At the same time, van Wissem’s instrument is antique as well as extraordinary: a 24-string lute. His minmalist style of playing the baroque gadget is based on repetitive composition techniques and cyclical melodies, overlays and coloration. The result seems as if it has dropped out of time peculiarly, oscillating between genres: not baroque or industrial music, neither New Music nor improvisation. Yet still everything together. Enormously deep!
L’Âge d’Or (F 1930, D: Luis Buñuel, 63’, french OV, 35mm)
As a German premiere, van Wissem accompanies “L’Âge d’Or”, an explosive succession of rebelling pictures. Buñuel’s surreal gaffs are kept together by an “amour fou”, the story of a love that falls flat because of bourgeois activities. Everything culminates in a crucifix adorned with scalps of murdered girls – Jesus as an initiator of sadist orgies.
“It was very much a turmoil with bombs, police, fist fighting. […] I was sitting in a loge seat on the balcony, next to me was an elder gentleman. On the screen, there was something anti-clerical or anti-royalist, someone had thrown a bomb against the screen. The old man beside me leaped up and clobbered me! I haven’t got any clue why! There was a real battle going on in the hall. Then they tried to storm the projection room to get hold of the film, but it was closed and they weren’t able to break the iron door. So they demolished the lobby. It was a shame actually. […] At the entrance, there were hanging a number of pictures by Picasso, Man Ray and Picabia, which were simply torn to pieces. The police needed an hour to clear the place of disturbers.” (Hans Richter about the world premiere of “L’Âge d’Or“)
11. April, 21 Uhr LuRu-Kino in der SpinnereiWichtig! Es wird voraussichtlich nur noch wenige restkarten an der Abendkasse geben. Besorgt euch also frühzeitig Tickets an einer der beiden Vorverkaufsstellen. Festivalpassinhaber sollten eine halbe Stunde vor Beginn am Luru-Kino sein um sich ihre Freikarte zu sichern. Danach besteht kein Platzanspruch mehr. Da das Luru-Kino nurüber wenige Plätze verfügt, müssen wir, um es für alle fair zu gestalten, derart handhaben
Important! There will be only be a few tickets left for sale at the box office. Make sure to buy a ticket at one of the two ticket sale points. People with a festival ticket should be at Luru-Kino half an hour before the concert to get their free tickets. We cannot guarantee that there will be any seats left for latecomers. Unfortunately that’s the way we have to do it, since Luru-Kino only has a limited amount of seats.
next item:
Fascism and sexuality in film and popular culture. Lecture von Marcus Stiglegger
afterwards: Salon Kitty (IT 1976, D: Tinto Brass, A: Helmut Berger, Ingrid Thulin, Teresa Ann Savoy, 102’, dF, 35mm)
13. April, 20 Uhr – UT Connewitz
04. April, 10 pm (Screening, 16mm/digital) / afterwards Party UT Connewitz
In the 1980s, New York’s East Village brings together artists who radically revolt: against the good taste, against the saturated art scene, against an avant-garde cinema that has made itself comfortable. The cinematic results of this protest dominate sex, blood, open wounds, disfigured bodies, senseless violence, blasphemy and desecration, as well as humorous attacks on the bourgeois welfare. We show a selection of authoritative Cinema of Transgression short films as well as violations and transgressions from earlier phases of American experimental film.
10 pm: SCREENINGS / digital & 16 mm
Fireworks (1948 R: Kenneth Anger, 14’)
The Yellow Sequence (1963-65 R: Jack Smith, 15’)
Hot Air Specialist (1970 R: Jack Smith, 7’)
Stray Dogs (1985 R: Richard Kern, 10’)
Submit to me (1986 R: Richard Kern, 10’)
x is y (1990 R: Richard Kern, 3’)
War is Menstual Envy (excerpt) (1992 R: Nick Zedd, 13’)
Thrust in me (1985 R: Nick Zedd/Richard Kern, 8’)
Afterwards: PARTY
NO NO NO! / for bouys and gerhls and criminal queers
Indietronics / Gitarre / Elektro-Pop / Queercore
Claire / Conne Island, Leipzig
Zacker, NO NO NO!
Timo / Barbie Deinhoff‘s, Berlin
Slow but steadily the band begins to play..GEGENkino is very happy to announce the first item on the programme!
Panel discussion: What will the pictures look like after the pictures?
The discussion will be about self-conception, conditions of existence and unique characteristics of cinema. In doing so, we will talk about cinema as locus and, for that matter, as cultural experience. The omnipresent possibility of reproducing pictures digitally – in exhibitions, the internet and on BluRays – offers a simplified access to pictures. Beyond that, can it also reproduce the genuine quality of experiencing films, this unique form of perception that differs from classical fine arts? Does film become art as soon as it leaves the cinema hall? Is it not already the case before that?
panel discussion
What will the pictures look like after the pictures?
05. April, 19 Uhr – Schaubühne Lindenfels (Ballsaal) – Eintritt frei:
guests
Lars Henrik Gass [Autor / Leiter Internationale Kurzfilmtage Oberhausen]
Clemens von Wedemeyer [Filmemacher / Professor für Medienkunst (Expanded Cinema) an der Hochschule für Grafik und Buchkunst Leipzig]
Stefanie Schulte Strathaus [Kuratorin / Künstlerische Leitung Arsenal – Institut für Film und Videokunst Berlin]
Torsten Frehse [Filmverleiher / Geschäftsführer Neue Visionen Filmverleih Berlin]
Moderator: Luc-Carolin Ziemann [free Curator / DOK Leipzig, GfZK Leipzig]
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