(DVD PAL) 29,00 euros

Werner Nekes and Dore 0., 1981

11 min.

Format 16 mm colour
L'artiste allemand Joseph Beuys, filmé en sculpture cinétique, explique sa conception de l'Art.
En 1981 ce film a remporté le prix du meilleur court métrage allemand.

The term 'visual arts' that is prevailing in modernity is really a symptom for the reduction of perceptional categories within the human creativity as a whole. An anthropological conception of art - and I have proved for instance in sculptural theory that you hear a sculpture before you see it, that consequently the auditive element is not just an equal part, but a constituent of the perception of plastic art - confronts you with the task of exploring the conception of creativity in all directions, of spreading it out and substantiating it anthropologically. So for instance, the human creativity potential as a whole doesn't only comprise the recognition criteria in thought, but it also comprises the sensational categories in the middle of the soul, that is, the moving element, and it positively comprises the will potential in human will. It is this interpretation of human creativity potential, beginning with the triple position, the connections of will, sense, and thought categories, which will get you to the more differentiated position of considering the perception, too, and thus the connection of human senses, discovering that for example seeing, the visual sense, the auditory sense, the static sense, the architectonic sense, the haptic sense, can be thought forward into the sense of feeling, the sense of will, the sense of thinking, and many other still to be developed senses.

This means: Man in his creative potential is a developing being, and in the next cultural epoch, which is what we are trying to reach and where the conception of self-determination of man in all positions of work can lead to free development of human activities, we shall be confronted with the possibility to develop new sensory organs, new qualities of creativity in the given entities of will potential, potential of feeling, and thus potential of movement and an intellectual sense of form and thought. So, when I chose primordial materials, such as fat, felt, or copper, I could, to a certain extent, anticipate, that such materials would have a provocative effect in the time I'm living in, which means they would provoke questions for reason and purpose. So these materials were not chosen to do again what has been done already by Duchamp, that is, to exercise in a way a revolution in the museum without acting accordingly with regard to the conception of capital. I could not afford that; those materials, however, have proved to be adequate, with regard to fat, to will potential, with regard to copper, to the element of movement, and with regard to felt, to the isolating, analytical characteristics in thought. So, the sculptural theory contains the possibility to orientate the entire social organism to a new level, and thus to a new height, and thus to a future human culture, and simultaneously to systematically state the measures that should be taken to get from the given to a future form. 'To get back to the willing, which is a completely neglected category in science of creativity: we also have to deal with the conception of warmth, which I have quite often brought up in sculptural theory as a possibility to really hatch the future in this element of warmth or will as in an - I might say - aesthetic willing. It has become obvious, however, that this hatching process may indeed begin in a chaos of warmth, but that it does require strategy and tactics to lead to future possibilities of man; this has also been shown by the critical reproaches against an attempt like that, which made it necessary for the author to give accordingly deep reasons. That this whole approach, that this whole approach, that this whole approach .......


(DVD PAL) 29,00 euros

Werner Nekes, 1980/82


Format 35 mm, 94 min.
Ce film est un voyage homérique dans l'histoire du cinéma. Son thème est fondé sur l'Odyssée d'Homère, "Ulysses" de James Joyce, et la synthèse du personnage Telemaque/Phil tiré d'une pièce de théatre de 24 heures « The Warp » de Neil Oram. Werner Kenes combine ces trois éléments et raconte leurs histoires dans celle de la "Lightérature", écrivant la lumière: le film. Cependant son thème principal est le langage visuel. Odyssée/Bloom est transformé en Uli, le photographe, Pénélope/Molly en son model et Télémaque/Stephen en Phil, qui commence sa "Télémachie" . Le point de rencontre de ces trois vies survient un jour de septembre 1980, dans la région industrielle de la Ruhr (Allemagne), avant les élections en République Fédérale.

"Nekes' films derive from and thrive on Art, set light, color, man and music in estranging motion and show disconcerting, stimulating possibilities for play. It is in experiments such as these that the language of film is developed." (Brigitte Jeremias, Frankfurter Allgemeine Zeitung, Oct. 14,1982)

"It is not easy to animate poetry visually since the fascinating Power of the imagination is all too easily numbed by pictures. Nevertheless, Uliisses is a masterpiece." (Doris J. Heinze, Oct. 1982)

(DVD PAL) 29,00 euros

Music Anthony Moore
Casting: Kirsten Dressler, Heide Jansen, Maria Masciulli, Judith Verbene
Format 35 mm, col. 84 min

Quand les enfants et ceux qui ont grandi rient ensemble pour la même chose, il doit sûrement y avoir une bonne raison. Que celà soit possible est démontré avec plaisir par Richard Bradshaw et son One-Man-Shadowtheater . Bradshow est, comme Buster Keaton, Charlie Chaplin ou Jacques Tati, un des rares grands acteurs comiques. Jim Henson, l'auteur du célèbre Muppet-show qui l'admirait énormément essaya de percer les mystères de son humour. Mais c'est avec les moyens les plus simples, la lumière, les silhouettes et les ombres accompagnées de chants et quelques paroles qu'il étonne et enchante son public.

When both children and grown-ups laugh about the same thing it cannot be without good reason. That it is at all possible, is delightfully demonstrated by the Australian Richard Bradshaw with his One-Man-Shadowtheater. Bradshaw is, like Buster Keaton, Charlie Chaplin or Jacques Tati, one of the few great players in the world of kind-hearted humour. Jim Henson, the creator of the legendary muppet-show, adored him arid tried to solve the mystery of his wit. With the simplest means of media like light, silhouettes and shadows, accompanied by live singing and a few words, he astonishes and enchants his audience.


(DVD PAL) 29,00 euros
Music Anthony Moore
Casting: Kirsten Dressler, Heide Jansen, Maria Masciulli, Judith Verbene
Format 35 mm, col. 84 min

The painter gazes at his female model, or how voyeurism is transformed into culture. An erotic adventure film where the theme is the viewer himself.
"THE DAY OF THE PAINTER shows what " La Belle Noiseuse " does not want to show: the enclosed "Unknown Masterpiece". It is a walk through the picture world of the painter that directs the gaze to the unveiled female model.Associations with the picture world of Dürer, Marey, Matisse, Seurat, to the "Origin of the World" by Courbet, to " L' étant donnés" by Duchamp and to many other works of art can be called up and are actually intended. THE DAY OF THE PAINTER amalgamates the artistic expressive possibilities of painting, video and computer images as film .
Unusual ways of showing make the film an adventure film for the viewer I s gaze. The art of
painting melts into the film." Werner Nekes
Le peintre admirant son modèle féminin ou comment le voyeurisme devient culture. Un film d'aventure érotique dont le sujet est le regardeur lui-même. "Der Tag des Malers" dévoile ce que la Belle Noiseuse se refuse à montrer, le Chef d'Oeuvre Inconnu. C'est une marche à travers les tableaux du peintre qui dirige le regard vers le modèle féminin dévoilé. Des associations avec les peintures de Durer, Matisse, Seurat, L'Origine du Monde de Gustave Courbet, "Etant donnés" de Duchamp et bien d'autres œuvres d'Art peuvent être faites. "Der Tag des Malers" fusionne les différentes possibilités d'expression artistique de la peinture, de la vidéo , et des images numériques en un film. Les techniques inhabituelles utilisées pour le montrer font de ce film un film d'aventure pour le regard du spectateur. « L'art de la peinture se fond à l'intérieur du film » Werner Nekes