DIFFRAKTION #8

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Diffraction # 8 Flyer

LaborBerlin eV presents: DIFFRAKTION # 8

at CLCLR, 10th February 2018 / Admission 7pm, beginning at 7:30 pm

Following the success of the international symposium on the current situation of analogue film culture “Film in the Present Tense”, LaborBerlin eV is proud to present the eighth edition DIFFRAKTION. On Saturday, February 10, 2018, new works (including premieres!) Of the Labor Berlin members will be shown.

This year, cross-border productions as film installations, live cinema performances and film screenings will be highlighted with the moderation of Sylvia Schedelbauer (former lab member) and Kris Wood (co-programmer at Wolf Kino). The works are projected under various formats, such as super 8, 16mm, slide film and digital.

Mit Arbeiten von Michel Balagué, Clara Bausch, Alix Blevins, Igor and Ivan Buharov, Lazarus Dance, Distruktur, Dr. Globus & Bruchstücke, Katrin Eissing, Laurence Favre, Adam Goodwin, Luisa Greenfield, Arne Hector, Tiebault Imm, Tomasz Konart, Amélie Legrand, Sara Lehn, Julie Orlick, Melina Pafundi, Deborah S Phillips, Jan Rehwinkel, Björn Speidel, Giorgos Stavridis, Minze Tummescheit, Sophie Watzlawick, Johnny Welch.

Veranstaltungsort: CRCLR (Circular Economy House), Rollbergstr. 26, 12053 Berlin
Öffentliche Verkehrsmittel: U7 Metro Rathaus Neukölln, U8 Metro Boddinstrasse
Eintritt: 7€ – 10€, Wir freuen uns auf dein Kommen!

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Tree again - Speidel

laborBerlin e.V present: DIFFRAKTION #8

at CRCLR, February 10, 2018 / Doors open 7, event starts at 7:30

After the success of the international symposium on current development in analogue film culture: “Film in the Present Tense”; LaborBerlin e.V. is proud to present the eighth edition of DIFFRAKTION, the annual showcase highlighting new works (including premiers!) by LaborBerlin members on Saturday, 10 February 2018.

This year, the program emphasizes the boundary-breaking output of LaborBerlin members by showcasing
film installations and live cinema performances alongside a screening of films moderated by Sylvia Schedelbauer (former LaborBerlin member) and Kris Wood (co-programmer at Wolf Kino). Works will be projected on diverse formats such as super 8, 16mm, slide film and digital.

With works by Michel Balagué, Clara Bausch, Alix Blevins, Igor and Ivan Buharov, Lazarus Dance, Distruktur, Dr. Globus & Bruchstücke, Katrin Eissing, Laurence Favre, Adam Goodwin, Luisa Greenfield, Arne Hector, Tiebault Imm, Tomasz Konart, Amélie Legrand, Sara Lehn, Julie Orlick, Melina Pafundi, Deborah S Phillips, Jan Rehwinkel, Björn Speidel, Giorgos Stavridis, Minze Tummescheit, Sophie Watzlawick, Johnny Welch.

Address of the event: CRCLR (Circular Economy House), Rollbergstr. 26, 12053 Berlin
station U7, Metro Rathaus Neukölln, U8, Metro Boddinstrasse
Admission: 7€ – 10€, we are looking forward to see you!

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DIFFRAKTION #8 PROGRAM - Films, Performances, Installations

 

FILMS

moderated by Sylvia Schedelbauer (former LaborBerlin member) and Kris Wood (co-programmer at Wolf Kino) 

Where is Greenpoint? Deborah S. Phillips, 2017 16 mm, color, silent/ live, 3:00 min
Sometimes, plans change & we artists have to improvise…
Immer wieder läuſt nicht nach Plan & wir Künstler müssen improvisieren… 

Trailer #378, Tomasz Konart, 2017
16 mm, black-and-white, silent, 3:00 min
There are several reasons for pulling strips of film from a storage box. An important one is to attempt to bring back the sounds produced while the images were taken. Technically the movie is silent, but that is not the whole truth. 

Looking out in, Alix Blevins, 2018, super 8 mm, black-and-white, silent, 3:00 min
WORLD PREMIERE
searching through fragments of darkness & light, siſting through discontinuous moments in a contained space. shot and edited on hand processed super8. 

Gedenken/ In memory, Melina Pafundi and Katrin Eissing, 2018, 16 mm, color with hand-paintings, 3:00 min
Based on Material by Nikolaus Tscheschner ́s film: KALMENHOFKINDER-MURDERED AND FORGOTTEN that we discovered in laborBerlin. During our work on these remaining pieces, we felt the needs to commemorate the children in the children’s specialist departments Nazi Germany once again. This work is an attempt.
basierend auf Material von Nikolaus Tscheschners Film: KALMENHOFKINDER-ERMORDET UND VERGESSEN die wir im Labor Berlin entdeckten. Während unserer Arbeit an diesen Reststücken entwickelte sich das Bedürfnis der Kinder in den Kinderfachabteilungen Nazideutschlands noch einmal zu gedenken. Diese Arbeit ist ein Versuch. 

Sans lune, Sophie Watzlawick, 2017
16 mm, black-and-white, mono 16mm sound, 8:00 min
Der Sturm erhebt sich. Auf einem Boot mit gehissten Segeln, weit draussen, vermischen sich die Litaneien der Passagiere mit den Flüchen der Matrosen. Das Meer erbricht sich über sie, und sie erbrechen sich über das Meer.
Ode an die Prekarität in einer barbarischen Welt, Sans Lune (Ohne Mond) ist auch eine Metapher für das Menschsein in seinem Kampf ums Überleben. 

Exu e Ogum, Distruktur, 2018, 16 mm, color, silent, 1:50 min
WORLD PREMIERE
Exu and Ogum stand for the principle of movement and the symbolism of the path: they allow a movement to begin, they clear the path and break obstacles.
Exu und Ogum stehen für das Prinzip der Bewegung und den Symbolismus des Weges: sie erlauben es einer Bewegung, zu beginnen, sie machen den Weg frei und durchbrechen Hindernisse. 

Discharge Working II, Johnny Welch, 2018,  16 mm, color, digital sound, 4:00 min
WORLD PREMIERE

I. Darkness: Flesh hate breeding half slaves. Division. Hell adores infinite fools.
A. Blood: Dissolve fear beyond Eyes. Harmony. New Priest kills the Old. O. Sun: Drinking Fire of Fire. Undulations. Burning in Splendrous Desire. 

Portrait of a lady, Julie Orlick, 2016
16mm, color, digital sound, 3:00min
filmed over the course of two years. memories of pancake love and hot summer days, a lady encapsulates floral lush. 

Whose hand was it? Sara Lehn, Minze Tummescheit, Arne Hector, 2017
16 mm, black-and-white, digital sound, 3:00 min
A detached human hand found aſter a bomb attack takes us into the abyss of the German intelligence apparatus.
Nach einem Bombenattentat führt eine herrenlose Hand in die Abgründe von Politik und Verfassungsschutz. 

Nach Osten Schauen, Deborah S. Phillips, 2017 16 mm, color, silent, 3:00 min
Reflections on the joy of being able to use a large studio to paint & to be able to film as well for a short time. Filmed in Kunstquartier Bethanien, Berlin-Kreuzberg.
Der Film ist enstanden im Kunstquartiert Bethanien während, mit grosse freude, ein grosse Atelier zum malen benutzen konnte. 

Untitled, Igor and Ivan Buharov, 2017
digital projection of super 8 mm, black-and-white, digital sound, 5:00 min
This sci-fi unmasks nobody, it doesn’t make history, stimulate consumption or serve anybody’s interests. 

47 (AT) Jan Rehwinkel, 2018
16 mm, black-and-white/color, digital sound, 2:00 min
painting serial pictures structured by sound 1536 units narrating moving images
Serielle Bilder zeichnen Strukturiert durch Ton 1536 Einheiten Bewegte Bilder erzählen 

Eiersalat, Dr. Globus & Bruchstücke, 2018, digital projection of 8 mm, black-and-white, digital sound, 2:30 min
WORLD PREMIERE
An audio-visual discussion about the vomiters culture in the reflextion of today ́s Germany.
Eine audiovisuelle Auseinandersetzung mit der Erbrecher-Kultur im Spiegel des heutigen Deutschlands. 

theriverinthetreesthunderousnoise_CBALAG

PERFORMANCES

the river in the trees thunderous noise, performance by Clara Bausch (super 8 and 16 mm, black-and-white/ color), Amélie Legrand (cello), Adam Goodwin (double bass), 2018, 25 min
“the river in the trees thunderous noise” (2018) will take place around the stage of the “curved screen”. A rhythm of focus, light, shadow, noise and music brings the projected scenes into the space of CRLCR. Observations of everyday life create the imagined fictional space – the associative in the consideration. CB examines, documents, stages the unusual perspectives of these private moments in a multiple projection of two S8 and three 16mm projectors. Under the guise of a naturalistic simplicity AD and AL develop a complex landscape using cello, double bass, voice and electronics, using the poem “Commencement et fin” from Jean Tardieu. Paying special attention to the environmental soundscape as well as the sound of their own instruments, they impose an intimate presence, playing in between expression and imperceptible sounds, asking about presence and absence, giving time for the film to express itself. They search without finding, trying and failing. During the performance with Clara they combine words and poetry with string sound experiments to produce an emotional disorder. The performance captures a vacuum of the unforeseen, to arise in the context of the improvised life montage. A dialogue between image and music in a search for new ways of seeing. A time travel to make visible what is invisible. Amélie Legrand is a French cellist and composer currently based in Berlin, Germany. She is active within many different musical scenes, including noise rock, Arabic music, free improvisation and film score composition. She is dedicated to exploring the cello to its fullest potential and collaborating with various performers and artists. Adam Goodwin is a Texan double bassist, composer, and visual artist. Having completed music degrees in both classical and contemporary double bass performance, Goodwin moved to Berlin, Germany to delve fully into the world of experimental and improvised music. He is also active within the Turkish and Arabic music scene in Berlin. Goodwin’s musical approach places a heavy emphasis on physical gesture and spontaneity, along with a conscious consideration of the particular space and context in which the music is taking place. Clara Bausch is an artist and filmmaker. She graduated at the University of Fine Arts, Berlin and is a co-founder of LaborBerlin. A detailed observation and intimacy of a private space is the starting point in her films, photographs and drawings. The focus of her work is on processes that are in transition.They are signs of everyday acts that she documents and places as possible linking points for dialogues.

Curved screen, 
three-dimensional object as a reference to the transition to a digital era of cinema aluminum, shirting, 5×2,5m, Clara Bausch, 2017 Bilderbuch, Luisa Greenfield, 2017
16 mm, color, live lecture performance, 3:00 min
On the value of scraps – A live lecture performance on Walter Benjamin’s children’s chronicle in three minutes. Tree again, Björn Speidel, 2018
super 8 and 16 mm, black-and-white with color filters, stereo optical sound, 15 min
Over-projections of two trees which flicker in a way that it looks somehow spacial. Colours change and mix. Timewise white words ore grafiks appear. The sound squeaks and howls. LOST #01, Kornel Szilágyi, Michel Balagué, Lazarus Dance, Amélie Legrand, Adam Goodwin, Tiebault Imm, Giorgos Stavridis
Normal 8, 16mm and video projected on three screens, live music, 25min
Lost #01 is a multidisciplinary performance with analogue film projections, analogue music, video manipulation and electronics.
It is performed by Michel Balagué (video manipulation and live video projection), Kornél Szilágyi (Normal8 and 16mm live projection), Lazarus Dance (Normal8 and 16mm live projection), Guillaume Cailleau (video programing), Amélie Legrand (cello and voice), Adam Goodwin (double bass), Thiebault Imm (electric guitar and electronics) and Giorgos Stavridis (Drums) 

Lost # 01

INSTALLATIONS

Influx (Laurence Favre, 2016)
16 mm, color, loop
Heated by the sun, a frozen stream slowly wakes up and air bubbles start moving under a thin ice coat. Film gives, this in reality ephemeral moment, a never ending repetition at the rhythm of a heart-beat.
Erwärmt von der Sonne, eine eingefrorene Strömung erwacht langsam. Luſtbläschen bilden sich und bewegen sich unter einer dünnen Eisschicht. Film versetzt, dieser Realität einen vergänglichen Moment, eine endlose Wiederholung gibt den Rhythmus des Herzschlags. The Six Worlds ( Kornél Szilágyi , 2010)
Super 8 mm – six channels, color, silent , loop
Chögyam Trungpa – “The Experience of the Six Bardos”.
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