PROGRAMME

201924/04 — 28/04/2019↳ FESTIVAL24/04 — 26/05/2019↳ EXHIBITION

WILD WILD GRAMMAR

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001 WELCOME

Language widens and defines boundaries. It creates our image of the world, and shapes our interaction with the world and with each other. Time and again, artistic languages in particular have worked against the simplification and entrenchment of our image of reality: they have deliberately produced (non-)sense, cultivated contradictions, upturned hierarchies, and devised new codes that let us see and experience the world in a different way: “wild grammar” as a counter declaration and an attempt to make a clean break.

At the end of April, Osnabrueck will once again become a forum for exciting media art discourse. Featuring the theme of Wild Grammar, this year’s festival offers a whole host of works from Germany and abroad that are devoted to the question of the transformative power of language. The committee has selected a multitude of high-calibre works from the 2,200 or more entries. This year, EMAF presents more than 130 short and feature-length films, as well as round about 40 installations and performances. During talks at the Kunsthalle Osnabrueck, we will discuss the topic of language, using language. Several locations will showcase a wide range of pieces by young artists from various higher education institutions. Showcasing audiovisual works, exhibition performances, installations, sound performances and animations, INIT Experience provides the opportunity for lively exchange based on all kinds of artistic forms of expression at the Haus der Jugend and Haus Heger Straße 29/30. In 4. Halbzeit, Wermke/Leinkauf question the fascination and poten-tial of Ultras – organised football fans – in connection with sociopolitical upris-ings and upheavals. We are delighted that Lower Saxony’s Ministerpresident Stephan Weil has again assumed patronage of the festival. We would also like to thank our sup-porters, sponsors and patrons – especially nordmedia, the City of Osnabrueck, Stiftung Niedersachsen, Stiftung der Sparkasse Osnabrueck, Landschaftsverband Osnabruecker Land e. V., the Federal Foreign Office and the Federal Ministry of Education and Research. We promise an exciting, wild time at the 32nd European Media Art Festival!

WILDGRAMMAR

Welcome 001EMAF⟼FINIT⟼F Film Programme 002EMAF⟼E Exhibition 012INIT⟼E Media Campus INIT 017EMAF⟼T EMAF Talks 021EMAF⟼M/P Music / Performance 024

Timetable 027

Location Plan 032

⟼ Festival Pass 60€ / 45€

⟼ Set of 5 Tickets (EMAF Clubnight not included) 28€ / 20€

⟼ Day Ticket (EMAF Clubnight not included) 15€ / 10€

⟼ Single Ticket (Film Programme) 08€ / 06€

⟼ Single Ticket (Exhibition) 05€ / 03€

⟼ Single Ticket (Performance) 06€ / 04€

⟼ EMAF Clubnight 08€

⟼ INIT-Exhibitions free

Tickets are available under +49 (0) 541 21658 and from 24 April, 16:00 at the Lagerhalle. Single tickets are also available at the venues. More information on discounts can be found at www.emaf.de.

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Featuring a total of 14 international competition programmes, EMAF presents a current selection of around 50 short and long films produced in more than 20 countries. These films approach places and landscapes, and their histories and economies, from highly different perspectives; they grapple with very personal experiences and memories; or they review their artistic creation in the context of cinematic history and present media worlds. The image languages and working styles employed are diverse, rendering it impossible to pin them down to a par-ticular cinematic or artistic genre. The committee responsible for selecting this year’s works comprises Godart Bakkers (Brussels), Juan David González Mon-roy (Berlin), Stefanie Plappert (Frankfurt), Sebastiaan Schlicher (Amsterdam) and EMAF’s new Head of Film Programmes, Katrin Mundt. Curator duo Gabriela Monroy and Caspar Stracke (Berlin) present a five-part programme on the theme Wild Grammar, featuring not only current works, but also classics from the realms of video art and experimental film. They present films that explore the opposition and coexistence of image and text, or that completely renounce the use of text-based language; that create unconven-tional, politically resistant languages and codes; or that involve the entire body in the movie experience – not just the eyes and the ears. The programme ends with Jean-Luc Godard’s Image Book (Le livre d’image, 2018), the epitome of “wild grammar”, as the curators see it. Graeme Arnfield (London) has curated the programme Dogs Leaving the Factory, showcasing the use of dogs in experimental film from the 1970s to the present or, to be precise, the stories and images that we produce of, along-side and together with dogs. The Media Campus INIT team has selected five film programmes that revolve around inner states such as dejection and melancholy, or asserting one’s identity, and motifs such as searching and hunting. The Film Class of Braunschweig University of Art will be making a guest appearance at EMAF for the second time, showcasing a selection of films that have been produced especially for the festival. The title of their programme – Wild Grandma – embodies the delight in language games and subversion that sparked off our thoughts concerning the theme for 2019. We are delighted that many of the filmmakers and artists will be present at the festival to watch and discuss their films with us and with you.

FILM PROGRAMME

EMAF⟼FINIT⟼F

EMAF⟼F.01Remains to be SeenThu. 25/04, 12:00 ⟼ Lagerhalle

Where language becomes an expression of colonisation (Nutsigassat), where a mineral collection of geological rocks and kidney stones becomes a hypnotic anima-tion (Hoarders without Borders 1.0), where the glossy oil surface of an artwork conceals discarded objects (Mouthful): the films featured in this programme bring to light things submerged, forgotten and suppressed, bearing witness to history, power relations and every-day life. Films about collecting, preserving and ques-tioning – an archaeology of our civilisation.

⟼ Nutsigassat (DK/GL/CA 2018, 20:20) Tinne Zenner

⟼ Hoarders without Borders 1.0 (US 2018, 05:45) Jodie Mack

⟼ Mouthful (IR 2018, 35:53) Shirin Sabahi

EMAF⟼F.02Magic and LossThu. 25/04, 14:00 ⟼ LagerhalleSun. 28/04, 14:00 ⟼ Lagerhalle

In these films, childhood memories, personal histories and fictional structures come together. They re-enact or re-write the past from a subjective point of view. La Mazda jaune et Sa Sainteté tells the story of a Bel-gian missionary who fell in love with a Rwandese girl. Scott Fitzpatrick recounts a date with a past lover (Fifth Metacarpal) . In Ink in Milk, childhood memories are intertwined with semi-fictional autobiographical sto-ries. In Magic, a Portrait of Joris, Chloë Delanghe uses home videos and Super-8 film to portray her brother. You Are an Amazement tells the story of a woman who struggles with spiritual and emotional instability, but feels the strong ambition to do something great.

⟼ La Mazda jaune et Sa Sainteté (BE 2018, 10:31) Sandra Heremans

⟼ Fifth Metacarpal (CA 2018, 06:00) Scott Fitzpatrick

⟼ Ink in Milk (AT 2018 12:12) Gernot Wieland

⟼ Magic, a portrait of Joris (BE 2018, 14:24) Chloë Delanghe

⟼ You Are an Amazement (US 2018, 28:00) Emily Vey Duke & Cooper Battersby

INIT⟼F.03On the HuntThu. 25/04, 16:00 ⟼ Lagerhalle

Limiting anxieties and narrow views as elements that shape our actions. On the materiality of boundaries: a pulsating web. It distorts, opens, breathes, inhales and spits out. Positioning within this construct provokes action and requires reaction. Intoxicated on the prowl, we careen through the hunting territory. But do we have the hound on the leash or is it breathing down our neck?

⟼ Nosis (DE 2018, 08:08) Vincenz Neuhaus

⟼ The Four of Us (CH 2018, 05:20) Daria Locher

⟼ Shepard (UK 2018, 09:37) Willow Rowlands

⟼ Entanglement of Consciousness (UK 2018, 03:53) Chiemi Shimada

⟼ Ducks Don’t Drown (UK 2018, 11:35) Max Leach

⟼ Call of Comfort (DE 2018, 08:49) Brenda Lien

⟼ Augenblicke (DE 2018, 03:45) Kiana Naghshineh

⟼ A Pathetic Effort (NL 2018, 07:20) Ciska Meister

EMAF⟼F.04Delayed FeedbackThu. 25/04, 16:00 ⟼ Filmtheater Hasetor

The recollection of past events shapes the present in these four films: Eva van Tongeren translates her cor-respondence with Thomas, a paedophile, in an audio-visual monologue full of doubt (Still from Afar). In what

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⟼ I ’ ll Remember You as You Were, Not as What You’ll Become (US 2016, 12:31) Sky Hopinka

⟼ Speak in Tongues (IT/PL 2015, 21:30) Zapruder

⟼ I May Have Lost Forever My Umbrella (BE 2011, 02:54) Johan Grimonprez

⟼ Onward Lossless Follows (US 2017, 16:50) Michael Robinson

EMAF⟼F.08Segunda vezThu. 25/04, 20:00 ⟼ Filmtheater Hasetor

Segunda vez revolves around the figure of Argentin-ian psychoanalyst Oscar Masotta, whose thinking and artistic practice had a lasting impact on cultural life in his country in the 1960s, until the Perón dictatorship forced him into exile. In this film, Dora García re-enacts a number of his happenings, and links them to a level of reflection and of discussion that asks about their signif-icance for the present day. Segunda vez is an intense cinematic analysis of the power of the gaze and of sub-mission to observation and suspicion, that also leaves us viewers without a safe haven. Not only the happen-ings themselves, but also the perceptible omnipres-ence of García’s camera hauntingly bring home to us Masotta’s deliberations on psychosis and the thoughts of his contemporary Julio Cortázar on social paranoia.

⟼ Segunda vez (BE/NO 2018, 01:33:34) Dora García

EMAF⟼F.09Eliminating ShadowsThu. 25/04, 22:00 ⟼ LagerhalleSun. 28/04, 12:00 ⟼ Lagerhalle

Analogue aesthetics and digital magic shape the nar-ratives of these films. In Life after Love parked cars become the shiny containers for a collective estrange-ment. Laura Huertas Millán recovers the laby rinthine memories of a man who witnessed the spectacular rise and fall of a drug lord in Colombia (The Labyrinth). Domestic Landscape: Eclipse depicts a space with an ambiguous identity, existing between virtual architec-ture and imaginary landscape. In Fruits of the Loom, a capitalist and a communist move to the Finnish coun-tryside looking for answers and waiting for something new to be born.

remains, Kurdish practices of grief visualise the attempt to reappropriate history. An abandoned paper mill in northern Iran now raises issues of migration, hospitality and filmmaking in Chooka. Walled Unwalled consults criminal history and acoustic evidence to determine the safety of information in seemingly solid buildings.

⟼ Still from Afar (BE 2018, 18:06) Eva van Tongeren

⟼ what remains (NL 2019, 07:05) belit sağ

⟼ Chooka (IR/CA 2018, 21:19) Parastoo & Faraz Anoushahpour, Ryan Ferko

⟼ Walled Unwalled (UK/DE 2018, 21:00) Lawrence Abu Hamdan

EMAF⟼F.05SmokescreensThu. 25/04, 18:00 ⟼ LagerhalleSun. 28/04, 16:00 ⟼ Lagerhalle

How do we look past the veils that are placed between the world and ourselves? Both wry and engaged, Decoy asks us to look at the mechanisms of decep-tion that hide and support the power structures of con-trol. Organic and inorganic illusions meld in Animal Condensed, a sci-fi family drama about healing viruses and unhinged A.I . Fog uses a comparative approach to explore the limits of what nature can reveal when we observe through mechanical eyes. Through a multi-dimensional game of hide and seek Please step out the frame. dives into the personal relationship to the screen. Despair is a skewed doppelganger for a film about a doppelganger.

⟼ Decoy (US 2017, 10:42) Alee Peoples

⟼ ANIMAL CONDENSED>ANIMAL EXPANDED#2 (UK 2018, 14:06) Jennet Thomas

⟼ Tåke (Fog) (NO 2018, 15:00) Inger Lise Hansen

⟼ Life After Love (US 2018, 08:24) Zachary Epcar

⟼ El laberinto (The Labyrinth) (CO/FR 2018, 21:06) Laura Huertas Millán

⟼ Domestic Landscape: Eclipse (CA 2017, 03:27) Sabrina Ratté

⟼ Fruits of the Loom (FI 2019, 31:49) Jaakko Pallasvuo, Antti Jussila & Jari Kallio

INIT⟼F.10The Absence of ApricotsThu. 25/04, 22:00 ⟼ Filmtheater Hasetor

A remote village in the mountains of northern Pakistan. Surrounded by a huge turquoise lake in between rough, steep cliffs. One day, a landslide blocked a river. In a few months, this river turned into a huge lake, which is up to 30 km long. Thousands of homes and fields were flooded. Entire villages disappeared. People were displaced. What is left are the people and their stories which are passed on from generation to generation.

⟼ The Absence of Apricots (DE 2018, 48:48) Daniel Asadi Faezi

EMAF⟼F.11Wild Grammar: Textual EntanglementsFri. 26/04, 12:00 ⟼ Lagerhalle

A selection of films with text appeal, which feature a battle that is as old as cinema itself: the moving image side by side with legible text, either becoming allies or rivals. Therefore the result becoming either a magical symbiosis or a productive conflict. This programme includes classic structuralist text-films that meet con-temporary responses. All of them also bear an aes-thetic fascination: when legible text is placed into time, typography becomes alive, it might even replace – or

⟼ Please step out of the frame. (US 2018, 04:10) Karissa Hahn

⟼ Despair (NL 2018, 21:50) Benjamin Ramírez Pérez

INIT⟼F.06Flickering CosmosThu. 25/04, 18:00 ⟼ Filmtheater HasetorSun. 28/04, 18:00 ⟼ Lagerhalle

The sun’s rays hit the roof of a Baptist Free Church in Vienna, they flood the streets of Tehran, they are remi-niscent of a forgotten casino in Israel. They refract in the spray of the endless ocean, reflect off the freshly painted deck of a cargo ship, penetrate into analogue photo-graphs, and become traces: markers of past moments, evidence of what has happened. Different realities of rit-ual microcosms become apparent. They are observation and inventory, reflection and analysis alike.

⟼ Sunday 11 a.m. (AT 2018, 15:00) Joshua Jádi

⟼ elephantfish (BE 2018, 30:00) Meltse Van Coillie

⟼ İktidarcılık (TR 2018, 02:07) Hamza Kirbas

⟼ Notes on Seeing Double (CA 2018, 11:10) Sanaz Sohrabi

⟼ OASIS (DE 2018, 15:26) Veneta Androva

EMAF⟼F.07Wild Grammar: e læŋgwədʒ wɪθawt wərdzThu. 25/04, 20:00 ⟼ Lagerhalle

Cinema’s greatest potential is the freedom to com-municate in a language that doesn’t depend on writ-ten or spoken words. This selection features films that avoid any complicity with text-based language, rang-ing from Avant-Garde masterpieces of visual poetry to works that feature a parataxis of short and precisely sequenced imagery. There is also a new emerging form of re-appropriated footage which operates through the collision of larger sequences in which meaning simmers like an epigrammatic riddle. But one that can be solved to convey a profound and universal insight into life.

⟼ Sarabande (US 2008, 15:00) Nathaniel Dorsky

⟼ Occidente (BR/FR/PT 2014, 15:12) Ana Vaz

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⟼ Eine Frage ans Licht (DE 2018, 03:50) Aaron Elia Schmitt

⟼ CMB (Kosmische Mikrowellen­hintergrundstrahlung) (DE 2019, 03:30) Frederic Klamt

⟼ Weltfrieden (DE 2019, 05:04) Malte Hartewieg

⟼ Tell me more (DE 2019, 01:06) Malte Draeger

⟼ ロベルト (Robert) (DE 2019, 18:08) Takashi Kunimoto

EMAF⟼F.14CrosstalkFri. 26/04, 16:00 ⟼ Filmtheater Hasetor

These films explore the unexpected or even unde-sired effects which one phenomenon may have on another. The Transfiguration reflects the world of those whose identity falls outside the normative social nar-rative. In Monia, two conflicted protagonists seek help from a group therapist, who herself is also struggling. Mirror Travelling is a formal exploration of film and movement highlighting the subjectivity of our cinematic experience. Sheet no. 4 joins together several artistic performances through a narrative logic of perpetual flux.  Plant Dreaming Deep  may be read as a glitchy hommage to the eponymous book, as we journey into parallel states of introspection and isolation, melan-choly and mystery. Video Home System traces the convergence of popular culture and politics in Paki-stan during the 1980s and 1990s.

⟼ ПРЕОБРАЖЕНИЕ (The Transfiguration) (BG 2018, 20:26) Stephan Ganoff

(EG 2018, 08:16) (Monia) ةينم ⟼ Habiba Afifi, Yasmine Mourad & Nor Khalid

⟼ Mirror Travelling (FR 2017, 02:57) Andrés Barón

⟼ Sheet No4 (FI 2018, 11:35) Sini Pelkki

literally overwrite – the moving image. Ordinary sub- and inter-titles might be hijacked and re-purposed while the presence of text becomes a catalyst for the moving image.

⟼ Word Movie (US 1966, 03:52) Paul Sharits

⟼ The Woolworths Choir of 1979 (UK/IT 2012, 20:00) Elizabeth Price

⟼ OWT (UK 2007, 03:26) Laure Prouvost

⟼ Dossier of Tentacular (FI 2019, 10:44) Tuomas A. Laitinen

⟼ Wal(l)zen (YU 1977–84, 06:00) Ivan Ladislav Galeta

⟼ 5 Lessons and 9 Questions about Chinatown (US 2009, 10:00) Shelly Silver

⟼ Mountain Plain Mountain (JP/NL/ES 2018, 21:00) Daniel Jacoby & Yu Araki

⟼ Dakota (KR 2001, 06:05) Young Hae Chang Heavy Industries

EMAF⟼F.12Staring at the SunFri. 26/04, 14:00 ⟼ Lagerhalle

The films in this programme warn us from the shadows, “There are other ways of looking.” D’etranges vues… ini-tiates our eyes into a flowing, searching type of viewing. Travelling at the speed of thought, Fallen Arches picks up pace, roaring through a landscape of shimmering memory. Their Rancid Words… shows a sun-drenched world corrupted by deceased language where lonely creatures survive in the darkness. Natural and artifi-cial eyes collapse in The Air of the Earth… forming a jamboree of uncertain reflections. Sans lune is a lyrical evocation of the struggle to regain steady footing in a barbaric environment, where Goodbye Fantasy is an impassioned cry for embodied acts of seeing.

⟼ Plant Dreaming Deep (CA 2018, 07:11) Charlotte Clermont

⟼ Video Home System (CA 2018, 19:10) Sharlene Bamboat

EMAF⟼F.15Special: Dogs Leaving the FactoryFri. 26/04, 18:00 ⟼ Lagerhalle

Cinema is a medium about dogs: The first images by the Lumiere Brothers colloquially referred to as Workers Leaving the Factory (1895) could equally be entitled Dogs Leaving the Factory, for amongst its throngs of exiting image labourers are a tangled multitude of dogs – each of them indifferently performing towards ways of thinking about and through our more than human relations. Formed from historical and contemporary films, this programme looks at the stories we tell about dogs, the images we pro-duce about, alongside and in collaboration with them. Ask-ing what it is to talk to, for and about animals, to domesti-cate and live alongside them in intimate feral negotiation.

⟼ Barking (US 1973, 02:22) Joan Jonas

⟼ Bone (IE 2015, 10:43) Jenny Brady

⟼ Telling Jokes at Dogs about Steve Martin (UK 2019, 06:59) Thomas Matthiesen

⟼ Walking the Dog (CA 1991, 02:32) Steve Reinke

⟼ Elegy (US 1991, 11:51) Joe Gibbons

⟼ Of Violence (UK 2018, 04:03) Heather Phillipson

⟼ Man Ray, Man Ray (US 1978, 05:20) William Wegman

⟼ Pedigree (UK 2018, 21:30) Graeme Arnfield

⟼ D‘étranges vues et de joyeux vestiges (FR 2018, 12:08) Guillaume Mazloum

⟼ Fallen Arches (UK/US/HK 2018, 10:29) Simon Liu

⟼ Their Rancid Words Stagnate Our Ponds (UK 2018, 08:36) Andrew Kötting

⟼ The Air of the Earth in Your Lungs (US/JP 2018, 11:20) Ross Meckfessel

⟼ Sans lune (DE/CH 2017, 08:02) Sophie Watzlawick

⟼ Goodbye Fantasy (US 2018, 15:01) Amber Bemak & Nadia Granados

INIT⟼F.13Wild Grandma — Made by Film Class Braunschweig Fri. 26/04, 16:00 ⟼ Lagerhalle

This year’s theme Wild Grammar sounds like a con-tradiction in itself: grammar structures and lays down rules; whereas wildness dismantles systems. In the Film Class of Braunschweig University of Art, wild thoughts are permitted; wild, yet personal. Freedom of the mind knows no bounds; the only limits to imagination are of a technical nature. The balance between freedom and wildness on the one hand and grammar and technology on the other is very much the maxim of the Film Class. The aim is always to find the most authentic and honest possible formulation for the highly personal, ‘crazy’ view of the world. In the process, unorthodox methods may be used to transcend technical specifications or limits.

⟼ Parallel (DE 2019, 02:43) Vitalii Shupliak

⟼ Open Cage, Tied Dove (DE 2019, 12:43) Atiye Noreen Lax

⟼ Sweet as Candy (DE 2018, 02:33) Conrad Veit & Charlotte Maria Kätzl

⟼ FlipaKo (Fließende paralysierende Ko existenz) (DE 2019, 02:46) Derhoske

⟼ Wanderlust (DE 2019, 03:30) Lukas Bury

⟼ Koi, Fluss, Füße, Ente. (DE 2019, 08:55) Frederic Mac Vetter

⟼ Me gusta bailar en la calle por la noche (DE 2019, 15:20) Lerik Romaschenko

⟼ The Ritual (DE 2019, 02:40) Lukas Hofmann

⟼ Oxytocin (DE 2019, 02:15) Lilith Queisser

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⟼ Smash It (AU 2018, 25:00) Brook Andrew

EMAF⟼F.19Ne travaille pas (1968–2018)Fri. 26/04, 22:00 ⟼ Filmtheater Hasetor

Love and violence are the two poles between which this unconventional portrait of two artists is played out. César Vayssié accompanied Elsa Michaud and Gabriel Gauthier for a whole year. Impressions of their every-day life, newsfeed fragments, snatches from adverts, YouPorn and social networking sites, graffiti and slo-gans from the ’68 movement, shown in rapid succes-sion and accompanied by a minimalist club score, come together to produce the picture of a generation seek-ing an attitude and agency among creative work and political action, intimacy and distraction. A breathless diary, 50 years on from May 1968.

⟼ Ne travaille pas (1968–2018) (FR 2018, 01:28:00) César Vayssié

EMAF⟼F.20Wild Grammar: Beyond the ImageSat. 27/04, 12:00 ⟼ Lagerhalle

The essence of that what we are calling Wild Grammar could also be found in a cinema that requires to be per-ceived with the entire body – through the eyes, ears, nose and through the skin. This small excursion begins with a film that needs to be watched with closed eyes, segueing to films that are dominantly guided by their soundtrack, others provoking imaginary scents, syn-esthetic activity and audience participation.

⟼ Close Your Eyes (US 2007, 03:00) Naho Taruishi

EMAF⟼F.16Assets and RisksFri. 26/04, 18:00 ⟼ Filmtheater Hasetor

Films about exploitation relationships, risk assessment and profit maximisation on a large and small scale. Global trade relations – the journey of a mobile phone from a cobalt mine in Congo to the assembly line in China – take centre stage in Chinafrika.mobile . Pri-marily a stylised filmed bullfight in the south of France, Tourneur stages images of masculinity and observes risky manoeuvres being weighed up. untitled (a refusal of leave to land) questions capitalist mechanisms of profit and morality based on the conduct of the Krupp Corporation during the Third Reich.

⟼ Chinafrika.mobile (DE 2018, 38:26) Daniel Kötter

⟼ Tourneur (DE 2018, 14:22) Yalda Afsah

⟼ untitled (a refusal of leave to land) (DE 2018, 28:52) Marian Mayland

EMAF⟼F.17Changing SeasFri. 26/04, 20:00 ⟼ Lagerhalle

The four films look at change in relation to individual human lives and ideas. Sec Rouge looks at the trou-bled practitioners of a dying profession. Instructions on How to Make a Film casts a humorous view on the how-to tradition of instructional films. Vever (for Bar­bara) reveals the transformative power of time and finds new meaning in the combined footage of three filmmakers‘ abandoned projects. I Hope I ‘m Loud When I ‘m Dead considers the future in times of social upheaval, political turmoil and uncertainty through a series of dramatic recent events, seen through the prism of motherhood.

⟼ Curious Fantasies (work in progress) (US 2019, 08:00) Jesse McLean

⟼ Associations (UK 1975, 06:30) John Smith

⟼ DIT Learn (BE 2017, 15:44) Laure Prouvost

⟼ The Glass Note (US 2018, 19:25) Mary Helena Clark

⟼ Immortal, Suspended (US 2013, 05:50) Deborah Stratman

⟼ Black (BE 2015, 04:47) Anouk De Clercq

⟼ Not even Nothing Can Be Free of Ghosts (AT/DE 2016, 11:00) Rainer Kohlberger

⟼ 7360 Sukiyaki (US 1974, 07:00) Tony Conrad/MAKE IT HAPPEN AGAIN

INIT⟼F.21Patchwork IdentitiesSat. 27/04, 14:00 ⟼ Lagerhalle

In the struggle against established structures and behaviour patterns, one’s own identity is repeatedly put to the test. Blurred recollections of childhood, repres-sive mechanisms in everyday life, and misunderstood stereotypes inhibit us. Body and mind grapple with social norms. Our fragmented identities are somewhere in the territory of archaic rules. We pull at the seams of the patchwork rug.

⟼ Mom’s Clothes (US 2018, 05:35) Jordan Wong

⟼ Meanwhile on Set… (UK 2018, 15:00) Jennifer Martin

⟼ #popfem (DE 2016, 07:11) Binha Haase

⟼ In Our Skin (UK 2017, 03:55) Rosa Beiroa

⟼ 꽃 (US 2018, 04:17) Chaerin Im

⟼ Drone Dogs (DE 2018, 03:07) Ella Funk

⟼ 우리 아버지께 (DE 2018, 11:15) Yu-Jin Kim

⟼ Manipulation (Trostfrauen) (DE 2018, 02:30) Seungkyu Jung

⟼ Sec Rouge (DE 2018, 26:48) Kate Tessa Lee & Tom Schön

⟼ Instructions on How to Make a Film (US 2018, 13:06) Nazlı Dinçel

⟼ Vever (for Barbara) (US 2019, 11:56) Deborah Stratman

⟼ I Hope I ’m Loud When I ’m Dead (UK 2018, 20:00) Beatrice Gibson

EMAF⟼F.18Wild Grammar: GrammarchyFri. 26/04, 20:00 ⟼ Filmtheater Hasetor

This programme features works that develop unique forms of conceiving a language of political urgency. It is a radical and subversive form of language that resists normative structures. It is also an idiosyn-cratic and coded language in which the form of the film supports the intention to deeply confront socio- political issues. The works in this programme range from emphatic Anti-Apartheid statements, to an outcry against the 80s AIDS crisis, to reflections on Neo-and Post-Colonialism and the transmutation of state violence.

⟼ Teletext (DE 1967, 12:40) Kriwet

⟼ Abecedario/B (MX 2015, 04:55) Colectivo Los Ingrávidos

⟼ Between Empathy and Sympathy Is Time (Apartheid) (JP/US 2003, 04:17) Terre Thaemlitz

⟼ Last Night I Took a Man (US 1989, 4:33) Marion Scemama & David Wojnarowicz

⟼ We Began by Measuring Distance (PS 2009, 19:00) Basma Alsharif

⟼ Basta (FR 2018, 01:25) Yann Beauvais

⟼ All That Is Solid (UK 2014, 15:40) Louis Henderson

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EMAF⟼F.22Here and HereafterSat. 27/04, 16:00 ⟼ Lagerhalle

These films reside in the liminal zone, where what was, what is and what could be intermingle in an unsettled dance. Altiplano transforms a disturbed landscape into an extraordinary world, real and imagined, vibrant and on the verge of collapse. In La Bala de Sandoval a bullet is an intimate stranger and a mysterious friend. Midnight Orange explodes an aristocratic gravesite with energetic verve. In Serpents and Doves the be- hind the scenes staging of a Christian passion play is the background for a different type of staging: faith and fear in everyday life.

⟼ Altiplano (CL/AR/CA 2018, 15:20) Malena Szlam

⟼ La Bala de Sandoval (EC 2019, 17:09) Jean-Jacques Martinod

⟼ Midnight Orange (FR/IN 2018, 10:03) Gautam Valluri

⟼ Serpents and Doves (US 2018, 30:10) Nellie Kluz

INIT⟼F.23I Just Can’tSat. 27/04, 16:00 ⟼ Filmtheater Hasetor

A rhythmic clicking meanders through the room. Click-clack. Click-clack. It penetrates the silence and the self-imposed isolation. The endless corridors, the pale carpets, twilight, solitude for two. The time has come to take notice of oneself. We want to be needed. How relieved we all are when grandma starts to play the organ, and the grimace of stasis turns into a smile.

⟼ Eine Laerche ist ein Baum und ein Vogel (CH 2018, 13:46) Michele Flury

⟼ Nest (DE 2018, 08:53) Eszter Jánka

EMAF⟼F.25Wild Grammar: Le livre d‘imageSat. 27/04, 18:00 ⟼ Filmtheater Hasetor

A small cinema blog Festreviews has called, Jean-Luc Godard’s Le livre d’image a “Swiss avant-garde horror essay”. We could not find a more suitable description of a genre that refuses to be categorized, and will only add to what we experience in Le livre d’image as Wild Grammar in its absolute purest yet most complex form. A single film that combines every aspect we explored in this program series. In this section, one Godard meets another Godard, before we open the Image Book, a short gust from the West will blow through the theatre.

⟼ Vent d‘Ouest (CH 2018, 04:48) Unknown

⟼ Image Book (Le livre d’image) (FR/CH 2018, 01:30:00) Jean-Luc Godard

EMAF⟼F.26Faire-partSat. 27/04, 20:00 ⟼ Lagerhalle

On the eve of the elections in the Democratic Republic of Congo, two Congolese and two Belgian filmmakers create a film about Kinshasa and the resistance to the legacy of colonialism that is forming there. Faire­part is these four filmmakers’ search for a method of translat-ing the city into images. They decided to portray the city as a stage where the polyphony of the present-day city is expressed: artistic/activist performances in public spaces convey an unusual picture of Kinshasa and its relationship to the rest of the world. And the central question remains ever-perceptible: How can you tell a story collectively when you have grown up on oppo-site sides of history?

⟼ Faire­part (BE 2019, 58:19) Anne Reijniers, Nizar Saleh, Paul Shemisi & Rob Jacobs

⟼ The Heart Alone is Empty (DE 2018, 23:57) Lilli Moors

⟼ Vivace (UK 2018, 04:48) Willow Rowlands

⟼ Laszlos Lampe (DE 2018, 13:00) Pia Schmikl

EMAF⟼F.24New OrdersSat. 27/04, 18:00 ⟼ Lagerhalle

A programme about constellations of bodies and objects in motion, in which social relations manifest themselves. Déploiements combines the synchronised gestures of fighter pilots with simulated control sce-narios in a virtual city. In Black Bus Stop, Afro-Amer-ican students reappropriate a place of historical sig-nificance in dance. Överföringsdiagram nr 1 depicts the production of history in acts of destroying and restoring documents. Ultramarine is an improvisation of voices, rhythms, bodies and objects in which traces of colonialism are visualised.

⟼ Déploiements (NL 2018, 16:13) Stéphanie Lagarde

⟼ Black Bus Stop (US 2019, 09:25) Kevin Jerome Everson & Claudrena N. Harold

⟼ Överföringsdiagram nr 1 (SE 2018, 08:30) Lina Selander & Oscar Mangione

⟼ Ultramarine (BE/FR/CA 2018, 42:20) Vincent Meessen

Award CeremonySat. 27/04, 21:00 ⟼ Kunsthalle Osnabrueck

Two juries will decide on the VDFK Media Art Award, the Dialogue Award of the Ministry of Foreign Affairs and the EMAF Award.

EMAF⟼F.27Special: Funeral Parade of RosesSat. 27/04, 22:30 ⟼ Lagerhalle

A A Japanese New Wave classic by the legendary exper-imental filmmaker and video artist Toshio Matsumoto that reflects the enormous energy of the 1960s gay counterculture in Shinjuku, Tokyo. Loosely based on the myth of Oedipus, the film revolves around the love triangle between bar owner Gonda, his long-time madame and lover Leda, and the young transgen-der icon Eddie, who is vying for Leda’s role alongside Gonda. The film cares little about the purity of cin-ematic conventions, moving freely between fictional, documentary and experimental forms, and borrowing from the artistic avant-garde of the time. Matsumoto likened the structure of his film to dropping a mirror on the floor and picking up the broken pieces.

⟼ Funeral Parade of Roses (JP 1969, 01:44:00) Toshio Matsumoto

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Languages enable us to express, name, categorise and interpret our experi-ences – as well as the ideas we have that go beyond reality – facilitating com-munication about them. Whether sign language or programming language, visual imagery or body language, rituals or the canon of artistic forms of expression – language is a sign system that has evolved from a consensus and that simulta-neously construes consensus; a sign system that is based primarily on an act of reduction and of exclusion. Aspects of our quintessential sensory experience of reality are always lost in its transformation into language. In the worst case, then, our perception of reality is reduced; in the best case, however, our different lan-guages enable us to develop ideas and views that refer back to reality beyond their boundaries. It is a fine line requiring constant re-negotiation. Now, reality itself is by no means interested in being reduced, arranged or regimented by language. Time and again, it emerges from behind language, creating phenomena and perceptions that we are unable to express in words. Art, in particular, offers us the possibility to reflect on how we access reality through language, and to break down barriers – enabling us to visualise and experience the reality that lies hidden behind language. The exhibition Wild Wild Grammar invites us to sense those boundaries. It conveys a pleasant inkling of the chaos and potential that is concealed and repressed by our speech. The exhibition explores how our different language sys-tems have become enriched with new words, signs and grammars in a bid to expand our understanding of the world  – and when, perhaps, it may simply be better to remain silent. ⟼ The exhibition was curated by Hermann Noering and Franz Reimer.

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Studio Hallo ⟼ Ale Bachlechner, Jonathan Kastl &

Felix Zilles-Perels4 live online broadcasts (DE 2018)

Studio Hallo is a performative, post-documentary online television format, devised and implemented by “city center studio” (Ale Bachlechner, Jonathan Kastl and Felix Zilles-Perels). Being an artistic do-it-yourself format, Studio Hallo takes an open approach to the codes and established image and speech patterns of TV and streaming series; it mediates between the individual and the relation to the world; it humorously negotiates micro- or macro-sociological snapshots; and, above all, brings to the fore the contingency of all media realities.

Koorvorming⟼ Jo CaimoCollective performance (BE 2016)

Koorvorming is an installation that becomes a collective performance by the audience. All attendees sing while everyone holds a speaker over one ear, an earpiece in the other ear, and a blindfold around the head. Through the loudspeaker, the audience hears the voice of the artist, giving instructions to sing along. In this choral polyphony, harmony and rhythm become only inci-dental phenomena. After singing, everyone gets a CD with the ready-made recording of all voices together. A video documentation of the performance can be seen in the installation. Performances on 25/04, 17:00, 28/04, 14:00

and on Museum Day, 19/05, 14:30. Registration for collective singing under +49 (0) 541 21658 / A video documentation of the performance can be seen in the exhibition.

Predictive Art Bot⟼ DISNOVATION.ORG /

Nicolas Maigret & Maria RoszkowskaVideo installation (FR/PL 2018)

Predictive Art Bot caricatures the predictability of media-influenced artistic concepts, by automating and bypassing the human creative process. To do so, it continually monitors emerging trends among influ-ential news sources in fields as heterogeneous as politics, the environment, innovation, culture, activism, and health. From this information feed, it identifies and combines keywords to generate concepts of artworks in a fully automated way, ranging from unreasonable to prophetic to absurd.

Infinity Drift⟼ Lena Marie EmrichVideo (DE 2018)

In her project, the artist cooperates with Branden-burg’s car tuning community. The infinitely tuned vehicle appears to never start or come to a halt, and endlessly follows the line of the infinity symbol – the romance of a never-ending journey out of nowhere, to nowhere. The camera rises, the heart beats faster, the seconds pass more slowly, and life could not be any more intense. Every word would be a word too many.

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poems, provide a humorous commentary on the theme of the exhibition.

No Thing / Nothing⟼ Jens PechoSound & light installation (DE 2016)

A spotlight illuminates an empty space on the floor of the exhibition room, while a monotone voice keeps repeating the words “no thing”. Several minutes later, the spotlight slowly fades, and the speaker changes the emphasis of the words up to a point where, the room having reached complete darkness, he says “nothing”. Then the process is repeated in reverse order. Since, however, the phonetic instrument of the human voice is not infinitely adjustable, the speaker uses an artifi-cial vowel at times that connects the sounds əʊ and ʌ.

The Dust Channel⟼ Roee RosenVideo (ISR 2016)

The Dust Channel stages an operetta performance with a Russian libretto amidst the home environment of a bourgeois Israeli family whose fear of dirt, dust and any foreign presence ends in a perverted love of cleaning equipment. The Dust Channel associates the fear of dust with a current form of xenophobia in Israel, and refers indirectly to a detention camp in the Israeli desert where political refugees who are not recognised by the state are detained for long periods. This camp is called “Holot” – the Hebrew word for “sand”.

Die Jule mit den Pizzabrötchen⟼ Matthias HübnerBook (DE 2012)

In April 2012, Matthias Hübner bought a mobile phone on eBay, which he received at his home a week later. When he inserted the SIM-card into the phone, and got ready to use it, he found out, that the phone still stored messages from the previous owner, 900 messages to be precise. He started to read into this new treasure, and soon found himself entangled in a web of relation-ships, accusations, and signs of affection. Its publica-tion makes it possible to follow the breadcrumbs of a love story of epically banal proportions.

Zunkstujects-Tterings ≈ The Materialist Cult⟼ Thomas KeiserLive performance (DE 2017)

Zunkstujects­Tterings ≈ The Materialist Cult is specu-lation on a cult in a future yet to come. In a performative ritualistic ceremony, attention is drawn to the agency of things, aiming towards a spiritual connection with the thing-world. The focus lies on found objects, the sounds these objects produce with help from humans and machines, and the TV-series Gossip Girl (2007–2012), which serves as a catalyst for this speculation. A video documentation of the performance can

be seen in the exhibition.

Deux Hémisphères⟼ Tessa Knapp & Hanane El FarissiVideo (DE 2018)

In this video, both artists share their optical perception in a stereoscopic performance, and attempt to syn-chronise their Worldviewfinder in which they coordi-nate their focus and field of vision, first in Arabic and German, then in French and English. We watch the fail-

Flexible Erwartungsauffälligkeit⟼ Catharina SzonnKinetic installation (DE 2018)

A motion that does not involve progression. The work Flexible Erwartungsauffälligkeit is a mechanical motion system from a textile laundry that makes everything circulate constantly, and yet in vain. The objects attached to the storage magazine are pulled along mechanically until they have worn themselves out. The impression of motion and progress proves to be mis-taken – after all, the distances and movements remain virtually unchanged. A representation of a social state in which ideological bywords such as flexibility and variability turn out to be meaningless clichés.

Supportive Structures⟼ Ginta Tinte Vasermane3-channel video installation (NL/LV 2016)

Inspired by images of politicians presented in the media, brawling with each other in the heat of debate, the work Supportive Structures leaves its fictional politicians to themselves. They do not seem to care about their formal role for even a moment, and, like their coun-terparts from the real world, the spectacle mainly degenerates into a theatre of the absurd. The com-fort zone of a bureaucratic environment and gestural procedures comes into question with the Supportive Structure. Seemingly improvised sets of unpredictable movements in randomised spaces and situations are

ures and the successes, as the commands arrive from sender to receiver from one hemisphere to another, and the two eyeballs appear to mutually perceive their common surroundings.

Ancietism⟼ Hanne LippardAudio installation (NOR/DE 2013)

The text of this audio installation is a self-portrait based upon the artists own physical relationship to language and speech. It is centred around the multiple uses of the mouth; as a violent bite as well as a tool for elo-quent communication. The mouth in public acts differ-ently to that of the mouth in private; as an organ, as a woman, as a social phenomenon. The self-made term ‘Ancientism’ refers to the physical feeling of being part of a long linearity of human tradition, rather than the awareness of the timeline as a historical fact. It is a feeling rather than a knowing. The word is also a play on the broad use of the terms ‘Exotic’ or ‘Authentic’ when describing traditional artefacts and tendencies, in lack of a more specific word.

Curse I–XIII⟼ Hanne LippardLaser-engraved Plexiglas tablets (NOR/DE 2018)

Curse I­XIII reinterprets Roman curse tablets. The original curse tablets were generally created in the AD 2nd – 4th centuries by voiceless, provincial, non-cit-izens, women, or slaves – those whose voice did not count and who saw themselves relegated to the sym-bolic margins of the empire. While these tablets prom-ised vengeance, they provided, above all, a release for psychological strain, like the platforms of expression offered by social media today. The artist has com-posed thirteen tablets as variations on the theme of resentment and malevolence. These revenge letters, which the artist sees as much as parodies as visual

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Media Campus INIT, a platform for emerging young artists, uses four different film and exhibition venues to showcase their latest works, covering a broad spectrum of artistic positions that become linked. Whether sound-producing objects, visual works or video art: the pieces expand and augment the media space, encouraging dialogue between visitors and installations. The three exhibitions, each with their own individual theme, take place at all kinds of venues throughout Osnabrueck city centre this year. At Kunstraum hase29, visitors can expect to find exhibits such as robots with questionable functions, an installation helping the artist come to terms with a burglary at his flat one night, and a programming language based on the knowl-edge of a fictional scientist. Furthermore, students from Osnabrueck University’s Department of Art showcase their work from last semester at bbk’s Kunstquartier. At Haus Heger Straße 29/30 and the Haus der Jugend, academy classes and subject groups present a selection of installation works, performances, VR projects and club events they have chosen under the title INIT Experience. The Media Campus INIT team has also compiled five film programmes featuring different thematic focal areas. In addition, Braunschweig University of Art presents its thematic programme called Wild Grandma, produced exclusively for EMAF by Professor Michael Brynntrup’s class. ⟼ Curated under the guidance of Tim Duvendack and Wiebke Glaw. INIT Experience was coordinated by Hermann Noering.

rigorously repeated in continuous circles, laying bare the absurdities and tragicomic aspects of humanity’s slapstick communication.

4. Halbzeit⟼ Wermke/Leinkauf2-channel LED video installation (DE 2017)

This installation deals with the phenomenon of Ultras – organised football fans – in the context of sociopoliti-cal uprisings, where they spilled out of the confines of stadiums and turned their techniques of resistance towards political action. Whether it was the Gezi-Park revolt of Istanbul, the Arab Spring, or the riots on the Maidan in Kiev. With their football aesthetics of flags, colorful shirts, catchy songs, and drums, Ultras were able to fill public spaces and mobilise the masses. 4. Halbzeit investigates the rousing audiovisual strategies of the Ultras and their unpredictable and difficult- to-classify path to protest culture. The project is kindly supported by DFB- Kultur-

stiftung, technical realization is kindly supported by

Always welcome (II)⟼ Jonas WilischInstallation (DE 2018)

Always welcome explores the ambivalence of formal reception procedures, using the example of the empty phrase “You’re welcome”. As visitors approach the installation, featuring the A. Jacobsen chair ready-made, a male voice rings out, controlled by a sensor. What starts out as the welcoming phrase “You’re wel-come“ undergoes change with a variety of linguistic nuances, degenerating finally into the principle of pure demand. It is language alone that dominates and changes these situations.

The Radical Empathiarchy⟼ Anna Witt2-channel video installation (DE 2018)

Anna Witt follows a group of young people in Leipzig while developing a performative manifesto for a poten-tial youth movement. During their conversations, they discuss their personal ideas of utopias and express their own feelings about the prevailing systems. By ques-tioning and deconstructing existing norms and values of our society, they follow their own ideas of these concepts and their meanings to articulate the youth movement’s inherent purpose. According to their own imagination and sensations, they translate their mani-festo into physical forms of expression and performa-tive interventions in public space.

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INIT⟼E.02: Boy Next Door – Sebastian Weise

INIT⟼E.02⟼ Kunstraum hase29

This year, Media Campus INIT addresses all kinds of young artists’ positions in the form of room installa-tions and sound installations, videos, and cybernetic machines at hase29: a football match is broken down into its auditive elements, clichés are deprived of their meaning, and a machine generates sounds in a continu-ous feedback loop, while robots attempt to emulate more or less natural behaviour patterns.

⟼ 1.000 Behaviours Lukas Stöver

⟼ barkerlang 0.1 Paul Seidler

⟼ Boy Next Door Sebastian Weise

⟼ Do Humans Dream of Machines? Jonghong Park

⟼ Drawhearts Sebastian Weise

⟼ I Can’t Sleep With My Knife Giorgi Gedevanidze

⟼ Kōan Jin Lee

⟼ Score Joep Hinssen

⟼ tele­ Noriyuki Suzuki

INIT⟼E.03⟼ Kunstquartier des bbk Osnabrueck

At bbk’s Kunstquartier, students from Osnabrueck Uni-versity’s Department of Art showcase their latest works, somewhere between sculpture and video art.

⟼ Seeing You Watching You Azim F. Becker

⟼ space Nicole Widner

⟼ Zwischen ° Raum Henrieke Homburg

INIT Guided TourThu. 25/04 – Sun. 28/04, daily at 13:00 and 17:00 Meeting point: hase29

INIT⟼E.04: Metamorphosis: Herbarium – Julia Jesionek

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EMAF⟼TINIT⟼E.04INIT Experience⟼ Haus der Jugend & Haus Heger Straße 29/30

Following a very successful launch in the Theater-passage last year, the INIT Experience festival sec-tion is to be continued at Haus der Jugend and in the building at Heger Straße 29/30. Classes and subject groups from various higher education institutions and academies use this experimental exhibition context to showcase their work. The Expanded Ideas of Filmic Spaces and Conceptual Photography class ( Professor Rosa Barba) at the University of the Arts Bremen, for example, stages its audiovisual works in the form of a dialogue on opposite walls. The Mixed Media Studio (Professor Roel Kerkhofs) at LUCA School of Arts, Ghent, presents what is referred to as exhibition per-formances, which can be set up in the Main Hall and dismantled again within the space of an hour. Students from the AKI Academy of Art and Design in Enschede (Prof. Paul Jansen Klomb & Prof. Pieter Baan Muller, Fine Art All Space  & Sculpture) present their installations throughout the building. Students from KHM’s exMedia subject group  (Professors Anke Eckardt [Sound], hans w koch [Sound], Franziska Windisch [Sound], Georg Trogemann [Experimentelle Informatik], Isabel Herguera [Animation], Zilvinas Lilas [3D Animation]) exhibit light installations and VR projects, and present sound per-formances and animations.

KHM Cologne: Animations by Yana Ugrekhelidze, Sae Yun Jung, Eszter Janka, Ahmad Saleh, Eun Jin Park, Igor-Shin Moromisato, Camilo Colmenares, Anna Lytton, Anna Mahendra. Performances by Dawid Liftinger and Formalhaut plus Installations by Hye Young Sin, Jiyun Park, Julia Jesionek, Mattis Kuhn, Nausheen Javed, Shuree Sarantuya, Sophia Bauer, Ziting Huang and Guoxin Tian

AKI Academy of Art and Design Enschede: Instal-lations by Esmee van Zeeventer, Philipp Schmidt, Tessa Langeveld, Lasity Last, Piet Teeuwes and Cai Socias und Nandile Timmerije

University of the Arts Bremen: Films by Tobias Becker, Levi Glass, Lucas Kalmus, Thomas Keiser, Suin Kwon, JuHyeong Lee, Rang Lee, Sebastian Moske, Jiwoo Park, Behshad Tajammol and Yuliya Tsviatkova

LUCA School of Arts, Ghent: Mixed Media Studio advances the sensory possibilities of artists’ talks, performative exhibitions, artistic clubbing and other art happenings Works by Kiki Abels, Ula Aukstaityte Stan Auwers, Ines Bodlovic, Sarah Buniowski, Jan Claerbout, Elia Claessen, Renske Cocquyt, Sjef Cocriamont, Ben De Graeve, Anna De Sutter, Deveny Faruque, Janne Gistelinck, Catarina Golçalves, Oonagh Haines, Sjeng Kessels, Mose Lein, Thuy Le Thi Thu, Marti Madaula, Nello Margodt, Marthe Marynissen, Siebert Mispelon, Mozes Mosuse, Roos Nieboer, Eleni Papadopoulou, Matteo Patelli , Tasha Joan Paul, Zeno Peeters, Anna Puschel, Irene Ragusini, Nyall Smith, Loeka Stoop, Fela Susant, Charlotte Symoens, Elvira Tjon, Magnus Vandenbergh, Ryan Vander Elst, Oscar Van Geertruyden, Tobin Verdonck, Romé Vlugt and Zarah Zahler.

Music & Art Academy Osnabrueck: presents an installation by Yasmin Behrens, Merlin Dalkowski, Anna-Lena Metten, Lauand Ibrahim, Aiad Jumoa, Jan Mohamed Ahmed und Monika Witte

Udk Berlin  / SoD Cologne  / HS Osnabrueck: A team of University of Arts Berlin, of International School of Design Cologne and of Academy of Applied Science Osnabrueck (Jannik Bussmann / Dirk Erdmann / Robert Schnüll) presents the kine-tec light and sound installation 20 Grad Gravity Raising one’s voice is a political act of speech, and speech is a performed act of

speaking. In recent years, the culture of speech has undergone dramatic tech-nical and socio-political change. A changing world is touted as an unstable per-manent crisis. Anti-democratic politicians have made lies socially acceptable in the form of staged rhetoric repetition. Wild Grammar: everywhere, speech appears to have become wild and rough. Battles are fought – using toxic weapons like shitstorms, hate comments, fake news, death threats and organised crazed armies  – against info warriors, counter-speech, fact-checkers and alternative reporters. And yet not only social media channels such as Twitter, Facebook and YouTube have become linguistic battle fields. Strategies to combat self-censor-ship and so-called outrage burnout are also in demand. EMAF exemplarily con-sults scholars, artists, critics and curators. The themes revolve around manip-ulations and right-wing populism on the web, technological language definitions, creative destructions of meaning, linguistic upheavals and a longing for poetry. Overlaps are created by talks with artists represented in the EMAF exhibition, and the keynote by art and film critic Michael Hübl on Godard’s new film Image Book (Le livre d’image, 2018). ⟼ Curated by Alfred Rotert and Sabine Maria Schmidt

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EMAF⟼T.01Artist Talk mit Ale Bachlechner, Catharina Szonn & Ginta Tinte VasermaneFri. 26/04, 12:00 – 13:15 Moderated by:

Julia Draganović (in English)

The artists will talk about their installations that are being show-cased in the EMAF exhibition, and about other artistic pieces they have produced. The multichan-nel installation Studio Hallo (Ale Bachlechner, Jonathan Kastl & Felix Zilles-Perels) sounds out the possi-bilities of performance, post-docu-mentary online TV formats.

Flexible Erwartungsauffälligkeit by Catharina Szonn is based on a mechanical, futilely circulating apparatus that is not only a mobil-ity machine, but also a machinery of destruction.

In her multichannel video instal-lation Supportive Structures, also containing strong performance elements, Ginta Tinte Vasermane negotiates news images of absurd, slapstick-style debates.

EMAF⟼T.02Lecture by Inke Arns, followed by a talk: The Alt-Right Complex – On right-wing populism on the webFri. 26/04, 14:00 – 15:15 Moderated by:

Sabine Maria Schmidt (in English)

Inke Arns broaches the topic of right-wing populism, which uses the internet and social media for dissemination purposes. The term AltRightComplex signif ies the development from a (sub-)culture of transgression in online forums such as 4chan to platforms like Breitbart News. For her latest exhibition proj-ect, Inke Arns compiled a critical glossary, and examined how artists respond to phenomena evolving in the new right-wing cyberculture. The artists explore the topics of memes (e.g. Pepe the Frog, arguably the best-known symbol of Trump supporters), central figures used in such fringe groups, flag worship, the prepper scene, white suprem-acists and the Dark Enlightenment.

EMAF⟼T.03Double panel with brief lectures by Emillie V. de Keulenaar & Claudio AgostiFri. 26/04, 16:00 – 17:15 Moderated by:

Alfred Rotert (in English)

Transgressive language and taboo knowledge in reactionary subcul­tures of the deep vernacular web⟼ Emillie V. de Keulenaar

Anonymous forums, alternative wikis and “dank memes” have led to the emergence of a new inter-net, known as the “deep vernacu-lar web” (OILab2018). What’s it all about? Destroying the suprem-acy of liberal “political correct-ness”, and establishing in its place a transgressive language, tasteless humour, and “alternative” facts in connection with “tabooed” science and political ideologies, says Emilie V. de Keulenaar.

Algorithms regulate our informative experience: the story of our resis­tance. ⟼ Claudio Agosti

Since the end of the 1990s, Agosti has been tracking down the deriva-tions and paths of data. He spoke out against corporate monitoring, and established “facebook track-ing exposed.” Agosti reports about the possible resistance to invisi-ble algorithms, using the example of “tracking exposed” during the upcoming European elections.

EMAF⟼T.04Lecture by Michael Huebl:Colourful dogs dance before the black holeFri. 26/04, 18:00 – 19:15 Moderated by:

Sabine Maria Schmidt (in German)

The art critic and editor of the Ba-dische Neuste Nachrichten writes, among other things, the essay-style column “Fragen zur Zeit” (Kunst-forum International). As a warm-up to Godard’s film Image Book, he will explore visual stress and address the extent to which verbal language attempts to outdo visual language.

EMAF⟼T.05Artist Talk with Achim Mohné & Jens Pecho:Orbital irritations and NoTHINGSat. 27/04, 14:00 – 15:15 Moderated by:

Sabine Maria Schmidt (in German)

In his series of works entitled REMOTEWORDS, Achim Mohné has for ten years now been ‘occupying’ commercial image distribution sys-tems such as Google Earth, whose satellite cameras are misused as transmitters of artistic messages.

Jens Pecho’s artistic compaction of language is always based on found material, known situations and dis-courses. They showcase how the power and powerlessness of terms can be shaped by minimal changes in their constellations.

EMAF⟼T.06Presentation by Marina Gržinić & Tjaša Kancler: The trans* reformulation of language in ex-perimental political videosSat. 27/04, 16:00 – 17:15 Moderated by:

Alfred Rotert (in English)

In this lecture, Gržinić and Kancler reflect on how a selected number of videos reformulate the cinematic language of short and experimen-tal video films via the trans*/gender discourse, opening up a new gen-der policy. Their analysis is based on the concept of Trans*Body, trashy imagery, the relationship between language and law, the marginalisa-tion of social structures and rebel-lious, recalcitrant positions that, with their performed explanations of lan-guage and the structuring of videos, repoliticise 21st century experi-mental video practice. By address-ing trans* discourses, and stories of subversive films from Southern Europe and former Eastern Europe, the lecture explores the possibilities of creating wild meanings.

EMAF⟼T.04: Image Book (Le livre d’image) – Jean-Luc Godard

EMAF⟼T.01: Studio Hallo – Ale Bachlechner, Jonathan Kastl & Felix Zilles-Perels

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EMAF⟼M/P.01Zunkstujects-Tterings ≈ The Materialist Cult⟼ Thomas KeiserLive Performance, Installation (DE 2017)Wed. 24/04, 21:00 ⟼ Kunsthalle Osnabrueck

Zunkstujects­Tterings ≈ The Materialist Cult is the speculation of a cult in a future yet to come. In a per-formative ritualistic ceremony attention is drawn to the agency of things, aiming towards a spiritual connection with the thing-world. The focus lies on found objects, sounds produced by these objects in aid of humans and machines and the TV-Series Gossip Girl (2007–2012), which serves as a catalyst to this speculation.

EMAF⟼M/P.02Koorvorming⟼ Jo CaimoCollective Performance, Installation (BE 2016)Thu. 25/04, 17:00 ⟼ Kunsthalle OsnabrueckSun. 28/04, 14:00 ⟼ Kunsthalle Osnabrueck

Koorvorming is an installation that becomes a collective performance by the audience. All attendees sing while everyone holds a speaker on one ear, one earpiece in the other ear and a blindfold around the head. Through the loudspeaker the audience hears the voice of the artist, giving instructions to sing along. In this choral polyphony, harmony and rhythm become only inci-dental phenomena. After singing, everyone gets a CD with the ready-made recording of all voices together. A video documentation of the performance can be seen in the installation.. Performances on 25/04, 17:00, 28/04, 14:00 and

on Museum Day, 19/05, 14:30. Registration for collective singing under +49 (0) 541 21658. / A video documentation of the performance can be seen in the exhibition. 

EMAF⟼M/P.03The Elephant Who Was A Rhinoceros⟼ Erik Bünger Lecture Performance (SWE 2017)Fri. 26/04, 20:00 ⟼ Haus der Jugend

This piece investigates animals’ name and the role these names play in the linguistic behavior of humans. It traces the footprints of wolves, elephants, bears and ravens as they perpetually move in and out of human language. A creature that does not speak, a creature you cannot speak of. An elephant in every room. A white bear, whose silhouette looms larger with every effort to push it out of your mind.

EMAF⟼M/P.04The Hot & The Cold⟼ OJOBOCA

(Anja Dornieden & Juan David González Monroy)16mm, anaglyph 3D, sound (DE 2018)Fri. 26/04, 22:30 ⟼ Lagerhalle

In 1816, Professor I. B. D. Naheseer devised the first and only water bear phantasmagoria. He concocted a plan for a magic lantern show that focused on the water bear, a near microscopic animal. Naheseer planned the show as a love story between himself and one particular water bear, which he called Wasserbärchen. With the help of a special optical device, he planned to create the illusion of Wasserbärchen materializing in human size from a billow of smoke. The show was never staged for an audience. Instead, he went to work on writing Wasserbärchen a song. He spent 30 years attempting to write the song, which he never completed. Learn-ing of this story inspired us to devise a traumatoscopic reply from Wasserbärchen to Naheseer.

From rhinos to water bears to STAUB – this year’s music and performance pro-gramme at EMAF is an extremely lively matter, encompassing not only lecture and noise performances, but also collective singing. Jo Caimo lets you in on his performance Koorvorming ; Erik Bünger investigates how human language behaviour affects the names we give our pets. Thomas Keiser, OJOBOCA and Amerikan Teenager also explore the wild grammar of time. Friday is “EMAF meets STAUB” night-clubbing at the Skatehalle Osnabrueck.

EMAF⟼M/P

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Opening

MUSIK / PERFORMANCE

EMAF⟼M/P.05Clubnacht EMAF meets STAUBFri. 26/04, 23:00 ⟼ Skatehalle Osnabrueck

STAUB is based on the belief that a certain form of techno is neglected. It is convicted in the omnipotence of the music, and the disinterested play of an artist. It does not lead to the destruction of another party mechanism nor to its substitution, but it can be a solu-tion for the principal problems of life. It does not mat-ter whether you are a newcomer or Lady Gaga, what matters is the quality of the music! A shuttle to the Skatehall will be available. Meet-

ing point: Lagerhalle

⟼ The Exaltics (live) SolarOneMusic, Clone, Bunker Records

⟼ Emika (DJ with Live Vocals) Emika Records, Ostgut Ton, Ninja Tune

⟼ Irakli (DJ) Intergalactic Research Institute For Sound, I/Y, Staub

⟼ Geso (VJ)

EMAF⟼M/P.06Amerikan TeenagerNoise Performance (NL 2019)Sat. 27/04, 19:00 ⟼ Haus der Jugend, Großer Saal

Amerikan Teenager’s videos, installations and noise per-formances are lo-fi affairs, characterized by an imme-diate approach and unpolished outcomes. Founded in 2006 by Sebastiaan Schlicher, Amerikan Teenager’s line-up changes with regularity. Having at times con-sisted of as many as 12 artists performing together, Amerikan Teenager currently operates as a quartet. Its current project is called THEY, a work in development which was started during Schlicher’s residency in the Luceberthuis in Bergen (NL) in 2018 and was inspired by a bug infestation. ⟼ Yvo van Gemert (Ud, pedal steel) ⟼ Paul Marchisio (synthesizer) ⟼ René Pinger (guitar, percussion,

sampler, noise electronics) ⟼ Sebastiaan Schlicher (noise electronics,

sampler, synthesizer)

INIT Experience presents further performances and events at the Haus der Jugend

LUCA School of Arts, Ghent Exhibition Performance ⟼ 25/04, 20:00 und 26/04, 16:00 | One Night Club ⟼ 27/04, 22:00 | Artist Talks ⟼ 25/04, 16:00 | Now and Then, There: spontaneous

KHM KölnPerformances F 18W T8 G13 865 by Dawid Liftinger and Formalhaut VI: perpetual darkness, still keep time by Formalhaut: 27/04, 19:30

TIMETABLE

22:00

20:00

00:00

19:00

23:00

21:00

Wed ⟼ 24.04.

Opening INIT

TIMETABLE

↧ hase29 ↧ Kunsthalle Osnabrueck

EMAF⟼M/P.01Zunkstujects-Tterings ≈ The Materialist Cult

The Performances Koorvorming, The Hot & The Cold and Amerikan Teenager are part of:

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↧ Lagerhalle ↧ Lagerhalle↧ Filmtheater Hasetor ↧ Filmtheater Hasetor↧ Haus der Jugend ↧ Haus der Jugend↧ Kunsthalle Osnabrueck ↧ Kunsthalle Osnabrueck

TIMETABLE

EMAF⟼F.01Remains to be Seen

EMAF⟼F.02Magic and Loss

INIT⟼F.03On the Hunt

EMAF⟼F.05Smokescreens

EMAF⟼F.09Eliminating Shadows

EMAF⟼F.07Wild Grammar:e læŋgwədʒ wɪθawt wərdz

EMAF⟼F.04Delayed Feedback

EMAF⟼M/P.02Koorvorming

EMAF⟼M/P.04The Hot & The Cold

EMAF⟼M/P.03The Elephant Who Was A Rhinoceros

INIT⟼M/PLUCA: Exhibition Performance

INIT⟼M/PLUCA: Exhibition Performance

INIT⟼M/PLUCA: Artist Talk

EMAF⟼E.01Guided Tour

EMAF⟼E.01Guided Tour

EMAF⟼T.01 Ale Bachlechner Catharina Szonn Ginta Tinte Vasermane

EMAF⟼T.02Inke Arns

EMAF⟼E.01Guided Tour

EMAF⟼T.04Michael Hübl

EMAF⟼T.03Emillie V. de Keulenaar Claudio Agosti

EMAF⟼E.01Guided Tour

INIT⟼F.06Flickering Cosmos

INIT⟼F.10The Absence of Apricots

EMAF⟼F.08Segunda vez

10:00 10:00

18:00 18:00

14:00 14:00

22:00 22:00

12:00 12:00

20:00 20:00

16:00 16:00

00:00 00:00

11:00 11:00

19:00 19:00

15:00 15:00

23:00 23:00

13:00 13:00

21:00 21:00

17:00 17:00

EMAF⟼F.11Wild Grammar: Textual Entanglements

EMAF⟼F.12Staring at the Sun

INIT⟼F.13Wild Grandma

EMAF⟼F.15Special: Dogs Leaving the Factory

EMAF⟼F.17Changing Seas

EMAF⟼F.14Crosstalk

EMAF⟼F.16Assets and Risks

EMAF⟼F.19Ne travaille pas (1968–2018)

EMAF⟼F.18Wild Grammar:Grammarchy

Thu ⟼ 25/04 Fri ⟼ 26/04

EMAF⟼M/P.05EMAF Clubnight⟼ Skatehalle Osnabrueck

TIMETABLE

031030

10:00 10:00

18:00 18:00

14:00 14:00

22:00 22:00

12:00 12:00

20:00 20:00

16:00 16:00

00:00 00:00

11:00 11:00

19:00 19:00

15:00 15:00

23:00 23:00

13:00 13:00

21:00 21:00

17:00 17:00

TIMETABLE

Sat ⟼ 27/04 Sun ⟼ 28/04

EMAF⟼F.20Wild Grammar:Beyond the Image

INIT⟼F.21Patchwork Identities

EMAF⟼F.22Here and Hereafter

EMAF⟼F.24New Orders

EMAF⟼F.26Faire-part

INIT⟼F.23I Just Can’t

EMAF⟼F.25Wild Grammar:Le livre d‘image

Award Ceremony

EMAF⟼F.27Special: Funeral Parade of Roses

INIT⟼F.06Flickering Cosmos (Rep.)

EMAF⟼F.28Best of

EMAF⟼F.09Eliminating Shadows (Rep.)

EMAF⟼F.02Magic and Loss (Rep.)

EMAF⟼F.05Smokescreens (Rep.)

EMAF⟼T.05Achim MohnéJens Pecho

EMAF⟼T.06Marina GržinićTjaša Kancler

EMAF⟼M/P.06Amerikan Teenager

INIT⟼M/PKHM: Exhibition Performance

EMAF⟼M/P.02Koorvorming

TIMETABLE

EMAF⟼E.01Guided Tour

EMAF⟼E.01Guided Tour

EMAF⟼E.01Guided Tour

↧ Lagerhalle ↧ Lagerhalle↧ Filmtheater Hasetor ↧ Filmtheater Hasetor↧ Haus der Jugend ↧ Haus der Jugend↧ Kunsthalle Osnabrueck ↧ Kunsthalle Osnabrueck

INIT⟼M/PLUCA: One Night Club

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↥ ❽

3 km

❶ ⟼ LagerhalleRolandsmauer 26

Opening Hours: 24 April: 16:00–24:00 25–28 April: 11:00–24:00

⟼ Info Counter⟼ Film Competition⟼ INIT Film Programme⟼ Performance

❹ ⟼ hase29Hasestraße 29

Opening Hours: 24 April: ab 21:30 25–27 April: 10:00–22:0028 April: 10:00–20:00

⟼ INIT Exhibition

❻ ⟼ Haus der JugendGroße Gildewart 6–9

Opening Hours: 25–27 April: 10:00–22:0028 April: 10:00–20:00

⟼ INIT Experience⟼ Performance

❽ ⟼ Skatehalle OsnabrueckAn der Rosenburg 6

Opening Hours: 26 April: from 23:00

⟼ Clubnight

❷ ⟼ Filmtheater HasetorHasestraße 71

Opening Hours: 25–28 April: ab 16:00

⟼ Film Competition⟼ INIT Film Programme

❺ ⟼ Kunst-Quartier des BBKBierstraße 33

Opening Hours: 24 April: 19:30–21:0025–27 April: 11:00–21:0028 April: 11:00–18:00

⟼ INIT Exhibition

❼ ⟼ Haus Heger Straße 29/30Heger Straße 29/30

Opening Hours: 25–27 April: 10:00–22:0028 April: 10:00–20:00

⟼ INIT Experience

❸ ⟼ Kunsthalle OsnabrueckHasemauer 1

Opening Hours: 24 April: 19:30 (Opening) 25-28 April: 10:00–22:0029 April – 26 May: Regular Opening Hours

⟼ Exhibition⟼ EMAF Talks⟼ Performance

LOCATION PLAN

Imprint

⟼ Publisher: European Media Art Festival, eine Veranstaltung des EFW e.V. Lohstraße 45a D-49074 Osnabrueck Fon +49 (0) 541 21658 Fax +49 (0) 541 28327 info@emaf.de www.emaf.de

⟼ Editorial office: Johanna Doyé Tim Duvendack Wiebke Glaw Stina Koch Katharina Lohmeyer Katrin Mundt Hermann Noering Franz Reimer Alfred Rotert Sabine Maria Schmidt

⟼ Translations: Lingua Connect

⟼ Graphic Design: Cabinet Gold van d'Vlies

⟼ Printing: Fromm, Osnabrueck

Supported and sponsored by

Mediapartner

Cooperation Partners

Cultural Partner

Programmes are subject to change without notice!