Le Corbusier [|||||] Asger Jorn [Relief]
Film von Heinz Emigholz
Der Film konfrontiert zwei Bauwerke miteinander: die 1931 erbaute Villa Savoye von Le Corbusier und das Grand Relief von Asger Jorn aus dem Jahr 1959.
Der 2015 gedrehte Film Le Corbusier [|||||] Asger Jorn [Relief] zeigt die 1931 erbaute Villa Savoye von Le Corbusier und das Grand Relief von Asger Jorn aus dem Jahr 1959. Er verbindet damit, was nach ideologischer Maßgabe ihrer Macher nicht zusammengehört.
„Der Film kam deshalb zustande, weil mich die Vorgabe gereizt hat, zwei Bauwerke miteinander zu konfrontieren, die erst einmal nichts miteinander zu tun haben. Ein Dialog zwischen durchgestylter Klarheit und erklärter Wildheit, beide ideologisch verbrämt. Durch die Arbeit am Film habe ich an beiden Arbeiten überhaupt erst schätzen gelernt, was mir vorher relativ egal war: die Lust ihrer Macher am produktiv umgesetzten Statement.“ Heinz Emigholz
Standbilder aus Le Corbusier [|||||] Asger Jorn [Relief]:
Deutschland/Dänemark, 2015, HDV, 16:9, 29 Minuten
Buch, Regie, Kamera, Schnitt: Heinz Emigholz
Kamera, Schnitt, Ton, Postproduktion: Till Beckmann
Tongestaltung, Mischung: Jochen Jezussek, Christian Obermaier
Gefördert von Museum Jorn Silkeborg und Realdania
Produzent: Heinz Emigholz Filmproduktion
Dank an Aarhus Arkitektskole, Aarhus Statsgymnasium, ADAGP, Ruth Baumeister, Centre des Monuments Nationaux (CMN), Thomas Emery, Karen Friis Herbsleb, Donation Jorn Silkeborg, Fondation Le Corbusier, Dorte Fristrup und Pierre Jeanneret
Websites: www.museumjorn.dk / www.pym.de
Copyright 2015 by Museum Jorn Silkeborg and Heinz Emigholz Filmproduktion
Aus einem Gespräch mit Zohar Rubinstein im Rahmen der Streetscapes–Dialoge am 7. Mai 2015 in Tel Aviv:
Zohar Rubinstein: How was working at the Le Corbusier villa?
Heinz Emigholz: What I felt, when I was there, was the history of the family Savoye. When you are there you have a phantasy about this family, and then how the Nazis took over and the Allies, and it was ruined. They only had ten years in the building. There was this sad aspect about the whole place, that in a way it’s an utopian setting. I don’t care much about Le Corbusier’s phrase „a house is a machine for living“. It’s a very well designed and personal place, but you got a feeling of sadness through the fact that it was so perfect and then it had to be left behind. The ghosts inhabiting this house made you feel uncomfortable when you were there... When we travelled to France, we arrived on a Sunday and our shooting day was a Monday. We arrived in the afternoon and, of course, we went to the location to look how the light would be in the afternoon. It was open to the public because it’s a national monument. There was a kind of performance going on. A modern dancer and a Jazz musician with a saxophon. They went through all the rooms of the house and then around the house. I said to my colleague Till Beckmann, It’s so strange that these modern houses always attract the same kind of performances... (Laughter)... as if they belong to them. Why is that?
R: A question about the meeting between culture and psychology, right?
E: In her dance movements was a lot of alienation, standing with her face to the wall, and the noise was squeaking as if it’s a big ordeal to live in that house or something... Maybe that’s already too much interpretation.
R: Because you knew already the history of the villa, you couldn’t help feeling that and you couldn’t help watching or sensing the ghosts. But suppose a person visits there as a guest and is not aware and therefore cannot see or feel the ghosts.
E: But as soon as you know, there is no way out. I filmed a lot of houses and sometimes you have the phantasy, How would it be, if I live here? It’s very nice for me to have so many locations in my brain, so that I can envision myself in all these houses. Because after you filmed them, they are burnt into your mind. With most of the houses I have the feeling, now it’s done and I don’t have to come back again. But then there are some houses where I think I want to go back.
R: So it’s true that in a way some of the buildings conway sadness rather than joy.
E: Yes. Very different feelings. The method of the films enables the sense of a building to come through, without being dramatized. You let it happen. The Loos-film, for example, has for me that aspect of European architecture at the end of something. It makes you very sad, when you know about his life and then you know about the Nazis and Austria. He died shortly before, but the whole idea of this architecture came to an end there. The sadness of the Villa Savoye was more on my side. It will not be in the film. I don’t say, Now I want to do a shot that makes you feel sad or something like that. I don’t do that.