Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.
These last major lectures by Hans Heinz Holz (1927–2011) follow his philosophical reflection from Parmenides to Karl Marx. They were recorded in October 2009 at his home in Sant’Abbondio, Switzerland.
While it was long thought that his filmography had concluded with the film Life in 1993, Peleshian has now returned with a new film, simply titled La Nature, through which he once again observes the delicate cohabitation of human communities with their environment. Gathered from the internet, most of the images that compose the film are fragile, amateur-shot traces from within nature and its tremors that regularly rock these communities. Volcanic eruptions, earthquakes, and tsunamis form the film’s visual fabric, and are set against images of grandiose natural landscapes. A visual elegy, the film resolutely acknowledges the superiority of nature, with its unrelenting force, capable of transcending all human ambition. With this, the filmmaker seems to remind us that humankind will not emerge victorious from the ecological havoc that it has created.
To escape loneliness in her impassive life, Leni hacks into her neighbours’ computers and observes them in everyday lives. In this way she is searching for love in her own, reality-distant life, and in consequence she is caught in her digital sphere.
The fourth in a four-part video art series produced by duo Christiane Dellbrügge and Ralf de Moll in the early-'90s, this piece continues the series' themes of incorporating art theory into video art, particularly through the juxtaposition of words and images. Here, text exploring the intersections and conflicts between electronic media and the creation/reception of new media art is dissected into individual words that are then pair with split-second images and sound clips, typed across the montage until it fills the screen.
The third in a four-part video art series produced by duo Christiane Dellbrügge and Ralf de Moll in the early-'90s, this piece continues the series' themes of incorporating art theory into video art, particularly through the juxtaposition of words and images. Here, the duo record a performance by a singer dealing in the profound social and cultural effects that television has had on modern human life. Images of the musician - over-saturated and recorded at a lower frame rate but duped at normal speed - are only apparent when he is singing. Otherwise, the screen is black, with only the sound of his guitar.
In the immediate aftermath of the 11 September Paul Virilio suffered from a malaise found very seldom among philosophers, which was caused by an excessive degree of confirmation on the part of reality. He broke off work on his book "L'accident Intégral" to put together an exhibition that was designed to illustrate the concept of the global accident in all its topicality. The outcome was the much-vaunted Ce qui arrive, which was housed in the Fondation Cartier pour l'art contemporain in Paris from 29 November 2002 to 30 March 2003. The cinematic installation, Unknown Quantity, which was a key part of the exhibition, features the staging of a discussion between Paul Virilio and Svetlana Alexiyevich, the author of the book "Chernobyl. Chronicle of the Future", the essential witness's statement on the conversion of history in catastrophe.
