A Series of Film Screenings

Since 2012 the series Fade into You presents and discusses video works of international artists.


Costs 4,- €, wine and entrance fee included. A registration is not required.

The presentation takes place on wednesdays from 7 to 9 pm.

The wine is sponsored by Weingut Breidscheid in Ingelheim.

Gabriela Denk presents episode LVI-LVIII

Next dates:

Wed 07/20        

Peter Land, The Lake, (1999)
Ger van Elk, The Flattening of the Brook's Surface, (1972-2002)

Wed 08/17        

Sebastian Gräfe, Mit dem Meer spazieren gehen, (2008)
Julius von Bismarck, Punishment I, (2011)

Sebastian Gräfe is present.

Wed 09/28        

Roman Signer, Punkt, (2006) und Einbruch im Eis, (1985)

Gabriela Denk presents episode LV
Wednesday, May 18, 7 pm

Rosalind Nashashibi: Eyeballing, 2005, 10 min

Courtesy of Rosalind Nashashibi and LUX, London

Gabriela Denk presents episode LIV
Wednesday, April 20, 7 pm

Nathalie Djurberg: The Mad Tea Party, 2004, 3:58 min, clay animation, video, music by Lloyd Francis
Nathalie Djurberg: New Movements in Fashion, 2006, 9:24 min, clay animation, video, music by Hans Berg

Courtesy: Giò Marconi, Milan; Lisson Gallery; the artists


Gabriela Denk presents episode LIII
Wednesday, March 16, 7 pm

Peter Watkins: Forgotten Faces, 1961, 18 min
Deimantas Narkevičius: The Role of a Lifetime, 2003, 16 min

Peter Watkins: Forgotten Faces, Courtesy of Doriane Films, Paris
Deimantas Narkevičius: The Role of a Lifetime, Courtesy of Deimantas Narcevičius and LUX, London


Gabriela Denk presents episode LII
Wednesday, January 13, 2016, 7 pm

Camille Henrot
Coupé / Décalé, Frankreich 2010, 3:54 min
Million Dollars Point
, Frankreich 2011, 5:35 min


The footage of Coupé/Décalé and Million Dollars Point originates from the archipelago Vanuatu located in the Southern Pacific. Both experimental films show Camille Henrot's interest in cultural codes, their deconstruction and restatement, and also her interest in historical events. Coupé / Décalé engages in the style of historical ethnological documentations in the ritual of land diving on Pentecost-Island. Million Dollars Point evokes the younger colonial and military history: a underwater cemetery and dancing South Sea Beauties. The videos consider the fascination with the 'exotic' in geography and history but manipulated by Henrot so that the viewer questions his own stereotypes.  

Camille Henrot, Coupé/Décalé, 2010, Video, 3 min 54, © ADAGP Camille Henrot, Courtesy the artist and kamel mennour, Paris
Camille Henrot, Million Dollars Point, 2011, Video, 5 min 35, Courtesy the artist and KÖNIG GALERIE



Sabine Idstein presents episode LI
Wednesday, December 23, 2015, 7 pm
Birthday of Arnold Bode

Stan Douglas: Suspiria, 2003, endless

Suspira is a video installation with the same title as the 1977 horror film by Dario Agento. It follows the technique of recombined narration developed by Stan Douglas (born 1960). This assembly procedure arranges both the sound and the mise en scène so that they are consistently new. The apparently looped plot is continually altered by the changing composition of the details, so that the tale has no beginning and no end. The work interlaces haunting narrative scenarios, colored in lurid shades and adapted from the Brothers Grimm fairy tales and the ideas of Karl Marx, with footage shot in the labyrinthine corridors of the Herkules Octagon located in Kassel.

Courtesy the artist, David Zwirner New York and London and Victoria Miro, London


Sabine Idstein presents episode XLIX
Wednesday, November 11, 2015, at 7 pm
Beginning of the carnival

Marcel Dzama: Death Disco Dance, 2011, 4:00 min

 In the video performance Death Disco Dance, a steady camera records the presentation of a dance performance. Following a skipping rhythmic beat that ends and then repeats again and again, produced by a live sound system, a company of nine graceful women in fantastical head-to-toe body suits dance on a rubble-framed road. It seems that they have slipped away from the open tailboard of a van, in front of which more costumed people have congregated to watch the scene. In appearance, the personnel and their costumes are borrowed from chessmen and from the Bauhaus ballet. Marcel Dzama (born 1974, in Winnipeg) has created a minimalistic short film which, despite the connotation of the blood spot on one of the dancers, appears positive and welcoming.      

Courtesy David Zwirner, New York und Sies + Höke, Düsseldorf


Sabine Idstein presents episode XLVIII
Wednesday, October 21, 2015, at 7 pm
Trafalgar Day

Isa Rosenberger, Vladimir’s Journey (The Captain) 2013, 17:30 min

The main story line of the video Vladimir’s Journey follows the life of Captain Vladimir K., starting in the former Soviet Union and after 1989 continuing in the USA. His story is preceded by a fictional scenario that refers in a haunting manner to the celebrated “Kitchen Debate” between the US Vice President Richard Nixon and Soviet Premier Nikita Khrushchev in 1959. Vladimir’s Journey refers on the one hand to the loss of homeland, but, on the other, emphasises that due to the captain’s deep relationship with the sea, in the end it is the sea that is his real home.

The Cold War appears in Isa Rosenberger’s work as a revenant at present.

Courtesy of the artist


episode XLVII

The event must be canceled due to illness.

Wednesday, 30 September 2015, at 7 pm
International Translation Day

Liz Magic Laser: The Thought Leader 2015, 9:22 minutes
Marko Schiefelbein: FREEDOM TO MOVE 2013, 6:33 minutes

A young boy, played by ten-year-old Alex Ammerman, gets up onto a stage and motivates the adult audience through his persuasive gestures and material. It is a form of presentation corresponding to the American TED Talks, which are mainly available via the Internet. The boy has adapted Fyodor Dostoevsky’s 1864 novella Notes from the Underground. The native New-Yorker Laser, who was born in 1981, creates performances and videos exploring the dominant behavioural techniques and psychological strategies which are deployed by the media and politicians to influence their audience.

A man (W. Mirlach) vividly describes a surreal spatial situation to which he and an anonymous female partner react in an exceptionally dynamic and impulsive manner. This recollection of annihilating and subjugating the surrounding space mirrors the moving images in the Levi’s Engineered Jeans advert of 2002. Schiefelbein’s videos make use of the treasure trove of images and text from the world of advertising, while reflecting human alienation in a consumer-driven world. By reworking this familiar material from our collective memories, the artist, who was born in Stralsund in 1984, highlights the absurdity of advertising content.


Picture credits: Liz Magic Laser: The Thought Leader, 2015, single-channel video, 9:22 minutes, video still. Featuring actor Alex Ammerman. Courtesy of the artist, Various Small Fires, Los Angeles, and Wilfried Lentz, Rotterdam / Marko Schiefelbein: FREEDOM TO MOVE, 2013, 6:33 minutes, 4K resolution, stereo, colour, German with English subtitles, camera Felix Pötzsch, actor and text Wolfgang Mirlach. Courtesy of the artist.




Sabine Idstein presents episode XLVI

Wednesday, 9 September 2015, at 7 pm
Teddy Day

Stanya Kahn: Arms Are Overrated 2012, 11: 35 min

Equal parts persevering and fragile, two puppets with no arms, no legs, and no moving parts are pitted against an insurmountable obstacle: they are just crumpled pieces of paper, and subject to imminent disintegration at the whims of water, fire, wind -- even the very beer they attempt to drink. The roguish pair pursue a poetic discourse of resistance, cracking crude jokes with verve and without censor, the stakes being so high that the odds are no longer relevant. In Arms Are Overrated, existentialist questions are formalized in layers, in the play on puppetry as a representational form.


Stanya Kahn: Arms Are Overrated, TRT: 13:26, HD color video with sound, © 2012 (with additional dialogue by Jedediah Caesar), Courtesy of the artist



Sabine Idstein presents episode XLV

Wednesday, 19 August 2015,  7 pm
World Humanitarian Day

Hahil Altındere, Wonderland, February 2013; video, 8:25 minutes

Halil Altındere (born 1971 in Mardin, Turkey) analyses the social and political conventions of his homeland. Provocative and subversive, the artist uses the language and symbols of the system in order to criticize it. He devotes himself to the subcultures of Istanbul in his work Wonderland, while picking up elements of the diverse Turkish movie tradition. The music video simulates a violent protest against the governmental power represented by the police—a resistance that never actually occurred. In reality, the historic urban district depicted, one of the oldest Roma quarters in the world, was initially closed, then the inhabitants were driven off, and finally the area was completely rased and covered by new buildings. This measure was criticized by the  European Parliament to no effect. In response to this classic instance of gentrification, and the powerlessness of the people concerned, the video presents a brilliant paradox dealing with lies, stereotypes, power, and homeland.


Halil Altındere: Wonderland, February 2013; video, 8:25 minutes. Courtesy of the artist and Pilot Gallery



Sabine Idstein presents episode XLIV:

Wednesday, 29 July 2015, at 7 pm
Date of the death of Luis Buñuel in 1983

Roz Mortimer, Wormcharmer, 1998; 16 mm on DVD, 9 minutes; colour, sound, music: Benjamin Britten’s Elegy performed by the Britten Sinfonia

A female voiceover relates fascinating facts about the world of worms. Visually, the information is illustrated by a variety of visual paradoxes, presented by an English lady in her suburban home. Not only are the worms explored in the surreal plot, but also the woman. Mortimer gives the viewer a natural connection to a new manifestation of unprecedented fetishism.


Peter Tscherkassky, The Exquisite Corpus, 2015; 35 mm digitized, no dialogue, 19 minutes

Following the surreal technique of the Cadavre exquis, Tscherkassky (born 1958 in Wien) formed his composition out of inhomogeneous parts, using the nudity of the depicted characters as the lowest common denominator. The found footage in the movie combines the physicality of the actors with the physical handling of the film. The analogue movie is itself a shaped pictorial ground, in accord with Man Ray´s darkroom experiments. Intentionally, it initiates the storyline of the ontology of the dream through organic signs and dislocations.

Sabine Idstein presents episode XLIII

Wednesday, 24 June 2015, 7 pm
St. John’s Day

Jordan Wolfson, Infinite Melancholy, 2003; projected video animation, 7:58 min; colour, sound, dimensions vary with installation

In a slow, see-sawing swing, the visual pattern of the grey carpet gets larger, but as it does so, the design turns pale and divides into small sections, until it completely disappears. Then the movement swings back. The white changes into grey texture, a grouped style becomes apparent, and then the script appears and becomes legible as the uninterrupted “journey” of the camera drives over the endlessly repeated pair of words: “Christopher Reeve”. Who is Christopher Reeve? The actor who played Superman four times in the 1970s and 1980s? The horseman who sustained a tragic accident in 1995? The activist who founded a paralysis foundation despite his own disability? Was he the friend of actor Robin Williams? Swiss linguist Ferdinand de Saussure developed the model for the arbitrariness of the sign. In his theory, “Christopher Reeve” is a conventional sign, a symbol without similarity to the object to which it refers. This means that what the name actually suggests to a reader is dependent on the experience of that reader. The slowly played piano in Infinite Melancholy sets the mood, transforming the title into music by the hesitant playing of an etude. Christopher Reeve is represented in the 3-D-animation by the flyover, the letters, and the music. With it associations to the disposability of the Hollywood blockbuster superhero come into the viewer’s mind, as well as the tragic fall of the actor and the resurrection of the man in real life. The American artist Jordan Wolfson (born 1980) influences the way that we read the conventional sign in his minimalistic work.

Courtesy of the artist, David Zwirner, New York, and Sadie Coles HQ, London



Sabine Idstein presents episode XLII

Wednesday, 13 May 2015, 7 pm
The anniversary of Winston Churchill's "Blood, Toil, Tears and Sweat" Speech

Harun Farocki, Inextinguishable Fire, 1969; 25 minutes

The short film Inextinguishable Fire by Harun Farocki (1944–2014; born in Nový Jicín) is the most important agitprop movie of the Vietnam movement. The former film student plays the role of a news presenter in 1969, loudly lamenting in front of the camera, "How can we show you napalm in action? And how can we show you the injuries caused by napalm?" Farocki had been reading a statement from a victim of the Vietnam War. Now he realizes that empathetic viewers will protect themselves from images of the destruction by closing their eyes.

How can one utilize media to demonstrate "the Inextinguishable Fire"? Farocki employs a self-inflicted injury to "give you only a hint of an idea of how napalm works". Wearing a sombre suit, he is the counterpart of the viewer, and hopes to become an intermediary. So he sears his skin with a lighted cigarette, and the viewer also feels the pain. Then he learns that napalm, which is inextinguishable, burns twelve times hotter than a cigarette, at 5000°C. Instead of the wounds inflicted, the movie shows the division of labour that results in the production of napalm, the Inextinguishable Fire.

Courtesy of the Galerie Thaddaes Ropac and Harun Farocki Filmproduktion



Sabine Idstein presents episode XLI

Wednesday, 22  April 2015, at 7 pm
International Mother Earth Day

Simon Wachsmuth, Rain, 2000; flash-animation, loop, silent
Günther + Loredana Selichar, GT Granturismo, 2001; digital video 5:10 minutes, 16:9 minutes

The animation Rain consists of white lines pouring diagonally from top to bottom against a black background. As their intensity and speed change, the stripes and lines are seen to be raining more or less. This work adapts Japanese landscape pictures, but transmits its antitype in a geometrical and technical manner. Simon Wachsmuth (born 1964, in Hamburg) is interested in media images, and especially in systems that utilise signs (codes). He investigates the circumstances of cultural interventions into natural processes and makes connections to social conventions. Rain reflects the correlation of culture, nature, and art. At the same time, it achieves a reduced, but intensive, spatial experience of a tremendous amount of data.

The car ride in the GT starts with the vehicle moving straight ahead. Outside, the natural landscape can be seen, presented in central perspective through the car’s windscreen. Inside is the passenger, who “rides and he rides, he looks through his window, what does he see ... / all of it was made for you and me ... / so let’s take a ride and see what’s mine.” The viewer finds himself a passenger in this road movie by Günther and Loredana Selichar. As in the virtual world of a computer game, he looks out into the scenery and views nature from a safe position—until nature strikes back. In kamikaze style, a horde of midges, bugs, and other insects are thrown against the windscreen, obliterating the view.  


Sabine Idstein presents episode XL

Wednesday, April 1 2015, 7 pm
End of the Lenten season

Klaudia Stoll and Jacqueline Wachall, High Heel Obsession, 2012; 29:37 min, single channel projection, HD video, 16:9

Christian Jankowski: The Hunt, 1992, 1 min

The viewer participates from the ground-level perspective of a frog, as the artists relish the playful demolition of a variety of pieces of fruit. The scene takes place in a white-tiled bathroom, in which are visible the legs of the artists Stoll & Wachall, clad in nylons and petrol-blue patent leather platform shoes with stiletto heels. The subject of the video performance is an increasingly radical mixture of pleasure and pain (sensitivity and destruction), partitioned by pink title pages. There are hints of Baroque motifs, while all the action is dedicated to the camera and the pleasure of the viewer.   

In an early work from 1992 titled The Hunt, Jankowski uses a bow and arrow to slay a yoghurt cup, bread, a frozen chicken, and margarine in a supermarket.

Sabine Idstein presents episode XXXIX

Wednesday, 11 March 2015, 7 pm
(Day of the catastrophe

Marcel Odenbach, Im Schiffbruch nicht schwimmen können, 2011, colour, sound; 8:23 min


Eugène Delacroix, who watched Théodore Gericault creating his work "The Raft of the Medusa" (1819) nearly 200 years ago, is reported to have said that the viewer of the depiction of the raft felt as if he, too, stood with one leg in the water.

The picture delivers an immediate shock. Its subject is the famous catastrophe, which was considered to be the consequence of inappropriate political decisions. After the French frigate Medusa was shipwrecked on its way to take over the colony of Senegal from the British, 149 people were imperilled as they were set adrift on a raft on the ocean. Only 15 of them survived—by resorting to cannibalism—and were rescued to return to France.

Marcel Odenbach (born 1953, in Cologne) surveys the world-renowned painting in the Louvre, together with three African men; these men originated from former colonies, and also entered Europe by sea. Odenbach invites the viewer of "Im Schiffbruch nicht schwimmen können" to participate in the immigrants' viewpoint, by capturing in images their statements about escape, home sickness, apprehension, and what it is like to be an outsider.

© Marcel Odenbach, Courtesy of the artist and Galerie Gisela Capitain, Cologne


Sabine Idstein presents episode XXXVIII

February 18, 2015, 7 pm
Ash Wednesday

John Skoog, Federsee, 2013, colour, 8 min (without text)

In the video Federsee by John Skoog (born 1985 in Malmö, Sweden) the camera either rambles over a snow-covered landscape and the inhabitants and houses of the small Schwabian town of Bad Buchau, or remains in a static frozen image, in the tradition of Scandinavian filmmaking.

The Alemannic Fasnet (Carnival) has ancient customs, with bells and rattles, wooden masks, processions and confrontations, but references to a local legend related to the lake give this pseudo-ethnographic movie a poetic dimension. The narrative takes place from dawn till sunset.  

Courtesy of John Skoog and Pilar Corrias Gallery

Marcondes Dourado, Ogodô Ano 2000, 1996, 12:07 min, colour

Ogodô Ano 2000 is a portrait of Carnival in Salvador that looks beyond all the superficial extravagance. Marginal images from an outlying district of the city, which is popular with transvestites and homosexuals, are brought to the forefront. The tape slows down the different reports and duplicates the structure of the TV image. Record and play are working on different frequencies, so that the pictures, which are filmed from a screen, are in slow motion and have black markings. Consequently the magic of the carnival communicates with the dramatic irony of the film’s appearance and the concealment of the electronic image.   

Courtesy of the ZKM Karlsruhe

Sabine Idstein presents episode XXXVII

Wednesday, 28 January 2015, at 7 pm
European Data Protection Day

Peter Weibel and  Hotel Morphila Orchestra, Wir sind Daten, 2013, 4:50 Min

Peter Weibel (born 1944, in Odessa) doesn’t just have a CV as an artist, a CV as curator, and a CV as a professor, he can also provide a discography for the Hotel Morphila Orchestra since 1978. His work with this pop band preceded today’s download, from a perspective of technique, when in 1982 he made their song “Sex in der Stadt” available to be recorded for free from the telephone earpiece of a call box. Wir sind Daten reflects the key words big data. At the beginning, the zeroes and ones, the codes of our communication system, are dancing on a black screen, following the digitized voice of Weibel. The song refers to and stresses our dependency on the digital system. While the optical chaos increases as the white characters join in a dance of more and more meaningless visual poetry on the black background, their doom is also evoked acoustically.

Cory Arcangel,  Drei Klavierstücke, op. 11, 2009, Projection from a digital source, variable dimensions

Cory Arcangel (born 1978, in Buffalo, NY) spent six months creating his artwork Drei Klavierstücke, op. 11 . It adapts Arnold Schönberg’s eponymous composition from 1909. The groundbreaking piece of atonal music, which secedes from the Western tradition of harmony, is played in Arcangel’s video by cats. Cats, known as LoLCats on the Internet, are the most popular Internet meme in the world, and correspondingly one can find many cats playing the piano on the Web. Arcangel edited together the minutest details of 170 YouTube videos of piano-playing cats and (re-)composed them through a complex and arduous process to create a resourceful masterpiece.

Sabine Idstein presents episode XXXVI

Wednesday, 7 January 2015, at 7 pm

Sven Johne, Wissower Klinken, 2007, HD video, 8:20 min; actors: Leipzig-Nord Mens Choir

Sven Johne ( born 1976, Bergen, Rugen island) painstakingly investigates real incidents or current events in eastern Germany. Vacillating between reality and fiction, he characterizes the results as serious reports. In Wissower Klinken, a narrator recapitulates the occurrences concerning the tourist guide Klaus Barthels, who combined the ideals of the German romantic period by working as a singing wanderer at the chalk cliffs of Rugen, until he fell from them to his Save death. Initially, the members of the Leipzig-Nord Men's Choir follow the story with devotional scrutiny; finally they intone Schubert's Winter Travel.

Ulla von Brandenburg: Chorspiel, 2010, video on blu-ray DVD, audio 10:35 min; b&w

Ulla von Brandenburg's (born 1974, Karlsruhe) black-and-white movie Chorspiel is presented as a combination of a play and a song. By post-dubbing the dialogue with voices as diverse as a Greek choir, the family members are destabilized and simultaneously marked by a psychological dimension. The uncertainty of their future increases with the emergence of a shadowy Wanderer, who plays with a mysterious box, while the characters feel dark foreboding and try to predict a solution for their dilemma. The puzzling backdrop relates to the social questions referred to in the dialogue and on the stage.

© VG Bild-Kunst, Bonn 2015, Courtesy of Klemm's, Nagel-Draxler and the Artist, Produzentengalerie Hamburg and the Artist