Heinz Emigholz

from Wikipedia, the free encyclopedia

Heinz Emigholz (born January 22, 1948 in Achim near Bremen) is a German filmmaker , artist , author and producer.

Life

The son of a gardener trained as a draftsman and photo retoucher from 1964 to 1967 . From 1967 to 1970 he studied at the Hansa-Kolleg in Hamburg. With his classmates Rüdiger Neumann and Walter Uka, he shot his first short film as cameraman and actor in 1968, the 8 mm film Hommage à Caspar David Friedrich , which he had a 16 mm film color remake in 1969/70 . From 1970 to 1973 Emigholz studied philosophy and literature at the University of Hamburg . In 1974 a DAAD scholarship enabled him to stay in New York City . There and in San Diego he made the short film Hotel .

In 1978 he founded the film company Pym Films. He has produced an extensive filmic and artistic oeuvre and has worked with a number of other directors and artists, including as a performer. From 1993 to 2013 he held a professorship for experimental film design at the Berlin University of the Arts . In May 2012 Emigholz was appointed a new member of the Academy of Arts in Berlin.

Movies

Emigholz's first films, which were made in the early 1970s in the context of avant-garde and experimental films, show “a complicated interplay between abstract temporal compositions - or cinematic movements - and selected urban and natural landscapes” (Emigholz). The occupation with the word begins with Demon (1976/77). The film follows the prose poem “Le Démon de l'Analogie” by Stéphane Mallarmé . “As before in the films the landscapes were broken down into fixed points and their connections according to the scores, a word is always given an attitude here.” ( Frieda Grafe ) In Normalsatz (1978–81) and the following films, Emigholz also uses narrative and scenic elements a. What is striking is the framing that creates a phenomenological relationship to the room and therefore does not take into account the conventional perpendicularity and the central perspective. “Instead of being empty space, the coordinates of which are fixed to categories borrowed from abstract geometry such as horizon line and vanishing point, the image space in the films has always been populated. Where there is a space, there is also a body that defines it, even if it is through its negative form, the absence. ”(Ronald Balczuweit) This spatial construction also remains decisive for photography and beyond , one that began in 1993 and was based on preparatory work from the 1970s “Collection of freely combinable films that deal with products of human design” (Emigholz). The films in the sub-series Architecture as Autobiography show in chronological order the structures that have been preserved by architects , civil engineers and designers such as Bruce Goff , Adolf Loos , Robert Maillart , Pier Luigi Nervi , Auguste Perret , Rudolph Schindler , Louis Sullivan and others.

art

In 1974 Emigholz began work in New York on the series of drawings The Basis of Make-Up , which in 2008 comprised over 600 sheets. The title goes back to the signature of a photograph in a textbook on make-up from the 1930s; the photo shows a skull. The drawings are all in black and white and are printed as photo prints in the format 54 × 64 cm. Like many of the films, they emerge from the artist's notebooks, in which, in addition to drafts of his own texts, he enters and pastes all kinds of civilization rubbish, sentences snapped up on the street or while watching TV, advertising, diagrams from military textbooks and much more. These set pieces are transformed in the drawings and films and linked to one another in strict compositions , but their origins can still be recognized. There are narrative approaches, but they are not combined into a single story, but can be freely combined. This formal openness reflects the “experience of the provisional and the relativity of every interpretation” (Hanne Loreck).

Filmography

  • 1972/73: Schenec-Tady I (16 mm, 27 minutes)
  • 1973: Schenec-Tady II (16 mm, 18 minutes)
  • 1973/74: Arrowplane (16 mm, 24 minutes)
  • 1974: Tide (16 mm, 33 minutes)
  • 1972/75: Schenec-Tady III (16 mm, 20 minutes)
  • 1975/76: Hotel (16 mm, 27 minutes)
  • 1976/77: Demon - The translation of Stéphane Mallarmé's "Le Démon de l'Analogie" (16 mm, 30 minutes)
  • 1978/81: standard movement (16 mm, 105 minutes)
  • 1974/83: The Basis of Make-Up I (Photography and beyond - Part 1). (35 mm, 20 minutes)
  • 1979/85: The basis of make-up (feature film, 16 mm, 84 minutes)
  • 1974/87: The Meadow of Things (16 mm, 88 minutes)
  • 1986/91: The Cynical Body (35 mm, 89 minutes)
  • 1993/1999: Sullivan's Banks (Photography and Beyond - Part 2) (35 mm, 38 minutes) with eight bank buildings designed by Louis Sullivan
  • 1995/1999: Maillart's Bridges (photography and beyond - part 3) (35 mm, 24 minutes) with fourteen roof structures and bridges designed by Robert Maillart
  • 1983/2000: The Basis of Make-Up II (Photography and Beyond - Part 4) (35 mm, 48 minutes)
  • 1988/2001: Miscellanea I (Photography and beyond - Part 5) (35 mm, 20 minutes)
  • 1988/2001: Miscellanea II (Photography and beyond - Part 6) (35 mm, 19 minutes)
  • 2002/03: Goff in the desert (photography and beyond - part 7) (35 mm, 110 minutes) with 62 buildings designed by Bruce Goff
  • 1996/2004: The Basis of Make-Up III (photography and beyond - part 9) (35 mm, 26 minutes)
  • 1997/2004: Miscellanea III (Photography and beyond - Part 10) (35 mm, 22 minutes)
  • 2002/05: D'Annunzio's cave (photography and beyond - part 8) (DigiBeta, 52 minutes) - interior shots from the villa of the Vittoriale degli italiani in Gardone on Lake Garda; the villa was inhabited and furnished by Gabriele d'Annunzio since 1921 ; the following were involved in the camera work: Irene von Alberti, Elfi Mikesch and Klaus Wyborny .
  • 2005: Robert Maillart and The Art of Structural Engineering (DV, 89 minutes)
  • 2005/06: 57 short films for the exhibition project Sense of Architecture (HDV, 330 minutes)
  • 2006/07: Schindler's Houses (Photography and Beyond - Part 12) (35 mm, 99 minutes) with 40 buildings designed by Rudolph Schindler
  • 2007: The Whitman Project (co-director Lior Shamriz ) (DV, 52 minutes)
  • 2008: Loos Ornamental (photography and beyond - part 13) (35 mm, 72 minutes) with 27 buildings designed by Adolf Loos
  • 2008: Ornament und Verbrechen by Adolf Loos (co-director Benjamin Krieg ) (DV, 30 minutes)
  • 2005/09: Sense of Architecture (photography and beyond - part 11) (HDV, 168 minutes) with 42 contemporary buildings designed by Austrian architects
  • 2006/09: Two projects by Frederick Kiesler (photography and beyond - part 14) (HDV, 16 minutes)
  • 2010: A museum building in Essen (Miscellanea IV) (photography and beyond - part 15) (HDCAM, 21 minutes) with the new Museum Folkwang , designed by David Chipperfield Architects
  • 1987/2010: El Greco in Toledo (Miscellanea V) (Photography and beyond - Part 16) (HDCAM, 29 minutes)
  • 1986/2010: Leonardo's Tears (Miscellanea VI) (Photography and beyond - Part 17) (DV, 29 minutes)
  • 1987/2010: On board the USS Ticonderoga (Miscellanea VII) (Photography and Beyond - Part 18) (DV, 12 minutes)
  • 2011: A Series of Thoughts (Miscellanea V, VI, VII and IV) (HDV, 91 minutes)
  • 2012: Parabeton - Pier Luigi Nervi and Roman Concrete ( Dawn of Modernism - Part I / Photography and Beyond - Part 19) (DCP, 100 minutes) with seventeen buildings designed by Pier Luigi Nervi as well as film studies of ancient structures made of Roman concrete
  • 2012: Perret in France and Algeria (Dawn of Modernism - Part II / Photography and Beyond - Part 20) (DCP, 110 minutes) with 30 buildings designed by Auguste and Gustave Perret
  • 2012/2013: Seven music videos for the album DEN by the band Kreidler .
  • 2014: The Airstrip (Aufbruch der Moderne - Part III / Photography and Beyond - Part 21) (DCP, 108 minutes) - architecture journey with more than 30 buildings and sculptures
  • 2014: Two museums (photography and beyond - part 22) (DCP, 18 minutes) with the Museum of Art in Ein Harod, Israel (designed by Samuel Bickels) and the Museum of the Menil Collection in Houston, Texas (designed by Renzo Piano)
  • 2015: Le Corbusier [IIIII] Asger Jorn [Relief] (photography and beyond - part 23) (DCP, 29 minutes) with the Villa Savoye (designed by Le Corbusier ) and the Grand Relief (designed by Asger Jorn )
  • 2015: Berlin Stories [compilation 1986-2012] (BluRay, 37 minutes)
  • 2013/17: 2 + 2 = 22 [The Alphabet] (Streetscapes - Chapter I / Photography and beyond - Part 24) (DCP, 88 minutes) with photos of buildings and streets in Tbilisi, Georgia, from the work of the band Kreidler in a studio in Tbilisi and 26 notebooks from Emigholz
  • 2015/17: Bickels [Socialism] (Streetscapes - Chapter II / Photography and beyond - Part 25) (DCP, 92 minutes) with 22 buildings designed by Samuel Bickels
  • 2015/17: Streetscapes [Dialogue] (Streetscapes - Chapter III / Photography and beyond - Part 26) (DCP, 132 minutes) - dialogues between an analyst and a film director in front of and in buildings designed by Eladio Dieste
  • 2015/17: Dieste [Uruguay] (Streetscapes - Chapter IV / Photography and beyond - Part 27) (DCP, 95 minutes) with 29 buildings designed by Eladio Dieste
  • 2018: Two basilicas (photography and beyond - part 28) (DCP, 36 minutes) with the Cattedrale di Santa Maria Assunto in Orvieto and the Grundtvigs Kirke in Copenhagen
  • 2013/18: Years of Construction / Baujahre (photography and beyond - part 29) (DCP, 93 minutes) - Documentation of the demolition and rebuilding of the Kunsthalle Mannheim

Exhibitions (selection)

  • 1974: Project '74 , Cologne (participation)
  • 1977: documenta 6 , Kassel (participation)
  • 1977/78: Film als Film , Kunstverein Köln, Hayward Gallery, London (participation)
  • 1982: Standard sentence , book Handlung Welt, Hamburg
  • 1986: I would also have liked to have had a body , Galerie Eisenbahnstrasse, Berlin
  • 1988: The Downfall of Bismarck , Zwinger Galerie, Berlin
  • 1988/89: BiNationale , Düsseldorf / Boston / Minneapolis / Houston (participation)
  • 1989: I've been dyeing my hair since I was blond , Zwinger Galerie, Berlin, and XPO Galerie, Hamburg
  • 1991: War of the Eyes, Cross of the Senses (sketch) , Galerie Martin Schmitz, Kassel
  • 1991: Posters , Zwinger Gallery, Berlin
  • 1991: Exhaustion (encyclopedia), Kunsthalle Bremerhaven
  • 1992: Two essays (film photography / photography), Galerie Fischinger, Stuttgart
  • 1992: Photography and beyond , Künstlerhaus Bethanien, Berlin
  • 1993: Ever since Freud said that the artist healed his neuroses himself, the artists healed their neuroses themselves . Drawings, texts, films. Saarland artist house, Saarbrücken
  • 1994: Drawings and posters , Goethe-Institut, Madrid
  • 1994: The basis of make-up (1974–1994), Hamburger Kunsthalle
  • 1994: Depot , Galerie Martin Schmitz, Kassel
  • 1997: In medias res - Berlin media art in Istanbul . Dolmabahce Palace, Istanbul (participation)
  • 1998: The basis of make-up (1974-98 ), Zwinger Galerie, Berlin
  • 1999: the xx. century - a century of art in germany . Hamburger Bahnhof, Museum für Gegenwart, Berlin (participation)
  • 2000: The Basis of Make-Up (1974-2000) , Argos Gallery, Brussels
  • 2001: The basis of make-up (1974-2001) , Kunstverein Munich
  • 2001: The basis of make-up , Hubert Bächler Gallery, Zurich
  • 2006: Research on the basis of make-up , Zwinger Galerie, Berlin
  • 2004: Heinz Emigholz / Michael Snow , Goethe-Institut, Toronto
  • 2007: The basis of make-up (1974-2007), Hamburger Bahnhof, Museum für Gegenwart, Berlin
  • 2008: New Black Blocks , Hubert Bächler Gallery, Zurich
  • 2008: Sense of Architecture , Architecture Biennale, Venice
  • 2010: The Formative Years (1972-1977), an installation of seven films from 1972-77 at Hamburger Bahnhof, Museum für Gegenwart, Berlin, as part of Forum Expanded at the 2010 Berlinale
  • 2010: The black block, installation in the overview exhibition The more I draw. Drawing as a world plan, Museum of Contemporary Art, Siegen
  • 2010: The Formative Years - Extended Version , Extra City, Antwerp
  • 2010: Photography and beyond - Three Films , installation. Petach Tikva Museum, Tel Aviv
  • 2011: A series of thoughts - four films , installation. Zwinger Gallery, Berlin
  • 2011: The Formative Years , film installation. Wyoming Building, New York City
  • 2012: Utopia Gesamtkunstwerk. 21er Haus, Vienna (participation)
  • 2013: Wood (s). Zwinger Gallery, Berlin (participation)
  • 2015: What Moves Us. Museum Jorn, Silkeborg (participation)
  • 2015: The Dialogic City - Berlin becomes Berlin. Berlinische Galerie, Berlin (participation)
  • 2016: rough cut Dieste. gkg, Bonn

Prices

  • 1978: Special award for Demon at the film festival in Hyères, France
  • 1982: German Film Critics' feature film award for standard sentence at the Berlin Film Festival
  • 1984: Domnick Film Prize for The Basis of Make-Up I at the Berlin Film Festival
  • 1988: Gay Teddy Award for The Meadow of Things as Best Feature Film at the Berlin Film Festival
  • 2004: First prize for Goff in the desert as the best architectural documentation at the 6th Media and Architecture Biennale Graz
  • 2013: MuVi Award for the best German music video at the 59th International Short Film Festival in Oberhausen for Moth Race by Kreidler.
  • 2014: Prize of the German Film Critics : Special Prize of the Documentary Film Jury for the series of works Photography and beyond
  • 2017: German Film Critics' Award: Best Screenplay for Streetscapes [Dialogue] (Heinz Emigholz / Zohar Rubinstein)

Publications (selection)

  • "The basis of make-up", Boa Vista , Hamburg, 2/1975
  • "Indian Summer", Boa Vista , Hamburg, 3/1976
  • "A Portfolio", The Paris Review , New York, 65/1976
  • "The Results Are In", No Rose , New York, 2/1976
  • "Normalsatz", Henry , Hamburg, 5/1977
  • "The Chinese Landscape", Henry , Hamburg, 6/1978
  • "Webster's Ideallandscape," No Rose , New York, 4/1978
  • "Three Fairy Tales," Paranoids Anonymous Newsletter , New York, 1978
  • "The Case, the Glass, the Said", Amateur , New York, 2/1979
  • "The Basis of Make-Up", mailbooks , RAW Books and Graphics, New York, February 1979
  • "Two ships in the harbor", Nancy , Hamburg, 7/1979
  • "The Chinese Landscape", mailbooks , RAW Books and Graphics, New York, October, 1979
  • Art Spiegelman : Breakdowns. Collected comic strips . Basel, Frankfurt / M .: Stroemfeld, Roter Stern 1980 (translation)
  • "One Panel from the Basis of Make-Up", RAW , New York, 1/1980
  • Ordinary Sentence, RAW , New York, 3/1981
  • "From Love to Disney", Ideolects , New York, 9/1981
  • "The basis of make-up (I)", Die Republik , 68–71 / 1984
  • "The gifted Meier", The Republic , 76–78 / 9. September 1986
  • The Gifted Meier (Grace Jones) . Radio play, Sender Free Berlin , 1988
  • The basis of make-up , catalog, XPO gallery, Hamburg, Zwinger gallery, Berlin, 1989
  • War of the eyes, cross of the senses , Kassel: Schmitz 1991
  • "Small Encyclopedia of Photography", Die Republik , 89–91 / 1991
  • Silke Grossmann: Photographs . Catalog of the exhibition in the Museum Folkwang, in the Photo Museum of the Munich City Museum and in the Kunsthalle Bremerhaven. With texts by Frieda Grafe , ed. v. Heinz Emigholz. Stuttgart: Cantz 1992
  • Twelve films (slipcase with twelve videos), Filmgalerie 451, Stuttgart 1992
  • Ever since Freud said that the artist healed his neurosis himself, artists healed their neuroses themselves . Kassel: Schmitz 1993
  • "The Basis of Make-Up (II)", Die Republik , 94–97 / 1997
  • Standard Rate - Seventeen Films . Berlin: Schmitz, 2001, ISBN 3-927795-18-6 .
  • The black pubic square . Berlin: Schmitz 2002
  • Fotografía y más allá. Buenos Aires: Editorial Altamira 2004
  • "The Basis of Make-Up (III)", Die Republik , 68–71 / 2008
  • Sense of Architecture . Graz: Artimage 2008
  • Sentimental bombast . Flypaper , 5/2010
  • Black blocks . Flaach (Switzerland): SchwarzHandPresse, 2010
  • "25 Abfuhren (Rejection Slips)", in: Naomi Schenck: Archive discarded possibilities. Images and texts , ed. v. Ulrich Rüdenauer . Munich: Belleville 2010
  • Black Blocks . Drawings with texts. CinemaScope , 46/2011
  • The End * (PDF; 1.1 MB). Texts and drawings. Disco 22/2011
  • Six panels from The Basis of Make-Up. Drawings and texts. Strapazin, 109/2012
  • Drawing or film. Drawings with legends and notes. Cologne: Walther König 2013
  • Since 2005, continuous release of all Heinz Emigholz films on DVD, Filmgalerie 451, Berlin

About Heinz Emigholz

  • Ronald Balczuweit et al .: Heinz Emigholz. Standard rate. Seventeen films. Berlin: Schmitz 2001
  • "Heinz Emigholz", museum for the present , 11/2007. Cologne: Dumont 2007
  • Claudia Schmid: The drawn world . The artist Heinz Emigholz . Documentary. WDR / 3Sat 2009, 64 min.
  • Peer Moritz and Stefan Ripplinger : (Article Heinz Emigholz), in Hans-Michael Bock, Ed .: CineGraph. Lexicon for German-language films. 49. Delivery. Munich: edition text + kritik 2010
  • Hans-Michael Bock (ed.): Lexicon of directors and cameramen from A – Z , Rowohlt Taschenbuch Verlag GmbH, Reinbek near Hamburg 1999, ISBN 3 499 60651 8

Web links

Individual evidence

  1. ↑ Article ( Memento of the original from May 27, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on Berlin Online , May 23, 2013 @1@ 2Template: Webachiv / IABot / www.berlinonline.de
  2. ^ New members of the Akademie der Künste Akademie der Künste, press release June 18, 2012
  3. ^ Heinz Emigholz: "A Scene Near Schenec-Tady", in Ronald Balczuweit et al .: Heinz Emigholz. Standard rate. Seventeen films . Berlin: Schmitz 2001, pp. 39–46, here p. 39.
  4. ^ Frieda Grafe: "Heinz Emigholz. Gathered time, concentrated space ", in: Dies .:" Described film. 1974–1985 “, Die Republik, 72–75 / 1985, pp. 215–217, here p. 216.
  5. ↑ Ronald Balczuweit: "Phenomenological Framing", in: Ders. et al .: Heinz Emigholz. Standard rate. Seventeen films. Berlin: Schmitz 2001, pp. 137–142, here p. 140.
  6. ^ Heinz Emigholz: "Photography and beyond", in: Ronald Balczuweit et al .: Heinz Emigholz. Standard rate. Seventeen films . Berlin: Schmitz 2001, pp. 299–319, here p. 299.
  7. ↑ For this, the explanations of the artist on his homepage (November 2008)
  8. ↑ To this Stefan Ripplinger: “Scheidekunst. Heinz Emigholz dissociates word and image ”, in“ Heinz Emigholz ”, museum für gegenwart , 11/2007, Cologne: Dumont, pp. 25–28.
  9. ↑ Hanne Loreck: "The pain starts at 10 pm thinking see", in: "Heinz Emigholz", museum für gegenwart , 11/2007, Cologne: Dumont, pp. 19-23, here p. 20.
personal data
SURNAME Emigholz, Heinz
BRIEF DESCRIPTION German filmmaker, author, artist and producer
DATE OF BIRTH January 22, 1948
PLACE OF BIRTH Achim near Bremen