Figural Realism. A screening to accompany Ed Atkins, “Old Food” @ Martin-Gropius-Bau Berlin, Berlin [12. Oktober]

Figural Realism. A screening to accompany Ed Atkins, “Old Food”


254
12.
Oktober
19:00 - 21:00

 Facebook-Veranstaltungen
Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7 | Ecke Stresemannstr. 110, 10963 Berlin
“Faust”
Jan Švankmajer, 1994
35mm, 97 Minutes
In Czech/Latin with English subtitles

“Hisser”
Ed Atkins, 2015
HD-Video, 22 Minutes
In English

Alas, philosophy I have explored,
as well as medicine and law;
add to these, regrettably,
my studies in theology.
Yet here I sit, a foolish bore,
no wiser than I was before.
No dog can live like this;
knowledge gained is far from bliss.
So I resolve my soul to free
through blackest magic and dark alchemy.
Johann Wolfgang von Goethe, “Faust. Der Tragödie erster Teil“

I do believe that man is, in a certain way, determined. I am convinced that we are still manipulated: by the stars, by our genes, by our repressed feelings, by society, its education, advertising – repression of all kinds.
Jan Švankmajer

For what it’s worth, “Faust” is my favourite film. Pretty much everything I’ve ever made that’s of any merit has pilfered something from it.

I was already familiar with Švankmajer when I first saw “Faust”. I was about fourteen. Švankmajer was something of a star in our house, with his “Alice”, “Food” and “Dimensions of Dialogue” on heavy rotation for years, gleaned from late-night Channel 4 programming on long-playing VHS tapes many times overwritten. Švankmajer survived the general roundelay of recording and rerecording and was a unanimous favourite, remaining a name and a reference I thought exclusive to my family till I got to London and art college.

“Faust” is “Faust”, of course, and inasmuch as Švankmajer’s version still functions parabolically, it certainly reiterates the explicit warnings concerning hubris, greed, etc. This time Faust is conspicuously passive, more inadvertent conscript than delusional intellect – a man suckered without much difficulty or desire. As ever with Švankmajer, satire of specifically Czech – and more generally European – society is pretty powerfully present, in the story of course, though more saliently – and certainly more thrillingly for me – within the form. Švankmajer is a master of stop-frame animation, and it’s his understanding of the medium as both sensational and allegorical method that really, I think, defines “Faust”’s singularity. By animating both clay and people alike, by literalising the puppeteering of Mephistopheles and by objectivising Faust, Švankmajer renders everything terrifically uncanny and felt. Every movement is laboured, and the illusion of animation is made structurally available through misapplication – its heretical use on living bodies – turning life into some horrible, base manipulation.

I find the sound throughout “Faust” astonishing. Švankmajer’s foley is uniquely intimate and simultaneously distancing; like the animation it’s a kind of caricature, a parody to puncture transcendentalism, so that whatever morality defines our familiarity with Faust is repurposed as a kind of materialist critique, albeit theatricalised mercilessly. Even when the action is conventionally filmed, the sound – as well as a Bressonian kind of camera attention – insists on the artifice of the image, its manipulation. Everything here is openly controlled, and at every level. The lesson, perhaps, is simply to be wary of determinism of all kinds – though the feeling, the quease, is permanent and deeply liberating. Whatever space Švankmajer opens up in “Faust” – whatever feelings he has afforded me – is something I have always strived for.

Ed Atkins
Diskussion
image
Nur registrierte Benutzer können Kommentare hinterlassen.
Registrieren Sie sich schnell oder autorisieren Sie sich.

Die nächsten Veranstaltungen @ Martin-Gropius-Bau Berlin:

Halloween Special: The Modern Prometheus
Martin-Gropius-Bau Berlin

Das am meisten erwartete Veranstaltungen in Berlin :

The Great Gatsby Ballet in Berlin!
Admiralspalast Berlin
Disney in Concert - Berlin (VVK)
Mercedes-Benz Arena Berlin
The Future Is Female: Yasmine Hamdan + Sevdaliza | Ausverkauft
Berghain / Panorama Bar
Vernissage: Lost Places - Verlassene Orte (Part II)
AWO Kulturhaus Babelsberg
Dänischer / Skandinavischer Weihnachtsmarkt in Berlin
Brienner Straße 12, 10713 Berlin, Deutschland
Gregor Gysi & Kurt Krömer - Missverstehen Sie mich richtig!
Kabarett-Theater Distel
Benjamin und Brecht. Denken in Extremen (Ausstellungseröffnung)
Akademie der Künste - Hanseatenweg
Cheese Berlin 2017
Markthalle Neun
Queens of the Stone Age | Berlin // Ausverkauft!
Velodrom Berlin
Acid Arab & Habibi Funk
Club GRETCHEN
Die populärsten Veranstaltungen in Deinem News Feed!