Der Ruhm des Beliebigen

Film screening


So 5.10., 19.30
Klaus Scherübel (A) „SCHERÜBEL (a sitcom) – The Best of the First Ten Seasons”, 1996-2007 (4:25‘) / Benedikt Friedl (D) „Knittelfeld“, 1997 (35‘) / Ken Kobland (USA) „Buildings And Grounds – The Angst Archive“, 2003 (45‘) / Alexander Kluge (D) „Abschied von gestern“, 1966 (85‘)
Mo 6.10., 19.30
Julia Meltzer / David Thorne (USA) „It‘s not my memory of it: three recollected documents”, 2003 (25‘) / Sean Snyder (USA) „Casio, Seiko, Sheraton, Toyota, Mars”, 2004 (13‘) / Anton Henning (D), „The Manker Meldoy Makers - Many Modern Films”, 1997 – 2000 (56‘) / Monika Gintersdorfer & Knut Klaßen (D) „Verlieren“, 2006 (81‘)
So 12.10., 19.30
Bernadette Corporation (USA/F/D) „Get Rid of Yourself”, 2003 (61‘) / Gillo Pontecorvo (I) „Battaglia di Algeri (Schlacht um Algier)“, 1965 (116‘, OmeU)
Mo 13.10., 19.30
Jack Smith (USA) „Normal Love”, 1963 (120‘), präsentiert von Jerry Tartaglia (USA) mit anschließender Diskussion / Herman Asselberghs (B) „Futur Antérieur“, 2007 (15‘)
So 19.10., 19.30
Luis Buñuel (E) „El ángel exterminador (Der Würgeengel)“, 1962 (95‘, OmeU) / Jörg Buttgereit (D) „Nekromantik“, 1987 (75‘)
Mo 20.10., 19.30
Otto Piene (D) / Aldo Tambellini (I) „Black Gate Cologne”, 1968 (47‘) /
Gottfried Bechtold (A) „Fernsehen”, 1972 (12‘) / Bill Viola (USA) „Information”, 1973 (30‘) / Ant Farm (USA) „Media Burn”, 1975 - 2003 (23‘)

Festivalzentrum im Joanneum

Production specifics
Mit freundlicher Unterstützung von Argos, Brüssel, Galerie Arndt & Partner, Berlin, Electronic Arts Intermix, New York, Galerie Neu, Berlin, Jelinski Filmproduktion, Husum, Kinowelt International, Leipzig, Sammlung Generali Foundation, Wien, sixpack, Wien & ZKM, Karlsruhe

“Strategies for avoiding misfortune” concern us all – and just like in film, it is never easy to tell the guilty and the innocent apart. How are their contradictory stories interconnected, where could we draw a dividing line? Are things what they appear to be?

What, then, allows us to endure the uncertainty of complexity, the vastness of the realm of stories and the realm of the ‘real’ world? Is it “the inevitable work of construction and reduction” (Alexander Kluge) or is it forms of transgression, excess, and exhaustion? Is it about blurring boundaries when we cannot shift, let alone erase them? With regard to avoiding misfortune, must we not subject every difference between top and bottom, inside and outside, known and secret, fictitious and real to stringent, if potentially futile scrutiny?

“The Glory of the Arbitrary” (Jacques Rancière) focuses on the loss of common yardsticks between these poles, the difficulty of drawing lines between privacy and politics, normality and excess, identity and stereotype, significant and insignificant. It soon evolves that any attempt to maintain a clear-cut socio-cultural territory is doomed to fail. But the answer is not to retreat, refuse and ignore, but rather to strive to reverse, reinterpret and rewrite.

Kuratorin / Kurator: Reinhard Braun