Photo Show: Catch The Unseen Seen – Film in a New Light by Reiner Riedler in Berlin

THE UNSEEN SEEN, GINGER E FRED GINGER E FRED I/F/BR GERMANY 1986 D: Federico Fellini Positiv, Polyester, 35mm
Photo: Reiner Riedler, Deutsche Kinemathek, Berlin 2013. © Reiner Riedler. GINGER E FRED I 1986. Directed by Federico Fellini, 122 min, 35mm positive, act 1 of 7

THE UNSEEN SEEN: FILM IN A NEW LIGHT
If you are heading to Berlin in the next couple of months, then try and find time to pop into The German Museum for Film and Television in Berlin to see some enchanting ‘film mandalas’ created by Austrian photographer Reiner Riedler. From tomorrow until 27 April, there’s a special exhibition of his new body of work, The Unseen Seen, at the Deutsche Kinemathek – Museum für Film und Fernsehen (The German Museum for Film and Television). The work marks a shift in the focus of his work, involving a collaboration with film archivist Volkmar Ernst and a conceptual approach that allows for a dialogue to take place between the materiality (the seen) and immateriality (the unseen) of the object (film). Between the imagined, the projected and the seen. The real, the unreal, and the un-reel.

THE UNSEEN SEEN, Three Colors: Blue (orig. Trois Couleurs: Bleu), 1993
Photo: Reiner Riedler, Deutsche Kinemathek, Berlin 2013, © Reiner Riedler. TROIS COULEURS: BLEU F/PL/CH 1993, Directed by Krzysztof Kieślowski, 100 min, 35mm positive, act 1 of 6

“Some of these works look like the iris of an eye; others evoke an impression of a spinning record or of a whirligig in motion. The intricacy of design, transparence and irregularities of what is depicted do not initially disclose that these large-scale images actually depict reels of film from the Deutsche Kinemathek’s archives. The unusual project The Unseen Seen by Reiner Riedler and the film archivist Volkmar Ernst, allows the physical states of film to manifest themselves as photographic works of art. During several visits to the film archives, Riedler photographed archival film materials while maintaining their back lighting under constant lighting conditions, which ultimately emphasized the physical properties and the composition of each individual collection object.

“The film reels are radiantly displayed in a variety of colors. This aesthetic and the uniqueness of these materials, known primarily only to archivists and projectionists until now, are being made accessible to a wide audience. At the Museum für Film und Fernsehen, every visitor is invited to “project” his or her own cinematic and filmed memories onto the photographs of films such as GOOD BYE, LENIN! (D 2003, directed by Wolfgang Becker) or CASABLANCA (USA 1942, direct ed by Michael Curtiz).

Gespenster_Riedler_Kinemathek1
Photo: Reiner Riedler, Deutsche Kinemathek, Berlin 2013, © Reiner Riedler. GESPENSTER (Ghosts), Germany 2005. Directed by Christian Petzold. 85 min, 35mm positive, act 5 of 5

“In addition to this newly discovered aesthetic appreciation, the exhibition calls the transience of analog film materials into awareness, as it is one of the greatest challenges faced by every film archive. Films have to be carefully preserved, oftentimes restored and also maintained for future use through digitalization. The Deutsche Kinemathek’s film archives have amassed more than 13,000 titles – films spanning the most diverse formats, genres and categories, markedly artistic films and films as historical documents, which include national and international productions.

“Reiner Riedler’s photographs of the DER BLAUE ENGEL (D 1930, directed by Josef von Sternberg), CITIZEN KANE (USA 1941, directed by Orson Welles), TROIS COULEURS BLEU (PL, FR, CH 1993, directed by Krzysztof Kieślowski) or GESPENSTER (D 2005, directed by Christian Petzold), which will be shown in the exhibition, also offer insights into the comprehensive collection inventory preserved in the Deutsche Kinemathek’s film archives.” From the press release.

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