Diffraktion #10

LaborBerlin e.V. presents the annual showcase highlighting new works by LaborBerlin members and friends

Saturday, 15/02/2019, 8 PM – 12 AM
ACUD MACHT NEU – Veteranenstraße 21, 10119 Berlin, Germany

[scroll down for german]

LaborBerlin e.V. is happy to present the tenth edition of DIFFRAKTION, the annual showcase of the newest works by our members, on Saturday, 15th of February 2020.

This year, we are also proud to present a special screening of experimental films produced in West Germany (BRD) in the 1980s, with films from Die Tödliche Doris, Dagie Brundert, Rosi S.M., Heike Nikolaus and Jan Rehwinkel and Dietger Schäle.

LaborBerlin e.V. is a nonprofit, independent film collective, open to all individuals interested in analogue film. DIFFRAKTION opens up the lab to the wider public interested in preserving the artistic use of analogue film and supporting collective initiatives in a non-hierarchical and non-commercial manner.

Saturday, 15th February 2020
Doors open: 7.00 pm
Entry Fee: 7 Euros

Dieses Jahr präsentiert LaborBerlin e.V. die zehnte Ausgabe von DIFFRAKTION – ein Abend mit den neuesten Filmen und Performances unserer Mitglieder und Arbeiten von befreundeten Künstlerinnen und Filmemacherinnen.

Dieses Mal zeigen wir zusätzlich ein besonderes Programm mit experimentellen Arbeiten von West-Deutschland aus den 80ern. Zu sehen sind Filme von Die Tödliche Doris, Dagie Brundert, Rosi S.M., Heike Nikolaus undJan Rehwinkel und Dietger Schäle.

LaborBerlin e.V. versteht sich als ein eigenständiges Filmkollektiv, das für alle offen ist, die an analoger Filmpraxis interessiert sind. DIFFRAKTION öffnet das Labor für eine breitere Öffentlichkeit, die daran interessiert ist, die künstlerische Nutzung des Analogfilms zu erhalten und kollektive Initiativen auf nicht-hierarchische und nicht-kommerzielle Weise zu unterstützen.

Samstag, 15. Februar 2020
Einlass: 19:00 Uhr
Eintritt: 7 Euro

FILM AND PERFORMANCE PROGRAM

Analogue Natives film by Bernd Lützeler
35mm & digital double projection, 12 min, 2020
Day in day out a man sits in his dark, dusty space, next to his beloved and hated analogue film machines, waiting. At one point working with celluloid felt just too expensive, too complicated, and too exhausting. Maybe he could become a farmer instead…

Cleaning film by Milica Jovčić
Super / regular 8mm, 6 Min, 2020
Based on found footage and home-movies filmed on super 8mm during Yugoslavia and affected by chemical deterioration, “Cleaning” explores lifes that could be, but didn’t happen.

Untitled (for my sister) film by Nora Molitor
Super8, 3 min, 2019
A birthday present to the sister – home movie, pathos, sun in February. 

Städtefilme “München” und “West-Berlin” films by Die Tödliche Doris
Super8, 1983 (BRD)
Every organizer who invited Die Tödliche Doris was asked to shoot a 6-minute film on Super-8 about the city where the performance was to take place. Screenplay: a local city guide as ordinary as possible. For most, the task was also their debut as filmmakers. René Block’s “West Berlin” film shows the well-known sights of a half of the city and some typical beginner’s mistakes with a thoroughly personal touch. “München” was shot by Doris Kuhn, who probably forgot to take the shutter off the camera. 

MAMMA HEMMERS GEHT MIT IHREM PASTOR ZUM LETZTEN MAL ÜBER’N HEINRICHPLATZ: KREUZBERG ADIÖ film von Rosi S.M.
16mm,  8 Min, 1981 (BRD)
Pictures from Heinrichplatz as well as Mariannenstraße and Oranienstraße in Berlin-Kreuzberg. A tracking shot along old houses with graffiti on the walls.

Teaser für ||Aes |Omi Sau !khais film by Melina Pafundi
16mm, 4 min, 2020
A teaser for the WIP documentary film ||Aes |Omi Sau !khais (a timely hidden place of the souls)

Out in the Desert film by Natalia Fentisova
16mm, 5 min, 2019
A wondering in the desert, a physical & psychological journey, discovering the Self.

Postcards 9: Omilonta agalmata film by Distruktur
16mm, 3 min, 2014-2019
Restlessness and hope coexist in the heart that beats under the white marble.

Wind-Wind, TurnTheTide, Performance/Singing/Film by Katrin Eissing feat. Isabel Kalis
Vocal+16mm, 7 min, 2020
Who can sail against the wind? Who can sail without steering wheel? Who can loose a friend without tears? 

3 Fischfilme film by Dagie Brundert and Gabriele Kahnert
Super8, approx. 3 min, 1989 (BRD)
„Fish in the ass, with angles and in the mailbox…“

Rolle 90 film by Jan Rehwinkel and Dietger Schäle
Super8, approx. 4 min, 1991 
Two young filmmakers explore the technical range of an old Super-8-equipment and learn about their creative potential using moving images. 30 years later, this film seems to be a snapshot of the time when Super-8 was replaced by video and it wouldn’t take too long until the digital possibilities would cause a flood of images.

Yung Bu Fang Chi film by Deborah S. Phillips
16mm, 3 min, 2020
My Neighbour, Samer, is a trained translator & interpreter for Arabic/ Chinese & would like to work in his field.

In Loving Memory of the Future film by Laurence Favre
Super8, 8 min, 2018
Archive footage of a weekend among friends at the beach intertwines with the testimony about memories that are fading away: the rock group, the beginnings of the hippie movement, a feeling of carelessness and freedom in the United States in the 1950s. The now aged protagonists share their memories and reflections on a distant youth that some feel is still present.

Temple Of Truth film by Giuseppe Boccassini
16mm and Super8, 16 Min, 2018
Temple of Truth is an archive that constantly ambulates amid tangles of decaying worlds, experienced as petrified, deprived, residual traces, preserving in the process of taking along and transforming itself, a magmatic state, a specific, ancestral, sometimes whitish non-space. 

Schatten einer Jugend
Das Wesen der Apollinker – oder die Kunst, sich selbst zu opfern 
Super 8, approx. 9 Min, 1990
Two conflicting principles of life are at odds here. Reason and emotion, asceticism and inebriation. Inspired by Stéphane Mallarmés “L’après-midi d’un faune” we are, armed with a bottle of wine, driven to the Schenefelder Mühlenteich, which is the backdrop for this “whispered into the afternoon” movie. Dionysus tries to seduce Apollo and the camera refers to the painting “Hylas and the Nymphs” by John William Waterhouse.