Retrospectives with films by Heinz Emigholz in Washington, Sao Paulo, Rio de Janeiro and Buenos Aires /// THE AIRSTRIP and LOOS ORNAMENTAL at Siskel Film Center in Chicago /// Q&A Session with Kodwo Eshun in London

Mini-Retro: Seven music videos by Heinz Emigholz for KREIDLER /// "Note how the metaphors of mind are the world it perceives." Julian Jaynes /// Two new films: TWO MUSEUMS and LE CORBUSIER [IIIII] ASGER JORN [RELIEF] /// Films in production: STREETSCAPES / 2+2=22 [THE ALPHABET] / BICKELS [SOCIALISM] / DIESTE

 THE MEADOW OF THINGS (Die Wiese der Sachen)

Heinz Emigholz, D 1974-87, 88 min
“To whom in love of Nature holds communion with her visible forms, she speaks of a various language.“ William Cullen Bryant

Berlinale 2016 / Panorama - Teddy Award’s 30th Anniversary: PREMIERE of the restored Theatrical Version on Tuesday, February 16 - 22:00 clock, Cinestar IMAX!

Every decade has its own gateway to heaven. Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer... More at Filmgalerie 451

THE MEADOW OF THINGS received in 1988 on the Berlinale the "Gay Teddy Bear Award" for Best Feature Film.

Filmsite | Filmtext

Le Corbusier [|||||] Asger Jorn [Relief]

Film by Heinz Emigholz

The film contrasts the "Villa Savoye", built by Le Corbusier in 1931, and Asger Jorn’s "Grand Relief", built in 1959.

Le Corbusier [IIIII] Asger Jorn [Relief] contrasts the Villa Savoye, built by Le Corbusier in 1931, and Asger Jorn’s Grand Relief, which the Danish painter and sculptor produced in 1959 for the Århus Statsgymnasium. The film makes connections between what does not belong together, at least not according to the ideological stipulations of their creators.

66. Berlinale Forum ExpandedLE CORBUSIER [|||||] ASGER JORN [RELIEF]  (2015, 29 min)
15.2. 16:30 h Akademie der Künste
16.2. 20:00 h Arsenal 1

“The film came about because I was intrigued by the premise of comparing two buildings that at first seem to have nothing to do with one another. A dialogue between thoroughly stylized clarity and declared wildness, both with ideologically trimmings. It was only by working on the film that I learned to appreciate the two works that had once left me indifferent: the delight of their creators in the productively implemented statement.” Heinz Emigholz

The Airstrip Plakat

The Airstrip

Photography and beyond – Part 21 / Decampment of Modernism – Part III
Heinz Emigholz, D 2013, 108 Minutes

I am imagining an air space into which a bomb has been dropped which has not yet reached it's ground zero. It is flying towards that point and cannot be stopped anymore. And then I ask myself what kind of a time that is existing between the dropping and the explosion of that bomb. It is neither the future because the enevitable destruction has yet not taken place, nor is it the past, because is definetely going to be destroyed in an instant. The flight time of the bomb describes an absolute nothingness, a zero hour, consisting of all possibilities that will not exist anymore in the next moment. A story that will cease before it has begun and that I sullenly have to tell. More...

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The Airstrip (Stills)

Perret Plakat

"This gloriously controlled study of the work of French architect Auguste Perret ... re-creates the tension between the ultrarational and the subtly exuberant in the architect's best work." (Best of 2012, ARTFORUM)

Premiere in Locarno 2012. Screenings at TIFF, VIFF, VIENNALE 2012, MoMA DF 2013:

Perret in France und Algeria

Decampment of Modernism – Part II / Photography and beyond – Part 20
Heinz Emigholz, D 2012, 110 min

The film PERRET IN FRANCE AND ALGERIA presents thirty buildings and architectural ensembles of the French architects and construction engineers Auguste and Gustave Perret. Auguste Perret (1874-1954) has masterfully refined concrete construction in the implementation of his projects and instilled in them a classical expression.

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Perret (Stills) / Presse-PDF

Parabeton Plakat

"All architecture is what you do to it when you look upon it." (Walt Whitman)

Parabeton - Pier Luige Nervi and Roman Concrete

Decampment of Modernism – Part I  / Photography and beyond – Part 19
Heinz Emigholz, D 2011, 100 min

PARABETON presents seventeen, in Italy and France still extant buildings by the Italian civil engineer Pier Luigi Nervi (1891-1979). The Romans invented liquid rock, also known as concrete. Nervi shaped concrete in such an ingenious way that he can be called the Architect‘s Architect of the 20th Century. The film shows his buildings in connection with ten examples of Ancient Roman architecture made of Opus caementitium. More...

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Parabeton (Stills) / Flyer / Berlinale Catalog

The Formative Years Plakat

The Formative Years

Extended Version

Ten films (1972–2004) by Heinz Emigholz

SCHENEC-TADY I  (1972/73, 16mm, silent)
SCHENEC-TADY II  (1973, 16mm, silent)
ARROWPLANE  (1973/74, 16mm, silent)
TIDE  (1974, 16mm, silent)
SCHENEC-TADY III  (1973/75, 16mm, silent)
HOTEL  (1975/76, 16mm, silent and sound)
(1976/77, 16mm, sound)
THE BASIS OF MAKE-UP I-III  (1974-2004, 35mm, sound)

All 16mm-films of THE FORMATIVE YEARS are in the Collection of the Austrian Filmmuseum in Vienna.

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The Formative Years in NYC

A Scene Near Schenec-Tady

Heinz Emigholz

From the beginning to the middle of the seventies, I produced a series of films containing a complicated interplay between abstract temporal compositions–that is, film movements–and selected urban and rural landscapes.

The films–ARROWPLANE, TIDE, and three episodes of SCHENEC-TADY–range in time from 19 to 40 minutes and consist of thousands of photographs, taken frame-by-frame with a Bolex camera on 16mm film according to a previously established score. The camera’s position was precisely chosen. Markings on the tripod and on the camera’s zoom lens allowed me to determine all the possible shots from this position in a system of coordinates. Before shooting the films, scores were written into this system–compositions for images to be photographed individually, which would then create a particular film event when they were projected later. I take the following description of the score from a letter to Birgit Hein from January 31, 1977, which I wrote in preparation for an installation of my films at documenta 6:

Drawing (478) from THE BASIS OF MAKE-UP

"A cannoneer with just a stub of bone for a right arm presents the opening of a gun barrel, a 12 incher, on a postcard. It was sent from the battleship USS Delaware in July 1900 and has  'Where the marks are is where the gun opens' written on the back. (Edward T.) FUSCO (Incorporated) writing paper, found in 100 Hudson Street, 1974. A hand runs its fingernails along a whitewashed wall. A lamp that emits darkness to a limited extent is placed next to the window as a science fiction object. During the day, the window is shrouded by an overlong curtain whose fabric also covers the hole in the floor, where is where I lay down in Brooklyn. I remember so well the body that no longer exists. We are the survivors, those who consume, those who were exchanged. The cheating forgetful, the listless combiners. If the story were already over, more than few names would occur to me in relation to it. As it is, it hardly makes you curious for the end." (From: arsenal, april 16)



DIE BASIS DES MAKE-UP, 604 drawings by Heinz Emigholz, artist book for exhibition at HAMBURGER BAHNHOF 2008, 608 pages, € 30 /// Catalogue MUSEUM FÜR GEGENWART No. 11 – HEINZ EMIGHOLZ with essays by Eugen Blume, Art Spiegelman, Hartmut Bitomsky, Hanne Loreck, Stefan Ripplinger, Marc Ries, Donatella Chiancone-Schneider and Frieda Grafe, 56 pages, € 10 EURO

Selected Exhibitions

Hamburger Bahnhof Panorama
  • 1974. Projekt '74, Cologne
  • 1977. documenta 6, Kassel
  • 1977/78. Film As Film, Kunstverein Cologne, Hayward Gallery, London
  • 1982. Normalsatz (Ordinary Sentence), Buch Handlung Welt, Hamburg
  • 1986. Ich hätte auch gern einen Körper gehabt (I would have liked to have a body, too), Galerie Eisenbahnstraße, Berlin
  • 1988. Der Untergang der Bismarck (The Sinking of the Bismarck), Zwinger Galerie, Berlin
  • 1988/89. BiNationale – German Art of the Late '80s, Düsseldorf / Boston / Minneapolis / Houston
  • 1989. Seit ich blond bin, färbe ich mir die Haare (Since I am blonde, I dye my hair), Zwinger Galerie, Berlin, und XPO Galerie, Hamburg
  • 1991. Krieg der Augen, Kreuz der Sinne – Skizze (War of Eyes, Cross of Senses – Sketch), Galerie Martin Schmitz, Kassel
  • 1991. Plakate (Posters), Zwinger Galerie, Berlin
  • 1991. Die Erschöpfung – Enzyklopädie (The Exhaustion – Encyclopaedia), Kunsthalle Bremerhaven
  • 1992. Zwei Essays – Filmphotographie/Photographie (Two Essays – Cinematography/Photography), Galerie Fischinger, Stuttgart
  • 1992. Photographie und jenseits, Künstlerhaus Bethanien, Berlin
  • 1993. Seit Freud gesagt hat, der Künstler heile seine Neurosen selbst, heilen die Künstler ihre Neurosen selbst (Since Freud Said That The Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves: Drawings, Texts, Films. Saarländisches Künstlerhaus, Saarbrücken
  • 1994. Drawings and Posters, Goethe Institut, Madrid
  • 1994. Die Basis des Make-Up (1974-1994), Hamburger Kunsthalle
  • 1994. Depot, Galerie Martin Schmitz, Kassel
  • 1997. In medias res – Media Art from Berlin in Istanbul. Dolmabahce Palast, Istanbul
  • 1998. Die Basis des Make-Up (1974-98), Zwinger Galerie, Berlin
  • 1999. das xx. jahrhundert – ein jahrhundert kunst in deutschland. Hamburger Bahnhof – Museum für Gegenwart, Berlin
  • 2000. Die Basis des Make-Up (1974-2000), Galerie argos, Brüssel
  • 2001. Die Basis des Make-Up (1974-2001), Kunstverein München
  • 2001. Die Basis des Make-Up, Galerie Hubert Bächler, Zurich
  • 2006. Research for Basis des Make-Up, Zwinger Galerie, Berlin
  • 2004. Heinz Emigholz / Michael Snow, Goethe Institut, Toronto
  • 2007. Die Basis des Make-Up (1974-2007), Hamburger Bahnhof – Museum für Gegenwart, Berlin
  • 2008. Neue Schwarze Blöcke (New Black Blocks), Galerie Hubert Bächler, Zurich
  • 2008. Sense of Architecture, Architekturbiennale, Venice
  • 2010. Die gezeichnete Welt (The Drawn World), Kunstverein Ingolstadt
  • 2010/11. Je mehr ich zeichne (The More I Draw) – Zeichnung als Weltentwurf, Museum für Gegenwartskunst Siegen
  • 2010. The Formative Years – Extended Version, Extra City, Antwerpen
  • 2010. Photography and beyond – Three Films, Installation. Petach Tikva Museum, Tel Aviv
  • 2011. A Series of Thoughts – Four Films, Installation. Zwinger Gallery, Berlin
  • 2011. Einrichten – Photographs. Zwinger Gallery, Berlin
  • 2011. The Formative Years – Seven Films, Installation. Wyoming Building, NYC
  • 2012. Utopie Gesamtkunstwerk. 21er Haus, Vienna
  • 2015. What Moves Us. Museum Jorn, Silkeborg
  • 2015. The Dialogic City – Berlin wird Berlin. Berlinische Galerie, Berlin