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Seven Music Videos for KREIDLER /// Streetscapes-Films by Heinz Emigholz at Festivals in Hongkong, Buenos Aires, NYC, Lissabon, Singapore, Jerusalem, Vancouver, Munic, Milano, Vienna, Leipzig, Basel, Duisburg, Dresden ... and at cinemas in Germany

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

Berlinale 2018: TWO BASILICAS on 13th Forum Expanded

TWO BASILICAS
Film by Heinz Emigholz

Denmark/Germany, 2018, DCP, 16:9, 5.1, 36 Minutes
Photography and beyond – Part 28

World premiere at the Berlinale 2018

Four films by Heinz Emigholz at the Berlinale Forum 2017

THE STREETSCAPES SERIES

Chapter I: 2+2=22 [The Alphabet]
Chapter II: Bickels [Socialism]
Chapter III: Streetscapes [Dialogue]
Chapter IV: Dieste [Uruguay]

2+2=22 [The Alphabet]2+2=22 [The Alphabet] – (Germany, 2013-17, 88 min)
Filmed in Tiblisi, Georgia. Voice by Natja Brunckhorst. A documentary on the CD-production ABC by Kreidler (Thomas Klein, Alexander Paulick, Andreas Reihse, Detlef Weinrich) plus 26 notebooks by Heinz Emigholz und 26 street scenes.

World premiere at the Berlinale 2017

Bickels [Socialism]Bickels [Socialism] – (Germany/Israel, 2015-17, 92 min)
Filmed in São Paulo and Israel. Voice by Galia Bar Or. At the cultural center Casa do Povo in São Paulo a documentary on 22 buildings of Kibbutz-architect Samuel Bickels (1909-1975) is shown. Appendix: The Story of Vio Nova.

World premiere at the Berlinale 2017

Streetscapes [Dialogue]Streetscapes [Dialogue] – (Germany, 2015-17, 132 min)
John Erdman, Jonathan Perel and Natja Brunckhorst in buildings by Julio Vilamajó, Eladio Dieste and Arno Brandlhuber. Feature film written by Heinz Emigholz and Zohar Rubinstein. Filmed in Uruguay and Berlin. A dialogue becomes a film.

World premiere at the Berlinale 2017

Dieste [Uruguay]Dieste [Uruguay] – (Germany, 2015-17, 95 min)
Filmed in Uruguay and Spain. A documentary on 29 buildings by the Uruguayan master-builder Eladio Dieste (1917-2000). Prologue: three buildings from the 1930’s by Julio Vilamajó in Montevideo.

World premiere at the Berlinale 2017

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.

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...

Press Downloads
The Airstrip (Stills)

Berlinale Catalog
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.

Press Downloads
Perret (Stills) / Presse-PDF

Idiom Interview
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...

Press Downloads
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)
DEMON  (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.

Press Downloads
The Formative Years in NYC

PDF icon The Formative Years in NYC (Flyer)

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 (404) from DIE BASIS DES MAKE-UP

"An Italian soccer player in an Adidas jersey in front of a set of kitchen tablets. Above, a sketch of ancient Egyptian methods of calculating the position of the moon. How absurd that athletes are not allowed to be doped. Will doping tests soon be introduced with musicians, actors and soldiers, too? That would lead to fair music, fair theater and fair wars. The Olympic Games of the Dopes are logically the only possible and desirable way out of the silly entanglements, in which those get involved who voluntarily sacrifice their bodies for us and seek to burn in front of our eyes, as freaks. Until these games are introduced, we are, as Lynne Tillman has already stated in regard to an admitted desire, 'cheated in the sense of betrayed.' The 'Public Broadcasting Services' are now already trembling in face of the entertainment value of such games and their ratings - and the anti-doping commissioners that would be forced to conceive a new context of control to make a living.." (From: arsenal, september 10).

(1978)

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
  • 2016. Rohschnitt Dieste. gkg, Bonn
Tags: 
Ausstellungen
Heinz Emigholz

2+2=22 [THE ALPHABET]

Bickels [SOCIALISM]

Streetscapes [DIALOGUE]

DIESTE [URUGUAY]

The Airstrip

Perret

Parabeton

Sense of Architecture

Schindlers Häuser

Maillarts Brücken

The Basis of Make-Up i-III

Loos Ornamental

Miscellanea I-VII

Sullivans Banken

Schenec-Tady I-III Arrowplane Tide

Hotel Demon

D'Annunzios Höhle

Goff in der Wüste

Der zynische Körper