Title (deu)

Am Film ankommen / Den Film berühren

Advisor

Gabriele Rothemann

Author

Christian Kurz

Description (eng)

Christian Kurz's artistic diploma project is marked by an analytic approach, and it is presented as an installation. The material upon which it is based comprises four kilometers of film, recording 40 years of family history. The photographic and filmic images give rise to a form of tangible presence, of visual haptic feel. Touching film is a narration without any defined goal. Each of its sections contains exchangeable elements of a possible narrative. Visual material that is unknown and yet cast in a familiar collective language creates a link to personal memories in the beholder, who coalesces it into a new individual narrative. Touching film consists of three parts: 1. The Siglinde Kurz Collection: 49 photographs When a film is projected, the actual strip of film remains invisible as a material. Photographs of 49 film cassettes and film reels with their archival descriptions return this material to visibility. Hanging these images together in a block makes the collection visible as a whole. All of the films and all further information are retrievable in one glance. Hence the photographs, which are mounted and framed, function as a reference to the archive. 2. Light in the Lens: a video projection with sound A video, cut from the raw material of the digitized original films, consists entirely of technically defective parts of the films. In the usual presentation of amateur films these sections are blank spaces, undesired shots that are either cut out or ignored. Since they appear randomly and continuously in the original material, they represent all of the film sequences. 3. Repetition as a Principle: three analog Super 8 projections From a plethora of gestures and actions, three topoi have been selected and reenacted in the studio. These three films serve as indexes referencing the entire collection. In the installation they are presented by means of three Super 8 projectors. The distinctive hum produced by the projectors heightens the viewer's attention to the material itself. Repetition as a Principle brings together that which remains hidden in the artistic diploma project's other two elements: the film material itself. All three of the project's sections touch on differing aspects of the “blank space” – the invisible and unshowable – and they interact dialectically. They create a triangular relationship between material, film content and representation. The diploma project's written component details the history of the artwork's evolution while addressing the following theoretical issues: - Historical performance: processes of photographic reproduction are cultural actions, which are able to condense the present in images while at the same time setting it in relationship with the past. - “Amateurism”: a discussion of the specific qualities of “amateur filmmaking” and the reception of amateur film. - Paratext: The significance of paratextual elements and their use is investigated and discussed as a method in the context of artistic work. - Sources of inspiration in the work of other artists: Gustav Deutsch, Hanne Darboven, Eric Rondepierre and Josef Jaques.

Description (deu)

Christian Kurz Am Film ankommen / Den Film berühren Die künstlerische Arbeit von Christian Kurz an 4 Kilometern Filmmaterial, die 40 Jahre Familiengeschichte aufzeichnen, ist von einer dialektischen Herangehens-weise geprägt und wird als Installation präsentiert.  Die Arbeit Am Film ankommen / Den Film berühren besteht aus drei Teilen: - 49 Fotografien von Spulen und Beschreibungen: Das Konvolut Siglinde Kurz, - einer Videoprojektion Licht in der Linse und - drei analogen Super 8-Projektionen Wiederholung als Prinzip. In den von seiner Großmutter aufgenommenen Filmen entdeckt Christian Kurz Dinge, die in diesen nicht sichtbar sind. Zum einen bilden 49 analoge Fotografien die Super 8-Filme in ihrer Materialität ab, zum anderen zeigt eine Videoprojektion einen neuen Film aus Teilen des digitalisierten Lauffilms. Er inszeniert eine Geschichte der nicht-narrativen, ästhetischen Erzählung der Filme.  Mittels analoger Filmloops erzeugt er inhaltliche Synthesen, die die Topoi und Gesten des Materials klar und über das Persönliche hinausgehend widerspiegeln.  Die fotografischen und filmischen Bilder erschaffen eine Form von visueller Haptik. Sie werden dadurch ohne taktile Mittel berührbar.

Object languages

German

Rights

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