Dear GEGENkino folks,
we will cancel the festival in April.
Hopefully we’ll be able to do our edition no. 7 in the near future!
Warmest regards from the GEGENkino crew
We’re back! From April 16th to 26th the GEGENkino engines will be running hot again: at Luru Kino at the Spinnerei, at Schaubühne Lindenfels, at Institut fuer Zukunft and at UT Connewitz.
One of this year’s highlights is the German premiere of the live scoring of the film THE GOLEM, HOW HE CAME INTO THE WORLD by Berlin based artist Lucrecia Dalt:
On Friday, April 17th, 2020 at 9 pm at Connewitz UT.
T I C K E T S for 10 Euro are available at culton at Peterssteinweg 9 and online at tixforgigs.
paradoks brings together video installations of local and international artists who work on the intersections of film, art and activism and whose approach and aesthetics operate at the edges of documentary filmmaking. In their work, facts are modified by fictionalised, journalistic and investigative techniques like image processing methods and re-enactments. The exhibition consists of a selection of multichannel video installations which are grouped into two thematic areas. While ‘Arrival’ deals with the different realities of migration and (non)arrival in German society, ‘Precarious Bodies’ explores the working conditions of contemporary artistic production. There will also be a panel discussion on the 27th of October, inviting artists and curators to discuss the activist potential inherent in these constantly shifting boundaries. Which approaches and methods can provide adequate counter images in view of political conditions in the age of fake news and increasing right-wing populism?
After 12 days of screenings, meetings, talks, concerts, exhibitions, drinking, sun and ice cream, GEGENkino is over. And we have more eyes than before. We really hope you had a pleasant time! Alright, now the thanks parade –
A big thank you goes out to our three main venues – UT Connewitz, Luru Kino in der Spinnerei, Schaubühne Lindenfels, with one day visits to our cooperation partners this year: Galerie für Zeitgenössische Kunst Leipzig and Pracht. Cordial thanks to you, our audience, crowd, clientele, call yourselves whatever you prefer. Also, to our guests this year, providing background knowledge, insights, and fun – Cristóbal León, Judith (from Hamburg), Ted Fendt, Wilhelm Hein, Annette Frick, Andrea Belfi, I T O E, Flying Moon In Space, Andrea Marinelli, Ramón Reichert, Frederik Lang, Nadia Tsulukidze, Beatrice Stammer, Natascha Frankenberg, Susanne Heinrich, Claus Löser, Gabriele Stötzer, Thomas Heise.
A big thanks to all the filmmakers for their films and videos and works, be it in our film programme or the exhibition, thanks to all the distributors we have been working together with all over the world. And: to people working in the venues, making it all possible, projectionists, technicians of all kinds, ticket takers, bar people! Thanks to Anne Elisabeth Witzmann for conceptualising the space of the ballroom of Schaubühne Lindenfels. Thansk to Alex Brade and Ricaletto for being our wonderful graphical wizards. And: grazie to all people supervising our exhibition MEMORY AS A FLICKER – you did a really nice job (and you were friendly). Thanks to our sponsors, giving us the money much needed. And finally, thanks to ourselves, for doing it again (and again). All for now – sorry to anyone who we have forgotten. No offense, really. Well then, see you next year in April!
Zwischendurch werden wir euch immer wieder mit kleineren Updates versorgen. Einerseits wollen wir euch Empfehlungen aussprechen. Zum Anderen gibt es vielleicht die ein oder andere kleinere GEGENkino Veranstaltung zwischendurch. Beispielsweise ist eine Verlängerung der Bitomsky Reihe in ein paar Monaten angedacht. Falls ihr auf dem Laufenden bleiben wollt, kuckt immer wieder bei uns vorbei!
Wer jetzt keine Lust auf das gute Wetter und immer noch nicht genug von Kino hat. Hier ein paar Empfehlungen für die kommenden Tage:
In the meantime, we will provide you with smaller updates. We want to make you recommendations. And perhaps there will be smaller GEGENkino events in between. For example in a few months there is an extension of the Bitomsky series is planned. If you want to stay up to date, keep on watching us pass us by!
If you are still not filled up with cinema. Here are a few recommendations for the coming days:
|Horror-Double with Donis|
08 PM Das Auge des Bösen
10 PM L’Ossessa
always Monday 7 PM
Updates via mailing list
07 PM Der junge Mönch
09 PM Das Gespenst
09 PM One Cut of the Dead
|Ballet Mécanique Vol. 6 (#31)|
Supporting Film +
Cinémathèque Leipzig e.V.
|RosaLinde Leipzig e.V. presents|
07 PM KIKI
Documentary about Idahit* 2019
Today we continue with our Hartmut Bitomsky series. And before that, we have something special for you. At 6 PM you can listen to a radio play by Ludwig Harig in the Luru Kino der Spinnerei.
Dying is never truthful in motion pictures, yet the drama of death is omnipresent, particularly in the sometimes linear, sometimes arduous journey film characters have to undertake to meet their end. For “it is rather killing that cinema is concerned with and less death itself. Cinema engages in activities and less in conditions.”
With an introduction by Frederik Lang (in German)
17. April, 19 Uhr – Luru Kino in der Spinnerei – € 6,5 (5,5 red.)
|WORKING ON THE IMAGE|
Insights into the work of Hartmut Bitomsky
|6 PM||LUDWIG HARIG | RADIO PLAYS|
Composition: Wolfgang Wölfer • Director: Hans Bernd Müller • With Günther Sauer, Joachim Nottke, Charles Wirths • Ensemble: Zürcher Kammersprechchor and the Kinderfunkensemble Christa Frischkorn • Production: SR/HR/SDR/SWF 1968 • 53’
|7 PM||Introduction by Frederik Lang|
BRD 1983, D: Hartmut Bitomsky, Manfred Blank, Harun Farocki, 30’, dOV, File
Cinema and Death
BRD 1988, D: Hartmut Bitomsky, 46’, dOV, Betacam SP
|9 PM||Cinema and Wind and Photography|
D 1991, D: Hartmut Bitomsky, 56’, dOV, DigiBeta
UK 1939, D: Humphrey Jennings, 15’, englische OV, 16mm
CINEMA AND DEATH
FRG 1988, D: Hartmut Bitomsky, 46′, German version, Betacam SP
FRG 1983, D: Hartmut Bitomsky, Manfred Blank, Harun Farocki, 30′, German version, file
CINEMA AND DEATH is a film essay on the narratology of “cinematic death” in commercial cinema, a death that is accompanied by picturesque settings and self-referential acting. Bitomsky’s directorial reduction embodies the downright opposite: throughout the film, he is sitting in his dimly lit study, we become aware of film photographs spread out, cigarettes burning down in the ashtray and books that have been used – a seemingly private situation, an intimate dialogue with the films.
BRESSON’S “L’ARGENT” is the attempt of film analysis with the means of cinematography. This methodically reflexive approach on Robert Bresson’s last film is far from merely reproducing or even rhapsodizing, as Bitomsky makes clear in the very beginning: lying on the table in front of him is the object of his examination, that is condensed moments of cinema in the form of black and white photographs of Bresson’s film that was shot in colour – which is no aesthetic deficiency, as “a film stands in the same right to what is said or written about it”.
CINEMA AND WIND AND PHOTOGRAPHY
D 1991, D: Hartmut Bitomsky, 56′, German OV, DigiBeta
UK 1939, D: Humphrey Jennings, 15′, English OV, 16mm
How should one define the relationship of documentary film to reality? Does it aim at authenticity or is it rather an “exile of reality”, a “foreign homeland of reality”, where the pre-filmic, stripped of its immediacy, comes to its own right in the first place? Where in its mis-en-scène would be the line drawn to a fictional film, if drawing a line would succeed at all?
These are the kind of questions this film essay on the history and aesthetics of documentary film deals with in its seven chapters, its form decidedly incorporating the open motion of the quest. It is not about assigning rights or wrongs to individual protagonists or theorists of documentary film. Emphasised is the indecisive, ongoing dialogue with their ideas – in a kind of spatial experimental setup. We observe how Hartmut Bitomsky and his staff in turn watch films and relate them to each other. They are shown in a workspace equipped with several monitors and VHS recorders, theory books are piled up, now and then videocassettes with the next film examples are picked out and stage directions are being given. The intrinsic aesthetic value of the samples becomes secondary, what matters is the visual and ideational mediation work. For example, sequences of Humphrey Jennings’ SPARE TIME undergo an aestehtic translation. Following Bitomsky’s film, it will be shown in its entirety – what is stressed in the work of reference, what is left out?