarding German territories, please contact Ryan Kempe at Visit Films.
—
for press inquiry during Berlinale 2014, please contact Annabel Hutton at Premier Films.
—
Historia on facebook
Historia on IMDB
Feel free to ask us for a screener
1 / 6
Norway, 2013, 41 mins, 5K to 2K,
SYNOPSIS:
A petrol station on the outskirts of Oslo as an intersection of the arteries of contemporary Europe: consumption, migration, class hierarchies, alienation and fear of violence hide beneath a calm surface. A conceptual thriller from one of the most prominent European visual artists. Semi-feature: new presentation format that foregrounds the mid-length film.
(IFFR)
-
written and directed by Knut Åsdam
-
vitakuben are excectutive and co-producers.
--
CREDITS:
Cast: Birgitte Larsen, Marie Blokhus, Madalena Sousa Helly-Hansen, Nader Khademi, Jade Haj, Mikkel Rasmussen Hofplass, Rustam Louis Foss
Written and directed by Knut Åsdam
Director of Photography: Martin Testar
Editor: Mathias Theissen
Script consultant: Aina Villanger
Produced by Knut Åsdam Studio
co-produced by vitakuben
—
EXHIBITIONS:
Egress was a central part of Knut Åsdamʼs Installation at the Trondheim Kunstmuseum curated by Pontus Kyander (group show)
Egress was a part of the exhibition Edgelands at Slought Foundation curated by Kaja Silverman
Center for Contemporary Art Cinema, Vilnius as a part of the Knut Åsdam Film Retrospective, November 22. and November 28, 2013
—
SCREENINGS:
Oslo International Film Festival, November 24, 2013 (National premiere)
My Own Private Europe, International Film Festival Rotterdam, curated by Evgeny Gusyatinskiy, 28. January 2014 (European premiere)
—
PRESS:
Pollack, Maika; Criticsʼ Pick, Artforum.com, 19 November, 2013
«The action in Åsdam’s video takes place entirely in stranded spaces—the sliver of green between two lanes of a highway, the dank area under an overpass, a rest-stop gas station. A twenty-first-century Slackers, the film follows protagonists who are employees of this Norwegian gas station and convenience store.
Åsdam’s camera lovingly details the aesthetics of the employees’ minimum-wage labor. Shuffling packages of savory and sweet edibles under heat lamps or stealing candy bars as a matter of course, the disaffected employees are shown pumping gas and ringing up bottled water for passing motorists. The senseless, repetitive work is defined through their—and their nation’s—relationship to oil, Norway’s largest export. This same economic relationship structures the employees’ landscape. The characters bark orders to one another in lieu of real communication as every interaction is defined in terms of useful labor. (For example, retelling a story of romance gone bad, one woman describes it as “more love hours than can ever be repaid,” lifting a line from the 1987 Mike Kelley piece.) Georges Bataille described art as a glorious waste of excess energy; in the video’s climax, the blond lead spills black gas on concrete as if washing it with oil, expending liquid energy—and money—in blatant defiance of any economic logic.»
—
Hansen, Eva Rem; Å sikte mot stjernene, kunstkritikk.no, 14 October, 2013
« (...)Egress tar oss med til et urbant landskap preget av industrilokaler, høyhus og motorvei. Men i dette verket utpeker karakterskildringen seg som spesielt imponerende. Gjennom et knapt og ytterst stilrent formspråk makter Åsdam å fortelle hvordan den unge kvinnen Ys dels sympatiske, dels ufordragelige personlighet er formet av de fysiske og sosiale omgivelsene og omgangen med sjefen, kolleger og kunder på bensinstasjonen der hun jobber.»
—
Borgersen, Gustav Svihus; Nøyaktighetens pris, ArtScene Trondheim, 19 October, 2013
«industriell arkitektur som referensielt rammeverk hos Knut Åsdam, men her er tonen ambulerende og den politiske kommentaren skjult i lag av lummer ambivalens – kanskje med enda større effekt. Filmen som vises i den nevnte bølgeblikkcontaineren, er på uttrykkssiden prosaisk og repetativ idet arbeiderne på en bensinstasjon filmes mens de utfører arbeidsdagens gjøremål. På innholdssiden er den derimot svært forstemmende. Etter hvert som man følger den tilsynelatende likeglade og noe tiltaksløse jenta som må kunne kalles filmens protagonist, blir man i økende grad oppmerksom på handlingsmønstre som gjentas i arkitektonisk kalde og kommersialiserte omgivelser: Glimtvis tordner det fra lydsporet idet trafikk, bilvask og oljepumper dominerer bildet – det ligger en trykkende uro under den grå overflaten. Filmen er titulert ”Egress” (som altså angir en utgang, i motsetning til ingressens inngang), og dette gjør verken den totale stemningen roligere eller avslutningsscenen mindre desperat. Å se filmen innkapslet i containerestetikk er en pedantisk triumf da verkets visuelle, så vel som auditive, side her blir løftet opp på et sjeldent helhetlig nivå.»
—
Sundbeck-Arnås, Nina; Politisk kunst i konkuranse, Klassekampen, 30 October, 2013
—
Gusyatinskiy, Evgeny; Festival catalogue, International Film Festival 2014
« A petrol station on the outskirts of Oslo. A young woman working there becomes a silent witness to various casual incidents. Her daily routine is a reflection of state of contemporary European life with its latent economic crisis, fragmented multicultural society, alienation, security issues and spontaneous violence. The woman's inner monologue is highly dramatic and makes a striking contrast with the reality, which on the surface seems calm and well-organised. Prominent Norwegian visual artist Knut Åsdam focuses on one anonymous place which only seems to be ordinary but in fact harbours many unresolved tensions and conflicts. In this sense an ordinary petrol station, where risk of fire is always greater than in other public places, becomes a genuine symbol of contemporary Europe which is in danger of an imminent 'explosion', despite its proclamations of stability and order. Full of suspense, this visually gripping thriller is based on documentary material.»
Feel free to ask us for a screener
SYNOPSIS:
A petrol station on the outskirts of Oslo as an intersection of the arteries of contemporary Europe: consumption, migration, class hierarchies, alienation and fear of violence hide beneath a calm surface. A conceptual thriller from one of the most prominent European visual artists. Semi-feature: new presentation format that foregrounds the mid-length film.
(IFFR)
-
written and directed by Knut Åsdam
-
vitakuben are excectutive and co-producers.
--
CREDITS:
Cast: Birgitte Larsen, Marie Blokhus, Madalena Sousa Helly-Hansen, Nader Khademi, Jade Haj, Mikkel Rasmussen Hofplass, Rustam Louis Foss
Written and directed by Knut Åsdam
Director of Photography: Martin Testar
Editor: Mathias Theissen
Script consultant: Aina Villanger
Produced by Knut Åsdam Studio
co-produced by vitakuben
—
EXHIBITIONS:
Egress was a central part of Knut Åsdamʼs Installation at the Trondheim Kunstmuseum curated by Pontus Kyander (group show)
Egress was a part of the exhibition Edgelands at Slought Foundation curated by Kaja Silverman
Center for Contemporary Art Cinema, Vilnius as a part of the Knut Åsdam Film Retrospective, November 22. and November 28, 2013
—
SCREENINGS:
Oslo International Film Festival, November 24, 2013 (National premiere)
My Own Private Europe, International Film Festival Rotterdam, curated by Evgeny Gusyatinskiy, 28. January 2014 (European premiere)
—
PRESS:
Pollack, Maika; Criticsʼ Pick, Artforum.com, 19 November, 2013
«The action in Åsdam’s video takes place entirely in stranded spaces—the sliver of green between two lanes of a highway, the dank area under an overpass, a rest-stop gas station. A twenty-first-century Slackers, the film follows protagonists who are employees of this Norwegian gas station and convenience store.
Åsdam’s camera lovingly details the aesthetics of the employees’ minimum-wage labor. Shuffling packages of savory and sweet edibles under heat lamps or stealing candy bars as a matter of course, the disaffected employees are shown pumping gas and ringing up bottled water for passing motorists. The senseless, repetitive work is defined through their—and their nation’s—relationship to oil, Norway’s largest export. This same economic relationship structures the employees’ landscape. The characters bark orders to one another in lieu of real communication as every interaction is defined in terms of useful labor. (For example, retelling a story of romance gone bad, one woman describes it as “more love hours than can ever be repaid,” lifting a line from the 1987 Mike Kelley piece.) Georges Bataille described art as a glorious waste of excess energy; in the video’s climax, the blond lead spills black gas on concrete as if washing it with oil, expending liquid energy—and money—in blatant defiance of any economic logic.»
—
Hansen, Eva Rem; Å sikte mot stjernene, kunstkritikk.no, 14 October, 2013
« (...)Egress tar oss med til et urbant landskap preget av industrilokaler, høyhus og motorvei. Men i dette verket utpeker karakterskildringen seg som spesielt imponerende. Gjennom et knapt og ytterst stilrent formspråk makter Åsdam å fortelle hvordan den unge kvinnen Ys dels sympatiske, dels ufordragelige personlighet er formet av de fysiske og sosiale omgivelsene og omgangen med sjefen, kolleger og kunder på bensinstasjonen der hun jobber.»
—
Borgersen, Gustav Svihus; Nøyaktighetens pris, ArtScene Trondheim, 19 October, 2013
«industriell arkitektur som referensielt rammeverk hos Knut Åsdam, men her er tonen ambulerende og den politiske kommentaren skjult i lag av lummer ambivalens – kanskje med enda større effekt. Filmen som vises i den nevnte bølgeblikkcontaineren, er på uttrykkssiden prosaisk og repetativ idet arbeiderne på en bensinstasjon filmes mens de utfører arbeidsdagens gjøremål. På innholdssiden er den derimot svært forstemmende. Etter hvert som man følger den tilsynelatende likeglade og noe tiltaksløse jenta som må kunne kalles filmens protagonist, blir man i økende grad oppmerksom på handlingsmønstre som gjentas i arkitektonisk kalde og kommersialiserte omgivelser: Glimtvis tordner det fra lydsporet idet trafikk, bilvask og oljepumper dominerer bildet – det ligger en trykkende uro under den grå overflaten. Filmen er titulert ”Egress” (som altså angir en utgang, i motsetning til ingressens inngang), og dette gjør verken den totale stemningen roligere eller avslutningsscenen mindre desperat. Å se filmen innkapslet i containerestetikk er en pedantisk triumf da verkets visuelle, så vel som auditive, side her blir løftet opp på et sjeldent helhetlig nivå.»
—
Sundbeck-Arnås, Nina; Politisk kunst i konkuranse, Klassekampen, 30 October, 2013
—
Gusyatinskiy, Evgeny; Festival catalogue, International Film Festival 2014
« A petrol station on the outskirts of Oslo. A young woman working there becomes a silent witness to various casual incidents. Her daily routine is a reflection of state of contemporary European life with its latent economic crisis, fragmented multicultural society, alienation, security issues and spontaneous violence. The woman's inner monologue is highly dramatic and makes a striking contrast with the reality, which on the surface seems calm and well-organised. Prominent Norwegian visual artist Knut Åsdam focuses on one anonymous place which only seems to be ordinary but in fact harbours many unresolved tensions and conflicts. In this sense an ordinary petrol station, where risk of fire is always greater than in other public places, becomes a genuine symbol of contemporary Europe which is in danger of an imminent 'explosion', despite its proclamations of stability and order. Full of suspense, this visually gripping thriller is based on documentary material.»
Feel free to ask us for a screener
1 / 2
My Throat, My Air
Germany, 2013, 15 min.
written and directed by Loretta Fahrenholz
"My Throat, My Air is a semi-fictional family drama, shot in Munichʼs petty-bourgeois Westend, starring former Fassbinder actor, Warhol collaborator and Horror movie director Ulli Lommel"
Germany 2013, 15:15
© Loretta Fahrenholz
EXHIBITIONS:
Utopien Vermeiden, Werkleitz Festival 2013, curator Christiane Mennicke-Schwarz (group show)
Loretta Fahrenholz, Ludlow38, New York, curator Jakob Schillinger (solo show)
Feel free to ask us for a screener
written and directed by Loretta Fahrenholz
"My Throat, My Air is a semi-fictional family drama, shot in Munichʼs petty-bourgeois Westend, starring former Fassbinder actor, Warhol collaborator and Horror movie director Ulli Lommel"
Germany 2013, 15:15
© Loretta Fahrenholz
EXHIBITIONS:
Utopien Vermeiden, Werkleitz Festival 2013, curator Christiane Mennicke-Schwarz (group show)
Loretta Fahrenholz, Ludlow38, New York, curator Jakob Schillinger (solo show)
Feel free to ask us for a screener
1 / 5
Utskor: Either/Or
Norway/Spain/USA, 2013, 07:30 mins, 16mm, HD, colour, sound
By Laida Lertxundi
In the town of Utskor in the region of Bø, northern Norway, we find memories of a political past intertwining with domestic, familial moments during the midnight sun. (LL)
--
...was shot in the Lofoten and Vesterålen archipelagos, Norland, Norway with the assistance of Christina C. Nguyen and featuring Bente, Genevieve, Leif, Marla, Noah, Sarah, and Tage. Sound and music fragments are by Bobby Bland, Rueben Bell, and the Hucksters. The news footage is of the Madrid 23F coup d' etat in 1981. The text fragments are from Fredrick Engels' The Origin of the Family, Private Property and the State (1884).
...was commissioned by Just what is it that makes today so familiar, so uneasy? at the Lofoten International Art Festival 2013 with the support of Acción Cultural Española (AC/E), Eremuak/Gobierno Vasco, the Kazuko Trust and Vitakuben.
...was shot and edited by Laida Lertxundi in 2013. Sound mix: Ezra Buchla. Typography: Lucas Quigley.
Thanks to Bassam, Berte, C.W. Winter, Dag Ivar and his boat Myrebas, Garbiñe, J.P. Gorin, Knut Ivar, Andrew Kim and Thom Andersen.
SCREENINGS:
…had its international premiere at the New York Film Festival, as part of Views from the Avant-Garde October 2014.
...was also shown as part of Migrating Forms Festival at BAM, Brooklyn in December 2014.
…was screened in MAK Center for Art and Architecture, Los Angeles in January 2014.
EXHIBITIONS:
...was showed as installation at the Lofoten International Art Festival - LIAF in September2014
PRESS:
"In Utskor, Lertxundi leaves behind the Californian landscapes of her first five shorts to shoot on the northern archipelagos of Norway, combining one of the best eyes for landscape working today with her usual flagrant, jarring interruptions of non-diegetic 1960s rock and soul, here tied together by the recurring lyrical plaint “It’s so hard.”"
In Rare Form, Migrating Forms in reviewby Nick Pinkerton, Artforum, December 2013
Feel free to ask us for a screener
By Laida Lertxundi
In the town of Utskor in the region of Bø, northern Norway, we find memories of a political past intertwining with domestic, familial moments during the midnight sun. (LL)
--
...was shot in the Lofoten and Vesterålen archipelagos, Norland, Norway with the assistance of Christina C. Nguyen and featuring Bente, Genevieve, Leif, Marla, Noah, Sarah, and Tage. Sound and music fragments are by Bobby Bland, Rueben Bell, and the Hucksters. The news footage is of the Madrid 23F coup d' etat in 1981. The text fragments are from Fredrick Engels' The Origin of the Family, Private Property and the State (1884).
...was commissioned by Just what is it that makes today so familiar, so uneasy? at the Lofoten International Art Festival 2013 with the support of Acción Cultural Española (AC/E), Eremuak/Gobierno Vasco, the Kazuko Trust and Vitakuben.
...was shot and edited by Laida Lertxundi in 2013. Sound mix: Ezra Buchla. Typography: Lucas Quigley.
Thanks to Bassam, Berte, C.W. Winter, Dag Ivar and his boat Myrebas, Garbiñe, J.P. Gorin, Knut Ivar, Andrew Kim and Thom Andersen.
SCREENINGS:
…had its international premiere at the New York Film Festival, as part of Views from the Avant-Garde October 2014.
...was also shown as part of Migrating Forms Festival at BAM, Brooklyn in December 2014.
…was screened in MAK Center for Art and Architecture, Los Angeles in January 2014.
EXHIBITIONS:
...was showed as installation at the Lofoten International Art Festival - LIAF in September2014
PRESS:
"In Utskor, Lertxundi leaves behind the Californian landscapes of her first five shorts to shoot on the northern archipelagos of Norway, combining one of the best eyes for landscape working today with her usual flagrant, jarring interruptions of non-diegetic 1960s rock and soul, here tied together by the recurring lyrical plaint “It’s so hard.”"
In Rare Form, Migrating Forms in reviewby Nick Pinkerton, Artforum, December 2013
Feel free to ask us for a screener
1 / 4
Ditch Plains
USA/Germany/France, 2013, 30 min.
by Loretta Fahrenholz
"Shot in the East New York section of Brooklyn around the time of Hurricane Sandy, Ditch Plains is a dystopian sci-fi street dance film featuring members of Ringmasters Crew."
Germany/France/USA, 2013, 30:11
© Loretta Fahrenholz
SCREENINGS:
LUMA Foundation, Arles, 2012 (work in progress)
EXHIBITIONS:
Reena Spaulings Fine Arts, New York, 2013 (solo show)
Galerie Buchholz, Berlin, 2013 (solo show)
Project Native Information, London, 2013 (solo show)
Click to see trailer
PRESS:
Kirsty Bell, Frieze Blog, Highlights of 2013 on Ditch Plains:
«Robotic blank eyed zombie dancers in the post-apocalyptic aftermath of Hurricane Sandy in Redhook picture exactly the digital fracturing and environmental violence that seems to be simmering away beneath our trusted screens and surfaces.»
Matthew Rana, Frieze Blog, Highlights of 2013 on Ditch Plains:
«Filmed in post-Sandy New York and made in collaboration with the Ringmaster dance crew, Fahrenholz’s dark and dystopian work raises uneasy questions about race and privilege within a post-human framework. Among them: what forms of subjectivity are supported in contexts where acceleration and disaster have become the norm?»
Boško Blagojević, Arforum.com Criticʼ Picks on Ditch Plains:
«(...)Fahrenholz shows New York as a ruinous temple to capitalism—the city’s economic inequities and racial divisions made manifest around the havoc wreaked by Hurricane Sandy, especially within the working-class communities of the Rockaways and East New York, where much of Ditch Plains takes place. In Ruttmann’s film, the city is the chief protagonist, coming to life in front of the camera with its crowds, locomotives, and smokestacks. In Fahrenholz’s film, a few scant bodies move through a dead landscape in sequences of spatially constrained but wildly expressive dance.»
Tropical Cream blog on Ditch Plains:
«(...)For despite all the howls that soundtrack its nocturnal bleaknesses, the cyber-hysteric movements of the film’s primary collaborators, the Ringmasters dance crew, promote a fatal sense of play resilient to even the social preterition of superstorms, and, as seen in the last scene of the film which resurrects a park avenue corpse, infect life anew even in the hour of its ruination.»
Feel free to ask us for a screener
by Loretta Fahrenholz
"Shot in the East New York section of Brooklyn around the time of Hurricane Sandy, Ditch Plains is a dystopian sci-fi street dance film featuring members of Ringmasters Crew."
Germany/France/USA, 2013, 30:11
© Loretta Fahrenholz
SCREENINGS:
LUMA Foundation, Arles, 2012 (work in progress)
EXHIBITIONS:
Reena Spaulings Fine Arts, New York, 2013 (solo show)
Galerie Buchholz, Berlin, 2013 (solo show)
Project Native Information, London, 2013 (solo show)
Click to see trailer
PRESS:
Kirsty Bell, Frieze Blog, Highlights of 2013 on Ditch Plains:
«Robotic blank eyed zombie dancers in the post-apocalyptic aftermath of Hurricane Sandy in Redhook picture exactly the digital fracturing and environmental violence that seems to be simmering away beneath our trusted screens and surfaces.»
Matthew Rana, Frieze Blog, Highlights of 2013 on Ditch Plains:
«Filmed in post-Sandy New York and made in collaboration with the Ringmaster dance crew, Fahrenholz’s dark and dystopian work raises uneasy questions about race and privilege within a post-human framework. Among them: what forms of subjectivity are supported in contexts where acceleration and disaster have become the norm?»
Boško Blagojević, Arforum.com Criticʼ Picks on Ditch Plains:
«(...)Fahrenholz shows New York as a ruinous temple to capitalism—the city’s economic inequities and racial divisions made manifest around the havoc wreaked by Hurricane Sandy, especially within the working-class communities of the Rockaways and East New York, where much of Ditch Plains takes place. In Ruttmann’s film, the city is the chief protagonist, coming to life in front of the camera with its crowds, locomotives, and smokestacks. In Fahrenholz’s film, a few scant bodies move through a dead landscape in sequences of spatially constrained but wildly expressive dance.»
Tropical Cream blog on Ditch Plains:
«(...)For despite all the howls that soundtrack its nocturnal bleaknesses, the cyber-hysteric movements of the film’s primary collaborators, the Ringmasters dance crew, promote a fatal sense of play resilient to even the social preterition of superstorms, and, as seen in the last scene of the film which resurrects a park avenue corpse, infect life anew even in the hour of its ruination.»
Feel free to ask us for a screener
1 / 1
We Are Not Like Them
Germany/Ireland, 2013, 45:02 mins, 16mm transferred to HD
by Declan Clarke
We Are Not Like Them connects four different locations in Europe and invites a quiet contemplation of these places as they are now in 2013. The film uses the tropes of the early 20th Century documentary film and the mid century espionage film to contextualise these sites, which, in order of appearance, are the former Wallsend and Walker shipyards in Newcatle Upon Tyne; Eisenhüttenstadt, a city on the eastern border of Germany, Nowa Huta, a city on the outskirts of Kraków in Poland, and the Groupe Scolaire L’Octobre – a primary school in the Alfortville district of Paris.
vitakuben are executive producers.
screenings:
Serpentine Cinema (January 2013)
Star and Shadow Cinema, Newcastle upon Tyne (April 2013)
House of Arts Brno / Art Cinema, Brno, In The Public Sphere, curated by Sarah Schipschack (May 2014)
FID Marseille, Descriptions de Descriptions, curated by Jean-Pierre Rehm (july 2013)
FIAC: CINEPHEMERE (October 2013)
Tromsø International Film Festival / Kurant Kino, Tromsø, Shipyards and other forgotten stories, curated by Maria Moseng and Leif Magne Tangen (Januar 2014)
Feel free to ask us for a screener
by Declan Clarke
We Are Not Like Them connects four different locations in Europe and invites a quiet contemplation of these places as they are now in 2013. The film uses the tropes of the early 20th Century documentary film and the mid century espionage film to contextualise these sites, which, in order of appearance, are the former Wallsend and Walker shipyards in Newcatle Upon Tyne; Eisenhüttenstadt, a city on the eastern border of Germany, Nowa Huta, a city on the outskirts of Kraków in Poland, and the Groupe Scolaire L’Octobre – a primary school in the Alfortville district of Paris.
vitakuben are executive producers.
screenings:
Serpentine Cinema (January 2013)
Star and Shadow Cinema, Newcastle upon Tyne (April 2013)
House of Arts Brno / Art Cinema, Brno, In The Public Sphere, curated by Sarah Schipschack (May 2014)
FID Marseille, Descriptions de Descriptions, curated by Jean-Pierre Rehm (july 2013)
FIAC: CINEPHEMERE (October 2013)
Tromsø International Film Festival / Kurant Kino, Tromsø, Shipyards and other forgotten stories, curated by Maria Moseng and Leif Magne Tangen (Januar 2014)
Feel free to ask us for a screener
vitakuben supports and promotes artists working mainly with the moving image, and who have an understanding of the history and the current developments in art and film. vitakuben looks to work with cross-media artists, functioning both in an exhibition context as well as a specific cinema-framework.
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objet perdu is project by Jan Freuchen and Lutz-Rainer Müller. In 2006 Lutz-Rainer Müller and Jan Freuchen exhibited an almost 1:1 wooden replica of The Eagle, the lunar module that landed on the moon in 1969. The replica also had a oversized copy of a grand piano attached to its body. Originally named Objet Trouvet (found object), the installation went through a deconstruction to form a grotesque sculpture park called “Basdorf Research Center”. In the summer of 2007 it was decided to take the pieces of the sculpture back out of the swamps and to show them in the solo exhibition “Objet Perdu”.
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reihe experimentalfilm is a initiative to support and vermitteln artistʼs film.
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filmgalerie alpha60 A video rental store and an archive.
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Knut Åsdam
For several decades Norwegian artist Knut Åsdam has worked independently and uncompromisingly with his artistic projects, and he is today considered one of the central contemporary practitioners of film and video art.
IMDB
www.knutasdam.net
IMDB
www.knutasdam.net
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Loretta Fahrenholz
Loretta Fahrenholz (*1981 in Starnberg, Germany) lives and works in Berlin. Recent films include Haust (2010), Que Bárbara (2011), Implosion (2011), Grand Openings Return of the Blogs (2012), and Ditch Plains (2013).
Reena Spaulings Fine Art
Galerie Buchholz
Reena Spaulings Fine Art
Galerie Buchholz
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Laida Lertxundi makes films with non-actors, landscapes and sounds.
www.laidalertxundi.com
www.laidalertxundi.com
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Declan Clarke
Declan Clarke makes films about the 20th century.
www.vitakuben.net/declanclarke
www.vitakuben.net/declanclarke
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vitakuben GmbH
Bernhard-Göring-Str. 152
DE-04277 Leipzig, Germany
registrerd at:
registry court Leipzig
registration number: HRB 26808
VAT: DE275280029
General Managers:
sarah schipschack
leif magne tangen
film@vitakuben.net
Bernhard-Göring-Str. 152
DE-04277 Leipzig, Germany
registrerd at:
registry court Leipzig
registration number: HRB 26808
VAT: DE275280029
General Managers:
sarah schipschack
leif magne tangen
film@vitakuben.net
Letter from vitakuben - subscription
subscribe if you want to recieve information about what we are up to. we send out 2-5 emails a year. sometimes less. for instance will there be only one email in 2012/13.
In general: vitakuben supports and promotes artists working mainly with the moving image, and who have an understanding of the history and the current developments in art and film. vitakuben looks to work with cross-media artists, functioning both in an exhibition context as well as a specific cinema-framework.
subscribe if you want to recieve information about what we are up to. we send out 2-5 emails a year. sometimes less. for instance will there be only one email in 2012/13.
In general: vitakuben supports and promotes artists working mainly with the moving image, and who have an understanding of the history and the current developments in art and film. vitakuben looks to work with cross-media artists, functioning both in an exhibition context as well as a specific cinema-framework.