Thursday, July 7, 2016, 7 pm
Zum subjektiven Blick im Krieg (On the subjective view at war)

Artist talk with Clemens von Wedemeyer (artist, Berlin), Gertrud Koch (professor of film studies at Freie Universität Berlin) and Volker Pantenburg (guest professor of film studies at Freie Universität Berlin)

In German
Free admission

On the occasion of the exhibition
P.O.V. at Neuer Berliner Kunstverein, in which Clemens von Wedemeyer examines the documentary footage of Captain Freiherr Harald von Vietinghoff-Riesch, who as an amateur cameraman filmed during the Second World War between 1938 and 1942 behind the front line, the possibilities of artistic approaches to the historically ambivalent material are discussed, particularly concerning questions of motifs and film grammar, the evaluation of home movies, for example in the context of television broadcasts, as well as the manner, in which ideologies are inscribed in private film footage.

Clemens von Wedemeyer studied photography and media at Fachhochschule Bielefeld and at the Academy of Fine Arts in Leipzig, where, since 2013, he is a professor of media art. His works have been shown in numerous international exhibitions and his films were shown at various film festivals, most recently, among others, at Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Museo nazionale delle arti del XXI secolo, Rome (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein (2011); Barbican Centre, London (2009); MoMA PS1, New York (2006).

Gertrud Koch is a professor of film studies at Freie Universität Berlin. Numerous guest professorships have taken her to Tel Aviv, New York, Vienna and Rio de Janeiro, among others. Furthermore, for her research she stayed at the Institute for Advanced Study in the Humanities in Essen, at the Getty Research Center in Los Angeles and others. Koch is co-editor of several German and international magazines, she published introductory volumes on Herbert Marcuse (together with M. H. Brunkhorst, 1987) and Siegfried Kracauer (1996), as well as the monographs „Was ich erbeute, sind Bilder“. Zur filmischen Repräsentation der Geschlechterdifferenz (What I’m capturing, are images. On cinematic representation of gender difference, 1988) and Die Einstellung ist die Einstellung. Zur visuellen Konstruktion des Judentums (The frame is the (mind) frame. On the visual construction of Judaism, 1992). Her latest publication Die Wiederkehr der Illusion – Der Film und die Kunst der Gegenwart (The return of illusion—film and art of today) (forthcoming) is dedicated to the fundamental role of film in the aesthetics of illusion.

Volker Pantenburg, since 2010, is an assistant professor of image theory with a focus on the research of moving image at the Bauhaus University Weimar. In summer 2016, he works as a guest professor of film studies at Freie Universität Berlin. He does research on cinematographic objects, experimental and documentary films and the intersection of cinema and contemporary art. His publications include Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard (Film as theory. The image research of Harun Farocki and Jean-Luc Godard, 2006) and Ränder des Kinos. Godard – Wiseman – Benning – Costa (Borders of cinema, 2010); as a co-editor, he published, among others, Screen Dynamics. Mapping the Borders of Cinema (2012) and Wörterbuch kinematografischer Objekte (Dictionary of cinematographic objects, 2014). In 2015, he published the anthology Cinematographic Objects. Things and Operations.