ATELIER No. 64 – Online edition
Experimental platform for the arts

  • Fri 20.11.20 18 h
  • Sat 21.11.20
  • Sun 22.11.20

Our ever popular ATELIER series is moving in its 64th edition online! For three days via our website, the participating artists will present a typically eclectic ATELIER programme for you to explore from home including documentary films, photographic and multimedia presentations as well as performances livestreamed directly from PACT. In addition, the artists will also be available online to discuss their work.

Livestreams (Fri 20.11. 20 h, Sat 21.11. 19 h & 20 h)

Verena Hahn ›Deutsche Prepper‹
Verena Hahn

Verena Hahn ›We'll have time for that later‹ – Fri 20.11. 20 h

›We'll have time for that later‹ is an experimental documentary film that examines the experiences, self-perceptions and practices of three preppers. Prepping is a lifestyle in which preppers anticipate crises, prepare for them constantly and horde supplies. They appear only briefly in the film, however, for the director and the protagonists have traded roles. The film addresses matters of competence, normalcy and trust and the question of who has the right to lead and speak.

Barbara Posch ›trans luz‹
Barbara Posch

Barbara Posch ›trans luz‹ – Sat 21.11. 19 h

In the field of merchandise management the term ›Just in Time‹ refers to a specific form of inventory management or, in a more general sense, a certain production philosophy. The goal is to eliminate idle inventory and to maintain a continuous and stable flow of goods. Thus everything that is not in motion is scrap or waste. But what if a necessary element (stretch film) of these productive moments (transport) condenses in such a way that it becomes physically massive and heavy, and finally ends up as dead scrap?

In ›trans luz‹, the transparency of the film has condensed to the point of opacity and the film is no longer transparent. In the production of the sculptural elements, the time-consuming process of wrapping – over and over around the metal construction – and the physical effort required to carry it out stand in opposition to the optimal acceleration of the production processes of competitive companies.

Zauri Matikashvili  ›Corona Rebellen‹
Zauri Matikashvili

Zauri Matikashvili ›Corona Rebellen‹ – Sat 21.11. 20 h

Since the spring of 2020, ‘corona rebels’ have been meeting weekly in many German cities to protest measures intended to contain the pandemic. Their rallies attract not only esoterics and followers of Jesus, Gandhi or Mandela, but also conspiracy theorists and right-wing extremists. The Imperial War Flag flies alongside the rainbow flag; hippies in brightly coloured robes dance barefoot next to neo-Nazis dressed in black.
Thousands of demonstrators gather in Berlin in August. What do self-concern, freedom and social responsibility mean to them? What unites them, what drives them and how do they organize themselves? With whom do they form alliances? What is their attitude towards democracy? And what role do QAnon and the citizens of the Reich play when they stand outside the Russian and American embassies demanding a ‘peace treaty’?
Filmmaker Zauri Matikashvili accompanied the demonstrations and spoke with participants. What drives them?

Digital exhibition / On Demand

Brigitte Huezo, iSaAc Espinoza Hidrobo und Beomseok Jeong ›Portraits‹
Nathan Ishar

Brigitte Huezo, iSaAc Espinoza Hidrobo und Beomseok Jeong ›Portraits‹

The project investigates the question of how dance portraits can be used to deal choreographically with queer concepts of identity. The classical portrait familiar to art historians is representation-oriented. What would a moving portrait be that does not define individuals within the rigid framework of the social norm? How can a smooth transition between dance and various media be effected? To what extent does each individual portrait consist of multiple identities? How can a "queer" portrait be created? The project not only encompasses a written analysis and record of human movement, but also makes use a mix of video, painting, drawing, audio, fashion design, 3D digital printing and photography. The choreography is adapted to different contexts: private and public spaces, social behaviour and the interactions of spectators, passers-by and residents.

Wiebke Meischner ›Abstrakte Architektur‹
Wiebke Meischner

Wiebke Meischner ›Abstrakte Architektur‹

Some of the geometric shapes in Abstract Architecture (2019) call to mind a spaceship that has landed in a lonely desert. Building facades and elements have been photographed in such a way as to create monumental appearances that move between reality and sculpture. The reduction of references to scale blurs the boundaries to reality and viewers are invited to form their own associations. This effect is intensified by the large-format prints (95 × 140 cm), which emphasize the grain of the analogue medium and generate a flowing transition of material qualities.

Walter Solon ›Mother of All Fictions‹
Walter Solon

Walter Solon ›Mother of All Fictions‹

The short film ›Mother of All Fictions‹ is the story of a failed film project. 2016: South American filmmaker Walter Solon travels to Los Angeles. His goal is to write a script based on the biography and mythology around his great aunt Lina Mosebach. Lina had migrated to Los Angeles from Germany after surviving the Holocaust and spending her teenage years with Walter’s great grandparents in South America. The family myth holds that Lina went on to become a CIA filmmaker, involved in propaganda movies for Latino audiences.

Alessandra Ferreri, Joshua Vanhaverbeke, Matteo Sedda / Vitamina ›‹
Joshua Vanhaverbeke

Alessandra Ferreri, Joshua Vanhaverbeke, Matteo Sedda / Vitamina ›‹

›‹ is a digital performance in which we experiment with the codes of social media platforms to create the narrative of a choreography, exploring new possibilities of presenting work during these challenging times. The project is an adaptation of our work in progress ›Never Stop Scrolling Baby‹, a solo performance about the infinite act of scrolling, which confronts us with the velocity of our times as we continuously expose ourselves to a pornography of information. We choose to face this unsatisfiable scopic drive which keeps us glued to our screens, constantly injected with new stimuli of visual violence, messages and notification sounds. As contemporary gladiators in an era in which the concentration of a goldfish is greater than ours, and in which our identity has fragmented into a myriad of colourful content, proposed by social media algorithms.

Daria Nazarenko / Kati Menze ›Sunlit Portion of Domestication‹
Justus Pfeifer

Daria Nazarenko / Kati Menze ›Sunlit Portion of Domestication‹

In the face of the Corona pandemic, people all over the world suddenly withdrew into their own four walls and division-ridden public life grew silent. Our mobile, digital society was forced back into the home. In ‘Sunlit Portion of Domestication’ we observe two inhabitants of an empty space who occupy it in an installation-style performance. With their movements through this space they reflect on the question of the future approach to corporeality that will emerge from a global process of isolation. In view of the pandemic, questions about the spaces and the venues in which we can move freely and about the routines that shape our everyday lives became essential. As the pandemic shook up individual habits and certainties and global chain reactions caused everyday routines to crumble, the household unconsciously became a magnifying glass for the existence and function of the body in an enclosed (cognitive) space.

Stefania Smolkina ›Landing Day‹
Stefania Smolkina

Stefania Smolkina ›Landing Day‹

The video installation ›Landing Day‹ deals with the symbolic meaning of planting trees. This ritual act is often seen as a symbol of peace and beauty and is therefore remarkably often used as an element of political representation. During the last decades the idea of large-scale planting of trees became widely accepted as a simple, relatively inexpensive and effective method of combating global warming. The Russian verb “planting” does not just mean putting a plant in the ground to grow, but also to put someone in a position, to arrest someone or put someone in jail.

Eng Kai Er ›100 Advertisements‹

Eng Kai Er ›100 Advertisements‹

›100 Advertisements‹ is an ongoing project where I create advertisements for imaginary products or services that people - honestly, myself - might wish for. The project started in March 2020. (Well, you know what happened in Germany in March 2020, I guess!) The project is a personal documentation of the times - part Corona-diary, part wishful thinking.

 ›Ojeoje, Transluzente Absätze‹

Barbara Posch

Barbara Posch ›Ojeoje, Transluzente Absätze‹

In circling around logistics, transparency and opacity, the artist wrote a text (Ojeoje, Translucent Paragraphs) as a complement to the multi-part sculpture (trans luz). Both works are based on the material. The sculpture takes as its starting point the stretch film frequently used in logistics, and the text addresses above all various types of language (business language, bureaucratic language, everyday language, etc.) and the ways in which they are used. The audio work is appealing; it draws attention without clarifying anything. It is like a motion accompanied by a simultaneous standstill.

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