Saturday, May 16 – Sunday, May 31, 2020
Reality – Fiction
Multi-perspective Vision in Film, Literature and Visual Arts


Online program with Martin Beck, Volker Pantenburg, Ana Teixeira Pinto, Marlene Streeruwitz, Klaus Theweleit, Luca Vitone


Contributions – overview


Catastrophies and Memory. Reality-Fiction in the late films of Jean-Luc Godard
Klaus Theweleit (Cultural theorist, Freiburg)
Text contribution
In German

Fictional formations running through reality
Volker Pantenburg (Professor of Film Studies, Freie Universität Berlin; Harun Farocki Institute, Berlin)
Text contribution
In German

Psychosis as an instrument of knowledge production
Marlene Streeruwitz (Writer and director, Vienna, London and New York)
and
Martin Beck (Philosopher, curator, and author; research fellow Berlin University of the Arts)
Reading and conversation
In German

Romanistan
Luca Vitone (Artist, Milan)
Film and conversation with
Ana Teixeira Pinto (Cultural theorist and writer, Dutch Art Institute, Arnhem; Leuphana University Lüneburg)


The online program
Reality – Fiction at Neuer Berliner Kunstverein (n.b.k.) focuses on artistic practices that explore hidden dimensions of reality in the interplay of reality and fiction, and which allow the not-yet-conceived, the not-yet-perceived, or even the historically repressed to become visible.

The attempt to take possession of the world of objects and images by means of speculative narratives and to formulate new perspectives on politics and society can be found in numerous aesthetic practices. In
Éloge de l’amour (In Praise of Love, 2001), one of Jean-Luc Godard’s later works, the filmmaker refers to the philosopher Henri Bergson: “You can only think about something if you think of something else.” As one of the most influential directors of the 1960s and key proponent of the Nouvelle Vague art film movement, Godard created a cinematic language that rejects illustrative gestures and relies instead on a multi-perspective view committed to critical analysis of the present.

Godard’s late films refer to a way of seeing that does not yet exist or is still developing — viewing in layers with an archaeological eye, which does not structure the world from a center, but rather offers an imaginative historical orientation in numerous directions. Based on Godard’s visual language, the contributions to the online program
Reality – Fiction discuss how history, social movements, suppressed forms of existence, excluded knowledge, and the transgression of boundaries are formulated in film, literature, and visual art in a multi-perspective way.


About the participants:

Martin Beck lives in Berlin and is a philosopher, curator, and writer in the field of visual arts. His written works include numerous essays such as those published in Das Ästhetisch-Spekulative: Spekulationen in den Künsten, ed. by Kathrin Busch et al. (2019), and the journal Figurationen, no. 1: Visuelles Denken (2016). He is co-editor of Präsentifizieren. Zeigen zwischen Körper, Bild und Sprache (2014) and the exhibition catalogues for fake or feint (2010) and To Show is to Preserve (2008), which he both co-curated. Most recently he co-curated the exhibition fühle meinen körper sich von meinem körper entfernen at Kunstverein Heidelberg (2017). Beck is currently a research fellow at the University of the Arts Berlin.

Volker Pantenburg lives in Berlin and has been Professor of Film Studies at Freie Universität Berlin since October 2016. His research interests include cinematographic objects, the theory of the image, the history of experimental film, and the migration of images between cinema and contemporary art. His books include Film als Theorie: Bildforschung bei Harun Farocki und Jean-Luc Godard (2006) and Ränder des Kinos: Godard – Wiseman – Benning – Costa (2010). He is editor of the anthology Cinematographic Objects: Things and Operations (2015). In 2015 he was one of the co-founders of the Harun Farocki Institute in Berlin.

Ana Teixeira Pinto is a writer and cultural theorist based in Berlin. She is a regular contributor to e-flux, Afterall, frieze, Mousse, Springerin, and Texte zur Kunst, and is editor of The Reluctant Narrator: A Survey of Narrative Practices Across Media (2014). Her written work is also included in Alleys of Your Mind: Augmented Intelligence and its Traumas, ed. by Matteo Pasquinelli (2015); Nervous Systems, ed. by Anselm Franke et al. (2016), and Animals, ed. by Filipa Ramos (2016). She currently teaches at the Dutch Art Institute in Arnhem and is a research fellow at Leuphana University in Lüneburg. Before that she taught at Universität der Künste Berlin.

Marlene Streeruwitz (*1950 in Baden / Austria) lives in Vienna, Berlin, London, and New York and works as a writer and director. She has written numerous internationally successful novels, including Verführungen. 3. Folge. Frauenjahre (1996), Nachwelt (1999), Partygirl (2002), Jessica, 30 (2004), Kreuzungen (2008), Die Schmerzmacherin (2011), Nachkommen (2014), Yseut (2016), and Flammenwand (2019). Her works have been recognized with numerous literary awards, most recently the Franz-Nabl-Preis of the City of Graz (2015) and the Preis der Literaturhäuser (2020). In 2008, Neuer Berliner Kunstverein published her book Bildgirl. Collagen as volume 1 of the series n.b.k. Berlin. Her plays have been widely performed and include Sloane Square (1992), New York New York (1993), Elysian Park (1993), Ocean Drive (1993), Tolmezzo (1994), and Waikiki-Beach (1999), and have premiered at Schauspiel Köln, Münchner Kammerspiele, Deutsches Theater Berlin, Wiener Festwochen, and others.

Klaus Theweleit (*1942 in Ebenrode / East Prussia) lives in Freiburg and is a literary scholar, cultural theorist, and writer. Until 2008 he was Professor for Art and Theory at the Staatliche Akademie der Bildenden Künste Karlsruhe. In 1976, he received his doctorate with his dissertation Freikorpsliteratur: Vom deutschen Nachkrieg 1918–1923, which served as the basis for his two-volume work Männerphantasien, published in 1977/1978, one of the first comprehensive studies in the field of masculinity and violence research. In November 2019 Männerphantasien was published in a new edition by Matthes & Seitz, Berlin.

Luca Vitone (*1964 in Genoa) lives in Berlin and Milan, where he has taught at the Nuova Accademia Belle Arti since 2006. In his artistic work since the mid-1980s, Vitone has examined the construction and representation of places and the artistic possibilities of describing their geographical, political, social, cultural, and poetic dimensions. He is particularly interested in how places are shaped by art, cartography, political associations, and marginalized groups, among others. He has participated in numerous international biennials and group exhibitions, including at: Galleria Nazionale d’Arte Moderna e Contemporanea, Rome (2019); Baijia Lake Museum, Nanjing (2016); the Italian Pavilion at the 55th Venice Biennale (2016). Vitone’s solo exhibitions include at: Centro per l’Arte Contemporanea Luigi Pecci, Prato (2019, 2004); Padiglione d’Arte Contemporanea, Milan (2017); Neuer Berliner Kunstverein, Berlin (2014); Museion, Bolzano (2013); Galleria d’Arte Moderna e Contemporanea di Bergamo (2008); MoMA PS1, New York (2000).