Film as celluloid, coated, exposed, projected has become a medium which – barring its obvious obsolescence – is finding another “role”. The program taps into the materiality and corporeality of analogue filmmaking and watching: WEISSFILM consist of white and blank film and stems from the end of Birgit and Wilhelm Hein’s structural period. Without a negative, each screening is inscribed into the material. The footage in PEGGY’S BLUE SKYLIGHT from Joyce Wieland and Michael Snow’s loft captures one day in the life of the New York avant-garde in playful, impulsive fashion. In AUSTERITY MEASURES, the effect of the camera – exposed three times on film in red, green and blue – can be read as a commentary on Greek austerity policy. What can be seen is how technology inscribes itself into thought or how ideas materialize. Once the only alternative, deciding to use this material and its apparatus is now an option chosen intentionally. (stg/bs) (8.5.)
