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German version of “Spitting Image“ (1984).

Izzy, the youngest son of a troubled New York family, takes a shine to breaking into people's apartments as a way to get attention.

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"Deutschland privat" is a special project by Robert van Ackeren, who in 1979 asked people to send him their 8mm home movies by placing ads in several magazines in Berlin, Germany. In the ads he announced that he was planning to blow up and mount the best of those movies into a feature documentary to be released in German cinemas. He was surprised how many home movies he received and how generously people allowed him to use them for his feature. Part 1 of "Deutschland privat" gives us typical German home movies of the 1970s, i.e. private holidays, family parties, etc. Part 2 consists of what is now called "amateur porn"; home made 8mm movies featuring real porn action.

Early German Romanticism was not only an era of great poetry, but also developed a spiritual world view that anticipated much of what people today seek in esotericism, shamanism and Far Eastern religion: the combination of thought and intuition, reason and emotion, science and religion, as well as a view of nature as a living organism that cannot be understood solely through rational dissection. In artistic independence, the early Romantics developed highly individual forms of spirituality that have lost none of their fascination and inspiring power to this day. With texts by Hölderlin, Novalis, Goethe, Annette von Droste-Hülshoff and others, we travel to magical landscapes in Germany to explore this side of European intellectual history that has been little illuminated to date.

7-channel video installation 7 screens, mirror B/w and colour, sound Aspect ratio 4:3 Loop, 54 min Edition 5 + 2 ap In contrast to one of the most accentuated actions in post-war Germany – the reconstruction of destroyed cities – Julian Rosefeldt and his former collaborator Piero Steinle constructed the episodes of German post-war history with Detonation Deutschland (1996/1999) through a storyline of deconstructions. They collected excerpts of original video and film footage showing demolitions from 1945 up until the mid-1990s, and collaged the extracts to typologies. Almost like a moving, cinematic antithesis to Bernd and Hilla Becher’s serial photographs of building typologies, the sequences are shown on seven screens in a darkened and longish room, doubled by a mirrored wall. Whilst ideologically fraught buildings such as bunkers, or the complex of the ‘Reichsparteitag’ in Nuremberg, are the first to be demolished, war-damaged buildings soon follow in order to delete the crucial traces of a tragic past. In the 1960s a second destructive wave rolls over Germany, when damaged and undamaged pre-World War II houses are destroyed to realise modern urban utopias. In the 1970s industrial buildings give way to the infrastructure of a changing economy. Finally, after the fall of the Berlin Wall in 1989, a frantic series of demolition starts again and post-war housing blocks (Plattenbauten) become the target of post-modern city planning. The collage-like simultaneity of the projections contradicts the chronological historicity of the documents. The demolitions become metaphors of changing and vanishing systems, ideologies and societies. As ‘romantic mist’ and ‘orgies of dynamite power in frequently varying choreographies’ (R. Spieler) they allow the observer to slip into an ambivalent state, torn between fear and pleasure. Summarised from Reinhard Spieler, in: News: Eine Videoinstallation von Julian Rosefeldt und Piero Steinle (1998); and Matthias Winzen, in: Deep Storage – Arsenale der Erinnerung (1998) All rights reserved © Julian Rosefeldt / Piero Steinle

暂无剧情简介

暂无剧情简介

暂无剧情简介