Julian Rosefeldt

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Julian Rosefeldt, 2017

Julian Rosefeldt (* 1965 in Munich ) is a German film artist and director at the "interface between narrative film and complex film installation".

Life

Julian Rosefeldt studied architecture in Munich and Barcelona . In his diploma thesis in the subject of Hidden City architecture , he and Piero Steinle (* 1959) photographed and mapped the underground rooms of the Nazi buildings on Munich's Königsplatz . After graduating in 1994, he worked artistically with Piero Steinle for a few years, then alone since 1999.

In addition to his own artistic work, Rosefeldt has repeatedly worked for productions at the Schaubühne am Lehniner Platz , often in collaboration with the director and artistic director of Thomas Ostermeier .

In 2009 Rosefeldt was appointed visiting professor at the Bauhaus University Weimar for one year . Since 2011 he has been a professor at the Academy of Fine Arts in Munich .

In 2010 Rosefeldt became a full member of the Bavarian Academy of Fine Arts in the film and media arts department . Julian Rosefeldt is represented on the art market by the König Galerie (Berlin), the Barbara Gross Galerie (Munich) and the Galería Helga de Alvear ( Madrid).

He has lived and worked there since Rosefeldt came to Berlin in 1999 as Artist in Residence for the Hoffmann Collection.

plant

Julian Rosefeldt's work mainly consists of elaborately staged film installations, which are mostly designed as panoramic multi-channel projections. With regard to cinematic work, his preferred recording media are 16 mm film and 35 mm film , although Rosefeldt has been working closely with cameraman Christoph Krauss for years . In his work he prefers a super widescreen format and usually projects several films or slides side by side.

His works are conceived and planned like feature films and are staged and produced in a similarly elaborate manner. The individual films often run in an endless loop on parallel screens and last between 15 and 50 minutes. A film takes an average of one year to produce. After the first sketches of an idea, the content and technical definition, the construction of the script and the financial planning of the project follow. Extensive contacts and discussions take place with the actor (s) in order to sound out their artistic possibilities or to work out the role together. The protagonists 'monologues and dialogues are often quotations and collages from literary or art-theoretical texts, from politicians' speeches or literally adopted passages from classic films.

The actual and very expensive shooting phase of the usually low-budgeted films is short, in the case of Manifesto it was 12 days of shooting. This is followed by the longest phase, post-production , which can take several months. Rosefeldt handles the sound of the film with particular care . Sounds and music play a dominant role in his films and occasionally have the role of ironic commentary on what is happening on the screen . A typical brawl in a western saloon is shown in his installation American Night . B. with the choral setting Lacrimosa from Mozart's Requiem . This incongruence of image and sound creates comical effects that deceive or undermine the viewer's expectations. Rosefeldt's films are characterized by long and calm sequences in which the position of the camera often only changes slowly, or the current situation in the film studio becomes visible through sudden pans. Even sharp film cuts used dramatically break up the course of the film narrative with wit and humor . In 2013 he said in an interview about humor in his films: “When you make a film, jokes don't just come about, they are of course made up [...] And I wanted to keep the balance between a kind of tragic humor because The protagonists are also like machines, like robots, because they have to obey the system that I constructed for them. And therein is a tragic moment ” .

Photo work

Rosefeldt's first pictorial works were black and white photographs of architecture: Archive of Archives (1995), 15 photo prints in 63x53 cm format, Detonation - Germany (1996/1999), a series of 5 light boxes and 5 diptychs in black and white that were created in collaboration with Piero Steinle and are inspired by the typology of the cups . The images in the series Munich - The Unknown Cathedrals (1995), which were photographed with a special camera, are projected onto a 180 ° screen, creating an association with panoramic images from the 19th century. This installation is already provided with an audio track. Archive, Paris - The Unknown Cathedrals (1997), 7 black and white photos in the format 67x300 cm, was also created in collaboration with Steinle. Oktoberfest (1998) is the first photo work in color and in large format. There are 9 interior shots of the large marquee of the Munich Oktoberfest in the format 124x266 cm, taken with a wide angle. The photos for his and Steinle's thesis Hiddencity / Verborgene Stadt (1999) document the remains of former Nazi buildings on Königsplatz in Munich. The series includes 28 black and white photos in various formats. Global Soap , Mnemories and Juice (2000 {2001) are photographic works in color. Here Rosefeldt photographed portraits of mostly female actors from television soaps and digitally post-processed them.

Asylum , a 9-channel installation from 2001/2002, is the first film installation of which he digitally edited individual film stills , defined them as separate photos and published them as prints, a process that he also uses in the following film installations.

Stage sets

From 2001 to 2008 he created videos as stage sets for the Schaubühne am Lehniner Platz in Berlin for productions by Thomas Ostermeier , Tom Kühnel and Grzegorz Jarzyna, among others .

Film installations

There is usually an edition of six units of each installation .

  • 2001/2002: Asylum .
In Asylum is about clichés and stereotypes about living in Germany foreigners - migrants, migrant workers, the underdogs of the world of work: Turkish cleaning women wearing headscarves, Pakistani rose seller, Chinese chefs, Afghans, Kosovars, all located in absurd situations in absurd places, such . B. a group of black Africans in a cabinet with white plaster casts.
The 120 participants are amateur actors, half of them asylum seekers, they do not speak any text. Slow, hypnotic tracking shots are accompanied by a chorus of street workers who sing only a single note. The first performance took place in Berlin in the Hamburger Bahnhof .
  • 2004/2005: Trilogy of Failure .
  1. The Soundmaker . 3-channel installation, 2004, super 16 mm film, loop 35 min. Camera: Christoph Krauss
  2. Stunned Man . 2-channel installation, 2004, super 16 mm film, loop approx. 32 min. Camera: Christoph Krauss
  3. The Perfectionist . 3-channel installation, 2005, loop 25 min. Camera: Christoph Krauss
  • 2007: Requiem . 4-channel installation, loop 12 min. Camera: Vitor Amati.
The location of the films is the Brazilian rainforest. The almost untouched tropical rainforest is visualized in contrast to its destruction by human hands and the use of gigantic robots, which in the film assumes apocalyptic proportions. The film premiered at the Danish Fuglsang Art Museum .
  • 2006: Lonely Planet , 1-channel installation, super 35 mm film, loop 16 min. Camera: Christoph Krauss
Produced in collaboration with the Goethe Institute
  • 2007: The Ship of Fools . 4-channel installation, camera: Christoph Krauss
The film was shot at Sacrow Palace near Potsdam. While shepherds are barking non-stop, Christa Ludwig , accompanied by Otto Klemperer , sings Wesendonck songs by Richard Wagner to individual scenes .
In the installation Rosefeldt deals with the changes and the continuity of nationalism in Germany, from Romanticism to National Socialism , the GDR to the resurgence of right-wing extremism in Germany.
  • 2008: The Shift . 4-channel installation, super 16 mm film, camera: Christoph Krauss
The Shift was produced as a prologue to Thomas Ostermeier's staging of the plays The City / The Cut by Martin Crimp and Mark Ravenhill at the Berlin Schaubühne . A new version was part of the three-part film installation Living in Oblivion at the Berlinische Galerie . Were also shown here Hidden City (1994/2010) and The unknown Cathedrals (1995), both of which are made in collaboration with Piero Steinle. Living in Oblivion was awarded the Vattenfall Contemporary 2010.
  • 2009: American Night . 5-channel installation, camera: Christoph Krauss. A coproduction of the Bienal de Canarias and the Kunstmuseum Bonn .
American Night playfully parodies familiar myths and cult images of the American western : the lonely cowboy riding west, the woman who waits lost in front of a log cabin in an empty landscape, the saloon with its drinkers, card players and colorful hookers, men at the nightly campfire, an abandoned western town. The present can suddenly and brutally break into these distant places of the past when the city becomes a military training ground for street fighting and the use of modern combat helicopters. The conversation of the five men at the nightly campfire consists of quotes from Western classics, fragments from speeches, or in the style of Republican US politicians, song texts that combine to form a litany of hollow phrases. One of the cowboys finally quotes - in the voice of Gary Cooper - his famous sentence "Of course a weapon is only as good as the man who uses it" from the film Vera Cruz , which is followed by a discussion of the five about who is in which film Sentence said, and then pans the camera upstairs to bring the entire set with actors, crew, cameras, fleet and equipment in the picture.
The title American Night alludes to Truffaut's classic film La nuit américaine , in which the director disturbs the viewer's illusion by letting them participate in the film's complicated making process.
The filming location of the western town was an old film set in Andalusia, where Sergio Leone shot his film For a Fistful of Dollars in 1965 .
  • 2011: My home is a dark and cloud-hung land / My home is a dark, cloud-covered country . 4-channel installation, loop approx. 30 min
A commissioned work on the topic of Heimat was created on the occasion of the special exhibition "30 artists look at Germany" for the 10th anniversary of the Jewish Museum Berlin
In the installation Rosefeldt deals with the forest phenomenon in German history, from Tacitus ' Germania , to the fairy tales of the Brothers Grimm, the cult of the Nazis around the battle in the Teutoburg Forest or the propaganda film Ewiger Wald, made in 1936, to Germany in particular emotional debate about forest dieback . The film's locations range from the Elbe Sandstone Mountains to the Teutoburg Forest and into Chiemgau .
  • 2013/2014 Deep Gold . 1-channel installation, black and white film, loop 18 min. Cinematography by Christoph Krauss.
Deep Gold is a tribute to Luis Bunuel's surrealist film The Golden Age of 1930, the Bunuel in collaboration with Salvador Dali has turned. In his film, Bunuel dealt with the values ​​of the Catholic Church and the mendacious bourgeois sexual morality of his time. Deep Gold works like an additional insert in Bunel's black and white film. It shows a world of desire and lust into which Modot, the protagonist in Bunel's film, is drawn and overwhelmed by the ubiquity of female sexuality. Rosefeldt's film is the penultimate episode of the six-part film project The Sting of the Scorpion , which was commissioned by Villa Stuck and the Institut Mathildenhöhe Darmstadt and in which Tobias Zielony , Chicks on Speed , M + M , Keren Cytter and John Bock were also involved .
The subject of the film is the impact of humans on nature since the Anthropocene . The landscape shots were shot in Morocco and in brownfield sites in the Ruhr area - Bottrop , Duisburg , Essen .

Awards

Collections (selection)

Exhibitions

Julian Rosefeldt's video installations have been shown in numerous group exhibitions in Europe and North and South America since 1998.

Solo exhibitions (selection)

  • News. Video and audio installation by Julian Rosefeldt and Piero Steinle, ZKM Karlsruhe (1998)
  • News. Video and audio installation by Julian Rosefeldt and Piero Steinle, Kunstsammlung NRW , Düsseldorf (1999)
  • Gallery for Contemporary Art Leipzig (1999)
  • Goethe Institute Paris (2000)
  • Manifesto , Hamburger Bahnhof (2001)
  • Museum Franz Gertsch Burgdorf, (2003)
  • BALTIC Center for Contemporary Art (2004)
  • ZKMax , Munich (2005)
  • Platform China , Beijing (2007)
  • Art Gallery of New South Wales, Sydney (2016)
  • The Latvian National Museum , Riga (2016)
  • Asylum , Herzliya Museum of Contemporary Art, Herzliya, Israel (2017)

Quotes

“Video is fast, sketchy, and cheap. Shooting on film is more closely related to working in painting, in which an image is created layer upon layer. "

“I was always fascinated by the layered structure of painted pictures and the richness of detail in history painting, such as Théodore Géricault's ' Raft of the Medusa ', which shows a dramatic overview of the scene, which is made up of many individual fates that occurred in the details are worked out and interwoven. The idea of ​​the Tableaux Vivants , that is, the reconstruction of a painting with living people, which was extremely popular in the 19th century, was an inspiration for 'Asylum' and other projects. "

Trivia

In the movie The International by Tom Tykwer in 2009 (with Clive Owen , Naomi Watts and Armin Mueller-Stahl in the leading roles) on the site of the Babelsberg Film Studios a faithful reproduction of the interior of of Frank Lloyd Wright created the Solomon R. Guggenheim Museum erected. The reconstructed rooms of the museum were shown with a retrospective of Rosefeldt's film installations. In this setting, Tykwer's cinematic plot provides for a dramatic exchange of fire, with numerous Rosefeldt installations being shot.

bibliography

Source texts
  • Anna-Catharina Gebbers, Anneke Jaspers, Udo Kittelmann et al. (Eds.): Julian Rosefeldt. Manifesto. König, Cologne 2015, ISBN 978-3-86335-855-6 .
  • Clive Cazeaux, Julian Rosefeldt: Discussion . Chaired by Laim Devlin. In: On Perfection. At artist's symposium. Ed. Jo Longhurst. Intellect, Bristol et al. 2013, ISBN 978-1-84150-710-1 , pp. 97-104.
Exhibition catalogs
  • Ingvild Goetz, Stephan Urbaschek (eds.): Fast forward 2. The Power of Motion . Exhibition cat. ZKM Museum for New Art Karlsruhe 2010. Hatje Cantz, Ostfildern 2010, ISBN 978-3-7757-2604-7 .
  • Julian Rosefeldt. Living in Oblivion . Exhibition cat. Berlinische Galerie, Berlin, 2010. Kerber Verlag, Bielefeld 2010, ISBN 978-3-86678-414-7 .
  • Stephan Berg u. a. (Ed.) Julian Rosefeldt - American Night . Exhibition cat. EX3 Centro per l'Arte Contemporanea, 2009, and Kunstmuseum Bonn, 2010, The Green Box Art Editions, Berlin 2009, ISBN 978-3-941644-15-1 .
  • The Ship of Fools (Collector's Edition). Hatje Cantz, Ostfildern, 2007
  • BALTIC Center for Contemporary Art, Gateshead (ed.), Asylum, exhibition cat. Festival d'Avignon u. a., 2004, Hatje Cantz, Ostfildern-Ruit 2004, ISBN 3-7757-1512-6 .
  • Julian Rosefeldt (Ed.): Global Soap . Exhibition cat. Künstlerhaus Bethanien 2001. Berlin 2001, ISBN 3-00-008099-6 .
  • Julian Rosefeldt, Piero Steinle, Iris Lauterbach (eds.): Bureaucracy and cult. The party center of the NSDAP at Koenigsplatz in Munich . Deutscher Kunstverlag, Berlin, Munich 1995, ISBN 3-422-06164-9 .
  • News: A video installation by Julian Rosefeldt and Piero Steinle, exhib.-cat. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1998, Kehrer Verlag, Heidelberg 1998, ISBN 3-933257-02-6 / Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1998, ISBN 3-926154-36-5 .
  • Julian Rosefeldt, Piero Steinle (ed.): Paris - Les Cathédrales Inconnues - Espaces vides dans l'ombre de la ville. Exhibition cat., Espace des Blancs Manteaux, self-published, Paris, 1997.
  • Julian Rosefeldt, Piero Steinle (Hrsg.): Detonation Germany - explosive pictures of a nation. Exhibition cat., Orangery, 1996. Self-published, Munich 1996.
Secondary literature

Web links

Individual evidence

  1. ↑ Kunstmuseum Bonn: Julian Rosefeldt - American Night ( Memento of the original from June 2, 2010 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. @1@ 2Template: Webachiv / IABot / www.kunstmuseum-bonn.de
  2. ↑ Tagesspiegel: The magic eye
  3. ^ College of Prof. Julian Rosefeldt , AdBK Munich, accessed on August 29, 2019.
  4. ^ Members
  5. ↑ art Magazin: Julian Rosefeldt - The International , accessed on August 29, 2019
  6. ^ Hoffmann Collection - Collection. Retrieved September 4, 2017 .
  7. ^ Clive Cazeaux, Julian Rosefeldt: Discussion . Chaired by Laim Devlin. In: On Perfection. Chicago 2013.
  8. ↑ "When you do a movie, the joke is not there just happening, it's constructed of course [...] And I wanted to keep the balance between the kind of tragic humor, because the protagonists, they're also like machines, like robots, because they have to follow the system, that I constructed for them. And there is a moment of tragedy on it. ” Julian Rosefeldt in: On perfection. Ed. Jo Longhurst. Chicago 2013.
  9. ↑ Inside the Hedge Fund Manager's Head. Interview with Julian Rosefeldt by Robert Seidel. Berlin, February 6, 2012 Retrieved June 23, 2016.
  10. ↑ Bienal de Canarias
  11. ↑ Stephan Berg. Ed .: Julian Rosefeldt - American Night . Berlin 2009.
  12. ↑ IMDb
  13. ↑ IMDb
  14. ↑ Alexa on Manifesto video installation , accessed June 15, 2016.
  15. ↑ KunstFilmBiennale photography-nw.com, accessed on August 29, 2019
  16. ^ Monopoly: Julian Rosefeldt | Vattenfall Contemporary 2010
  17. ↑ Villa Massimo | Julian Rosefeldt. Retrieved August 20, 2019 .
  18. ^ Museum of Modern Art New York: Rosefeldt at MoMA
  19. ^ Complete list of exhibitions 1994–2018
  20. ↑ Christina Tillmann: The magical eye , Der Tagesspiegel, August 2, 2008.
  21. ↑ Interview with Robert Seidel
  22. ↑ art Magazin: Julian Rosefeldt - The International , accessed on August 29, 2019
  23. ↑ Hatje Cantz: Julien Rosefeldt - The Ship of Fools (Collector's Edition)
personal data
SURNAME Rosefeldt, Julian
BRIEF DESCRIPTION German artist
DATE OF BIRTH 1965
PLACE OF BIRTH Munich