The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

The centre of this extensive exhibition project comissioned by the Barbican Art Gallery London (The Curve) and extended for KOW BERLIN is a historical incident around a group of contemporary cavemen: the Tasaday, a tribe that was discovered in the Philippine rain forest in 1971. Western media declared its discovery a sensation. Apparently, the 26 members of this tribe were still living in a Stone Age, unaware of the modern world. However, already in the eighties, doubt arose as to the authenticity of this discovery which was soon suspected to be a swindle. Unquestionably, the news coverage and the photos of these “peaceful savages” have shaped the Philippines’ image in the international media. This was much to the pleasure of Ferdinand Marcos‘ government, who discouraged any serious anthropological research within the country, but was always eager to please the media. Was the Tasaday story true? If so, was this tribe the prey of hungry western journalists? Or was this a hoax, staged to divert attention away from the Marco regime? The West’s projection of a jungle paradise?

“The Fourth Wall”, a notion used in theatre and introduced by Diderot (Discours sur la poésie dramatique, 1758), refers to an imaginary divide between stage and audience. This concept enables actors to appear as authentic, as if they were “amongst themselves”. At the same time, the audience is made to believe that the stage act is “real”. In his project, Wedemeyer applies the notion of the fourth wall to anthropology as well as to photography and film–disciplines and media that have authorised themselves to adequately and authentically describe humankind and the conditions of life. This power, too, builds on the assumption of a fourth wall: a wall that is set up both by the audience’s desire for an illusion of reality as well as by the willingness of art and social sciences to deliver such an illusion.

In his nine films and interviews, Clemens von Wedemeyer constructs and punctures such fourth walls. These both create and shatter the illusion that we are able to distinguish between images of “others” that are real and images that are merely images. It is an investigation into notions of representation and belief. Yet these works also look into the short time span of a “first contact”–be it the first contact between anthropologists and an isolated group of individuals, between actors and their audience, between the visitors and the works in the exhibition.

Von Gegenüber (From the Opposite Side), 2007

35mm, 38‘30 min, loop, colour, DolbySR

At first glance “Von Gegenüber“ is a documentary about 24 hours in the life of the railway station, but  one soon notices well-placed staged episodes. Urban space–the unifying abstract theme of Sculpture Projects Muenster 2007–is condensed here in a concrete image of reality whose adequacy can be immediately inspected by the visitor on leaving the cinema. The use of the first-person camera introduces the sculptural moment into the film, using dizzying spatiality as opposed to the linear grammar of montage. By positing a semi-fictional but concrete urban space and using the subjective, hand-held camera, von Wedemeyer does justice to the much-discussed advancement of film to the status of a sculptural medium in this year’s Sculpture Projects.

Text by Diedrich Diedrichsen, www.frieze.com

Production Manager: Silvia Loinjak
Cinematography: Frank Meyer
Camera Assistant: Marco Dreckmann
Sound Recordist: Alexander Heinze
Sound Design: Thomas Wallmann
Gaffer: Mathias Beier
Production Assistance: Hannes Lichte, Ximena Rodriguez
Set Managment: Stella Denis
Costumes: Katja Kirn
Wardrobe Assistant: Kathrin Heller
Assistant Director: Rita Gloria Curvo, Sabine Huzikiewiz
Make-up Artist: Kim Kemper
Key Grip: Axel Zschernitz, Willem Bramsche

Produced for skulptur projekte münster 07

© 2007 Germany

Von Gegenüber (From the Opposite Side), 2007

35mm, 38‘30 min, loop, colour, DolbySR

At first glance “Von Gegenüber“ is a documentary about 24 hours in the life of the railway station, but  one soon notices well-placed staged episodes. Urban space–the unifying abstract theme of Sculpture Projects Muenster 2007–is condensed here in a concrete image of reality whose adequacy can be immediately inspected by the visitor on leaving the cinema. The use of the first-person camera introduces the sculptural moment into the film, using dizzying spatiality as opposed to the linear grammar of montage. By positing a semi-fictional but concrete urban space and using the subjective, hand-held camera, von Wedemeyer does justice to the much-discussed advancement of film to the status of a sculptural medium in this year’s Sculpture Projects.

Text by Diedrich Diedrichsen, www.frieze.com

Production Manager: Silvia Loinjak
Cinematography: Frank Meyer
Camera Assistant: Marco Dreckmann
Sound Recordist: Alexander Heinze
Sound Design: Thomas Wallmann
Gaffer: Mathias Beier
Production Assistance: Hannes Lichte, Ximena Rodriguez
Set Managment: Stella Denis
Costumes: Katja Kirn
Wardrobe Assistant: Kathrin Heller
Assistant Director: Rita Gloria Curvo, Sabine Huzikiewiz
Make-up Artist: Kim Kemper
Key Grip: Axel Zschernitz, Willem Bramsche

Produced for skulptur projekte münster 07

© 2007 Germany

Von Gegenüber (From the Opposite Side), 2007

35mm, 38‘30 min, loop, colour, DolbySR

At first glance “Von Gegenüber“ is a documentary about 24 hours in the life of the railway station, but  one soon notices well-placed staged episodes. Urban space–the unifying abstract theme of Sculpture Projects Muenster 2007–is condensed here in a concrete image of reality whose adequacy can be immediately inspected by the visitor on leaving the cinema. The use of the first-person camera introduces the sculptural moment into the film, using dizzying spatiality as opposed to the linear grammar of montage. By positing a semi-fictional but concrete urban space and using the subjective, hand-held camera, von Wedemeyer does justice to the much-discussed advancement of film to the status of a sculptural medium in this year’s Sculpture Projects.

Text by Diedrich Diedrichsen, www.frieze.com

Production Manager: Silvia Loinjak
Cinematography: Frank Meyer
Camera Assistant: Marco Dreckmann
Sound Recordist: Alexander Heinze
Sound Design: Thomas Wallmann
Gaffer: Mathias Beier
Production Assistance: Hannes Lichte, Ximena Rodriguez
Set Managment: Stella Denis
Costumes: Katja Kirn
Wardrobe Assistant: Kathrin Heller
Assistant Director: Rita Gloria Curvo, Sabine Huzikiewiz
Make-up Artist: Kim Kemper
Key Grip: Axel Zschernitz, Willem Bramsche

Produced for skulptur projekte münster 07

© 2007 Germany

Von Gegenüber (From the Opposite Side), 2007

35mm, 38‘30 min, loop, colour, DolbySR

At first glance “Von Gegenüber“ is a documentary about 24 hours in the life of the railway station, but  one soon notices well-placed staged episodes. Urban space–the unifying abstract theme of Sculpture Projects Muenster 2007–is condensed here in a concrete image of reality whose adequacy can be immediately inspected by the visitor on leaving the cinema. The use of the first-person camera introduces the sculptural moment into the film, using dizzying spatiality as opposed to the linear grammar of montage. By positing a semi-fictional but concrete urban space and using the subjective, hand-held camera, von Wedemeyer does justice to the much-discussed advancement of film to the status of a sculptural medium in this year’s Sculpture Projects.

Text by Diedrich Diedrichsen, www.frieze.com

Production Manager: Silvia Loinjak
Cinematography: Frank Meyer
Camera Assistant: Marco Dreckmann
Sound Recordist: Alexander Heinze
Sound Design: Thomas Wallmann
Gaffer: Mathias Beier
Production Assistance: Hannes Lichte, Ximena Rodriguez
Set Managment: Stella Denis
Costumes: Katja Kirn
Wardrobe Assistant: Kathrin Heller
Assistant Director: Rita Gloria Curvo, Sabine Huzikiewiz
Make-up Artist: Kim Kemper
Key Grip: Axel Zschernitz, Willem Bramsche

Produced for skulptur projekte münster 07

© 2007 Germany

Von Gegenüber (From the Opposite Side), 2007

35mm, 38‘30 min, loop, colour, DolbySR

At first glance “Von Gegenüber“ is a documentary about 24 hours in the life of the railway station, but  one soon notices well-placed staged episodes. Urban space–the unifying abstract theme of Sculpture Projects Muenster 2007–is condensed here in a concrete image of reality whose adequacy can be immediately inspected by the visitor on leaving the cinema. The use of the first-person camera introduces the sculptural moment into the film, using dizzying spatiality as opposed to the linear grammar of montage. By positing a semi-fictional but concrete urban space and using the subjective, hand-held camera, von Wedemeyer does justice to the much-discussed advancement of film to the status of a sculptural medium in this year’s Sculpture Projects.

Text by Diedrich Diedrichsen, www.frieze.com

Production Manager: Silvia Loinjak
Cinematography: Frank Meyer
Camera Assistant: Marco Dreckmann
Sound Recordist: Alexander Heinze
Sound Design: Thomas Wallmann
Gaffer: Mathias Beier
Production Assistance: Hannes Lichte, Ximena Rodriguez
Set Managment: Stella Denis
Costumes: Katja Kirn
Wardrobe Assistant: Kathrin Heller
Assistant Director: Rita Gloria Curvo, Sabine Huzikiewiz
Make-up Artist: Kim Kemper
Key Grip: Axel Zschernitz, Willem Bramsche

Produced for skulptur projekte münster 07

© 2007 Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Metropolis: Report from China, 2004-2006 (with Maya Schweizer)

Video/35mm/DVD, 4:3, stereo, 42 min

The film essay documents a journey to Shanghai and Beijing which was made in 2004 with the aim to gather research material for a remake of Fritz Lang‘s cinema classic „Metropolis“. Construction workers talk about their experience on urban building sites; architects are asked about the future of Chinese cities. The film continues to show references to „Metropolis“ and questions the currency of urban utopias and their social reality.

Camera, editing: Clemens von Wedemeyer, Maya Schweizer
Sound design: Thomas Wallmann
Interviews: Zeb Raft
Supported by Centre Georges Pompidou Paris

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Rien du tout, 2006

HD Video/35mm/DVD, 16:9, stereo, 30 min

A film director wants to shoot a film about the Middle Ages in the banlieue of Paris. During casting, she is focused upon one person. The car park in front of the theatre where the young amateur actors and actresses are waiting soon becomes the scene of the actual plot. Inside, as the director and her assistant grow increasingly estranged, the superfluous figures outside  begin to celebrate and dance. The film was shot in 2006 in Bretigny-sur-Orge, France.

Main cast: Inge Offermann, Yann Chermat, Sabine Kuntoff
Script: Clemens von Wedemeyer, Maya Schweizer
Camera: Frank Meyer, Rosario Romagnosi
Production management: Florence Alexandre
Costume design: Clara Camus
Sound recordings: Karim Soufi
Sound design: Thomas Wallmann
Assistant director: Aurélio Cardenas
Aufnahmeleitung: Gaspard Hirschi

Produced by: CAC Bretigny, BB4 Berlin Biennale, Château-Rouge production, Gaëlle Jones
Supported by Filmstiftung NRW, Mobley-Springmeier Collection, Galerie Jocelyn Wolff

© 2006 France / Germany

Untitled (Reconstruction), 2005

16mm/ DVD, 4:3, 3 min, loop

Over and over again, a dancer vanishes from the vaguely defined visual space–he seems to be in a clash, to the point of exhaustion, with the camera’s gaze. In the intervals, he waits quietly, his face to the wall. The footage in the film was shot during rehearsals for a solo piece by dancer and choreographer Alexandre Roccoli in Villa Gillet, Lyon, France (Ersatz – When was the last time you sweat on a dancefloor? 2005). In this new montage, their time sequence has been altered, processed and subsequently set to music. The film is shown as a loop.

Choreographer and performer: Alexandre Roccoli
Camera and editing: Clemens von Wedemeyer
Sound editor: Thomas Wallmann

© 2005 Germany

Untitled (Reconstruction), 2005

16mm/ DVD, 4:3, 3 min, loop

Over and over again, a dancer vanishes from the vaguely defined visual space–he seems to be in a clash, to the point of exhaustion, with the camera’s gaze. In the intervals, he waits quietly, his face to the wall. The footage in the film was shot during rehearsals for a solo piece by dancer and choreographer Alexandre Roccoli in Villa Gillet, Lyon, France (Ersatz – When was the last time you sweat on a dancefloor? 2005). In this new montage, their time sequence has been altered, processed and subsequently set to music. The film is shown as a loop.

Choreographer and performer: Alexandre Roccoli
Camera and editing: Clemens von Wedemeyer
Sound editor: Thomas Wallmann

© 2005 Germany

Untitled (Reconstruction), 2005

16mm/ DVD, 4:3, 3 min, loop

Over and over again, a dancer vanishes from the vaguely defined visual space–he seems to be in a clash, to the point of exhaustion, with the camera’s gaze. In the intervals, he waits quietly, his face to the wall. The footage in the film was shot during rehearsals for a solo piece by dancer and choreographer Alexandre Roccoli in Villa Gillet, Lyon, France (Ersatz – When was the last time you sweat on a dancefloor? 2005). In this new montage, their time sequence has been altered, processed and subsequently set to music. The film is shown as a loop.

Choreographer and performer: Alexandre Roccoli
Camera and editing: Clemens von Wedemeyer
Sound editor: Thomas Wallmann

© 2005 Germany

Untitled (Reconstruction), 2005

16mm/ DVD, 4:3, 3 min, loop

Over and over again, a dancer vanishes from the vaguely defined visual space–he seems to be in a clash, to the point of exhaustion, with the camera’s gaze. In the intervals, he waits quietly, his face to the wall. The footage in the film was shot during rehearsals for a solo piece by dancer and choreographer Alexandre Roccoli in Villa Gillet, Lyon, France (Ersatz – When was the last time you sweat on a dancefloor? 2005). In this new montage, their time sequence has been altered, processed and subsequently set to music. The film is shown as a loop.

Choreographer and performer: Alexandre Roccoli
Camera and editing: Clemens von Wedemeyer
Sound editor: Thomas Wallmann

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Otjesd and The Making of Otjesd, 2005

Otjesd (Leaving), 2005
16mm/DVD, 2:3, stereo,15 min, loop

The Making of Otjesd, 2005
Video / DVD, stereo, 10 min

In Otjesd (Leaving) von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.

Main cast: Rita Breitkreiz, Ekaterina Choulman, Victor Choulman
Camera: Frank Meyer
Production management: Sylvia Loinjak
Production design: Mascha Deneke
Costume design: Sabin Fleck
Sound recording: Hans Brammer, Immo Trümpelmann
Sound editing: Thomas Wallmann
Assistant director: Leis Bagdach, Norman Richter, Dietrich Limpert
Produced by: *.* with Christina Schachtschabel und Joachim von Vietinghoff
Supported by Goethe Institut Moskau, 1st Moscow Biennial

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Das Bildermuseum brennt, 2004–2005

Digital video, DVD, stereo, 27 (3 x 9) min, video installation on three screens

An actor in a series of roles: as visitor, guard and illegal tenant, he walks through an empty museum. The individual characters are aware of one another but never meet. The 27-minute loops are staggered by one-third on each of three projection screens in the installation. This makes the action seem to take place both simultaneously and in sequence at the same time. The footage was shot in 2004 in the unfinished new building of the Museum der Bildenden Künste in Leipzig.

Cast: Mario Mentrup
Camera: Frank Meyer
Production management: Holm Taddiken
Production design: Arthur Zalewski
Costume design: Clemens von Wedemeyer, Walter Barrotta
Sound recording: René Blümel
Sound design: Thomas Wallmann, Niels Loewenhardt
Assistant director: Dirk Waldeck
Supported by Museum der bildenden Künste Leipzig and Kulturstiftung der Hypovereinsbank

© 2005 Germany

Silberhöhe, 2003

35 mm/DVD, 1:1,66, stereo, 10 min, loop

In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: Dirk Sommer
Sound mixing: James Welburn
Produced by  neufilm
Co-produced by: Schrumpfende Städte, ein Initiativprojekt der Kulturstiftung des Bundes

© 2003 Germany

Silberhöhe, 2003

35 mm/DVD, 1:1,66, stereo, 10 min, loop

In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: Dirk Sommer
Sound mixing: James Welburn
Produced by  neufilm
Co-produced by: Schrumpfende Städte, ein Initiativprojekt der Kulturstiftung des Bundes

© 2003 Germany

Silberhöhe, 2003

35 mm/DVD, 1:1,66, stereo, 10 min, loop

In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: Dirk Sommer
Sound mixing: James Welburn
Produced by  neufilm
Co-produced by: Schrumpfende Städte, ein Initiativprojekt der Kulturstiftung des Bundes

© 2003 Germany

Silberhöhe, 2003

35 mm/DVD, 1:1,66, stereo, 10 min, loop

In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: Dirk Sommer
Sound mixing: James Welburn
Produced by  neufilm
Co-produced by: Schrumpfende Städte, ein Initiativprojekt der Kulturstiftung des Bundes

© 2003 Germany

Silberhöhe, 2003

35 mm/DVD, 1:1,66, stereo, 10 min, loop

In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: Dirk Sommer
Sound mixing: James Welburn
Produced by  neufilm
Co-produced by: Schrumpfende Städte, ein Initiativprojekt der Kulturstiftung des Bundes

© 2003 Germany

Big Business, 2002

Digital video/DVD, 4:3, stereo, 25 min

Big Business is a remake of the slapstick Laurel and Hardy classic (USA, 1929) of the same name.The pair are Christmas tree salesmen and ring the doorbell of James Finlayson, who rather brusquely turns them away. An argument breaks out in the course of which Finlayson’s house, his piano and Stan and Ollie’s car are demolished. The film was shot on location with inmates of Waldheim Prison, in East Germany, and is shown here along with The Making of Big Business.

Camera: Frank Meyer
Production management: Holm Taddiken
Sound recording: René Blümel
Produced by neufilm
Supported by Kunst im Gefängnis e.V., Sachsen LB

© 2002 Germany