Thursday, 24 May 2007, 7 p.m.
Casa Modernista, Rua Santa Cruz, São Paulo, 1927
Lecture on his film installation "Programm" (Program), 2006
Film presentation "Animated Map", 2006
Thursday, 28 June 2007, 7 p.m.
Klub Zwei (Simone Bader/Jo Schmeiser) present two new films:
Phaidon. Presses in Exile, 2006
Video, color, sound, approx. 22 min
Interviews with Elly Miller, art publisher, London, and Tamar Wang, Author and Editor, London, daughter and granddaughter of Béla Horovitz, publisher and Co-founder of the Phaidon publishing company
Camera: Anita Makris, Daniel Pöhacker
Interview with Ursula Seeber, Austrian Exil library, Vienna
Camera: Klub Zwei
„Phaidon. Presses in Exile“ discusses the history of Phaidon press. The Jewish publisher Béla Horovitz saved the press from “Arisierung” and emigrated with it to London. Interviews with Elly Miller, Béla Horovitz’ daughter, art publisher, his granddaughter Tamar Wang, editor, and Ursula Seeber, director of the Austrian Exile Library.
Response Ability. Wie gehen die Nachkommen der TäterInnen mit ihrer Geschichte um?, 2006
Video, color, sound, approx. 33 min.
Camera: Anita Makris
Interviews with Katherine Klinger and Ruth Sands, Institute of Contemporary History & Wiener Library, London
How do descendents of Jewish emigrants and survivors see the city of Vienna? Expellation and extermination have left a huge scar in the city. Interviews with Katherine Klinger and Ruth Sands, Institute of Contemporary History & Wiener Library London and Hannah Fröhlich, Israelitische Kultusgemeinde Wien.
Thursday, 5 July 2007, 7 p.m.
David Lamelas, "The Desert People", 1974
Film, 16mm, color, sound, 50 min, English
Director, Producer, Script: David Lamelas, Co-Producer: Jack Wendler. Production Assistant: Howard E. Lester, Photograpy: Neil Reichline, Assistant Camera: Johny Sharaf Film Editing: Noel Cronin, Sound: Vince Dyer
The Desert People, structured in two completely independent narrative strains, draws on classical film genres. It starts out as a road movie, and then proceeds to alternate between interviews of a documentary nature, in which five people describe their experiences on an Indian reservation, and endless takes of the subjects laconically driving to and tram the reservation. The combination of these two strains undermines the narrative continuity of the film. Anthropologist John analyzes the reservation’s political and social system; college student Carol comments on social and personal modes of interaction; journalist Chris is writing an article on ‘Indian Women in Contemporary Indian Society’ for a women’s magazine; not really interested in issues of this kind, Michael is the only one who is in a position to observe how the group—the outsiders—behave on the reservation. The sense of reality begins to fade while Manny, a Papago Indian is filmed in a desert landscape while talking about the cultural extinction of his people through Mexican and American influences. From English, he lapses into Spanish and finally into Papago. The inability to understand coupled with a site devoid of recognizable features generates a hopelessness that culminates, at the end of the second narrative, in an utterly unexpected automobile accident in which the car and its passengers plunge over a cliff.
(Heike Ander in: David Lamelas. A new refutation of time. München/Rotterdam 1997.)
“My first visit to the United States was to Los Angeles, where I immediately experienced the shock of American culture. At that time I had this love/hate relationship with American culture. I arrived in L.A. not knowing a soul and wanting to do a film, so I spent the days discussing my film project with a lot of people and the nights watching movies on TV. I studied American film making through television. It was like going to art school again. The Desert People is like a study of American movie making. Actually the process of making it was as interesting as the movie itself, because I acted like a movie director and thus became a movie director, much in the same way as Rock Star (Character Appropriation).” (David Lamelas)