... | New Industries Festival Hartware MedienKunstVerein From Industry to Industrial A three-part film program curated by Florian Wüst 25 January 2014 Kino im Dortmunder U, Leonie-Reygers-Terrasse, 44137 Dortmund The Shutdown, Adam Stafford, 2009 Only freely circulating money would keep the economy goingthis is the view promoted by the films of the American Marshall Plan which boosted the reconstruction of Western Europe after 1945, declaring the increase of productivity and international trade as prerequisites for progress and prosperity. Since capital movements began to be deregulated in the 1970s, big profits are no longer made in industrial productionand hence through workbut on the financial markets, where money is exchanged for money to produce new money. From Industry to Industrial presents a series of historic and contemporary promotional, industrial, documentary and experimental films and videos. Among the subjects it addresses are oil and coal as historic drivers of modernisation, the relationships between men and machines, the capitalisation of cities as well as the artists’ take on the rise and fall of Western industrial societies. 25 January 2014, 18:00 Black Gold Availability of fossil fuels has been one of the prerequisites of industrial progress in the 20th century. Coal mining, in particular, has shaped the identity of entire communities, cities, landscapes and regions. The slow demise of the coal mining industry in Western and Central Europe from the 1950s onwards ushered in a process of far-reaching structural change that can be felt to this very day. Black Gold confronts the euphoria of reconstruction after the Second World War with the processes of automation on the one hand and the harbingers of de-industrialisation on the other, both of which would eventually contribute to the economic and political downfall of the working class. The Birth of the Robot, Len Lye, UK 1935, 7' Aquila, Jacopo Erbi, IT 1950, 21' Reportaje a Lota, Diego Bonacina, José Román, CL 1970, 17' Sparkassen-Werbung: Wohlstand für jeden, BRD 1955, 2' Im Ruhrgebiet, Peter Nestler, SE 1967, 34' 25 January 2014, 20:00 Money City Noisy workshops and busy markets convey a strong sense of materiality: these are the places where goods are produced and traded for money. Even the traditional stock market trading floor, with its wildly gesturing brokers, is but the physical manifestation of an essentially abstract activity. Today, in a world where financial transactions are handled by computers, selling or buying is a matter of nanoseconds. Work, too, is a commodity, albeit varying in price. And if its price is too low, the money is hardly enough to get by. This part of the film program explores the way electronic media are transforming the modern working and living world and looks at the multiple social and economic layers of cities as epitomised in the struggle between "restorational squatting" and high-end redevelopment projects. Die Heinzelmännchen, Gerhard Fieber, BRD 1962, 11' Arrival, Mani Kaul, IN 1979, 19' Una Ciudad En Una Ciudad, cylixe, DE 2013, 18' Unsupported Transit, Zachary Formwalt, NL 2011, 14' The Good Life (a guided tour), Vermeir & Heiremans, BE 2009, 16' 25 January 2014, 22:00 The Biest in the Sky West-German industrial films from the 1950 and 60s typically frame corporate activity in the wider context of social progress. Similarly, their formal vocabulary aims to reflect the zeitgeist, as witness the use of electronic music or microscopy to provide spectacular insights into structures and processes otherwise invisible to the human eye. This programme explores the relationships between man and machine in the age of technological progress by means of three very different films, among which Sogo Ishii’s 1/2 Mensch (1/2 Man) holds a central position. Recorded during a Japan tour of the German band Einstürzende Neubauten in May 1985, this all-embracing world-vision merges the aesthetics of industrial music and Butoh. Aluminium Porträt eines Metalls, Willy Zielke, BRD 1957, 13' 1/2 Mensch, Sogo Ishii, JP 1985, 50' The Shutdown, Adam Stafford, UK 2009, 10' |