I hate going to the KW in speissig Mitte. For some reason I always have trouble finding this museum and the general ickyness of the area doesn’t help matters, but I had to support my Arsenal Inst fur film und Video Kunst and Forum Expanded colleague Uli Ziemons who is also known as the most handsomest young man in all Europa. He curated a special one nite program called NATURE ALL OVER THE DAMN PLACE George Kuchar's Video Diaries. The program included these delicious titles 500 MILLIBARS TO ECSTASY (1989), BIG ONES HURT (1992), ROCKY INTERLUDE (1990), GASTRONOMIC GETAWAY (1991) and OASIS OF THE PHARAOHS (1997).
For those of you not familiar with Gorgeous George Kuchar here is a little bio info: George Kuchar, one of the most prolific exponents of the American Underground Cinema, produced an œuvre of more than 250 videos from 1985 until his untimely death in 2011. Kuchar became known alongside his brother Mike as the Avant-garde class clown and pioneer of Camp Cinema in the 60's, shooting shrill 8mm adaptations of Hollywood B-movies with his schoolmates in his parent's apartment. In the 80's he started working in video and began a series of diary videos documenting his life in San Francisco, artist and filmmaker friends, his pets, family gatherings and, above all, his travels and vacations. Especially his annual trips to Oklahoma and the WEATHER DIARIES, which he produced there, earned him a faithful audience. These diaries, which were exhibited as part of the Berlin Biennial in 2010, deal with Kuchar's fascination for violent weather and try to hotwire the turbulent phenomena in the sky with the physical and psychological tribulations of their protagonist.
Taking 500 MILLIBARS TO ECSTASY, an addendum to the WEATHER DIARY series, as its starting point, this program of lesser known titles shows examples of Kuchar's engagement with the American nature and landscape as well as with the home movie format. Again, the interrelation between the sublime beauty of nature and the banalities of everyday life are examined. By virtue of Kuchar's Hollywood-infested gaze, his holiday and family videos become humorous disaster movies of epic proportions. Earthquakes, eating disorders, electrical mice, Egyptian gods, mummies, the majestic vistas of the Rocky Mountains, dead snakes, and phallic tornadoes are the stuff these low-budget dreams are made of.
The VIPs in attendance at the event: Ellen Blumenstein (head curator KW), Adela Yawitz (also KW), Anja Lückenkemper (curator, formerly of KW, 16mm filmmaker couple Juan David Gonzales Monroy and Anja Dornieden, Tobi Ashraf, Todd Sekuler, Katharina Fichtner of the Canadian Embassy, Manuel Schubert of FilmHighlights, Daniel Hendrickson, little Alex from Macedonia, Ruben Donsbach of Fräulein magazine and his girlfriend filmmaker Laura Laabs, Florian Zeyfang, Mia Sellmann, Angela Melitopoulos,DJane Olga Damnitz with Angie Anderson, documentary filmmaker Henrieke Meyer, and my brilliant Chicago Art Institute student Natalia just in from Paris.
Uli is off to Locarno Film Festival and then holiday in Greece. I’ve been mesmerized by the Arsenal’s summer salute to Japanese filmmaker Seijun Suzuki. Saw his 1967 classic Branded to Kill starring Jo Shishido with the surgically enhanced Mitzi Gaynor apple chipmunk cheeks as a perverse contract killer vying for the number one spot. Mr. Shishido can look equally handsome and revolting in his Saville Row suits. His muscular body got the full leer treatment in Gate of Flesh 1964 where he is nursed back to health by a girl gang of tough street walkers. Suzuki’s 1960s Cinemascope features are my favorites with such titles as Comfort Women, Detective Bureau 23-Go To Hell Bastards, Tokyo Drifter and Youth of Beast. His surreal 1980s films are spellbinding but a little hard to sit through at times.
Was on my bike and glanced at what must be the most hideous creature in the world. This thing was wearing a pastel colored leather jacket with matching leather speedo. He was shirtless with an orange ruffy tan and melting skin, bleach blonde hair in a faux hawk /mullet hairstyle. To top this off he had on brown boots with a Cuban heel, and a rainbow colored fannypack and visor cap. The poor thing was working every ill look in the book simultaneously plus a trendy thick beard that was braided in sections like a Radical Fairy.
For those of you not familiar with Gorgeous George Kuchar here is a little bio info: George Kuchar, one of the most prolific exponents of the American Underground Cinema, produced an œuvre of more than 250 videos from 1985 until his untimely death in 2011. Kuchar became known alongside his brother Mike as the Avant-garde class clown and pioneer of Camp Cinema in the 60's, shooting shrill 8mm adaptations of Hollywood B-movies with his schoolmates in his parent's apartment. In the 80's he started working in video and began a series of diary videos documenting his life in San Francisco, artist and filmmaker friends, his pets, family gatherings and, above all, his travels and vacations. Especially his annual trips to Oklahoma and the WEATHER DIARIES, which he produced there, earned him a faithful audience. These diaries, which were exhibited as part of the Berlin Biennial in 2010, deal with Kuchar's fascination for violent weather and try to hotwire the turbulent phenomena in the sky with the physical and psychological tribulations of their protagonist.
Taking 500 MILLIBARS TO ECSTASY, an addendum to the WEATHER DIARY series, as its starting point, this program of lesser known titles shows examples of Kuchar's engagement with the American nature and landscape as well as with the home movie format. Again, the interrelation between the sublime beauty of nature and the banalities of everyday life are examined. By virtue of Kuchar's Hollywood-infested gaze, his holiday and family videos become humorous disaster movies of epic proportions. Earthquakes, eating disorders, electrical mice, Egyptian gods, mummies, the majestic vistas of the Rocky Mountains, dead snakes, and phallic tornadoes are the stuff these low-budget dreams are made of.
The VIPs in attendance at the event: Ellen Blumenstein (head curator KW), Adela Yawitz (also KW), Anja Lückenkemper (curator, formerly of KW, 16mm filmmaker couple Juan David Gonzales Monroy and Anja Dornieden, Tobi Ashraf, Todd Sekuler, Katharina Fichtner of the Canadian Embassy, Manuel Schubert of FilmHighlights, Daniel Hendrickson, little Alex from Macedonia, Ruben Donsbach of Fräulein magazine and his girlfriend filmmaker Laura Laabs, Florian Zeyfang, Mia Sellmann, Angela Melitopoulos,DJane Olga Damnitz with Angie Anderson, documentary filmmaker Henrieke Meyer, and my brilliant Chicago Art Institute student Natalia just in from Paris.
Uli is off to Locarno Film Festival and then holiday in Greece. I’ve been mesmerized by the Arsenal’s summer salute to Japanese filmmaker Seijun Suzuki. Saw his 1967 classic Branded to Kill starring Jo Shishido with the surgically enhanced Mitzi Gaynor apple chipmunk cheeks as a perverse contract killer vying for the number one spot. Mr. Shishido can look equally handsome and revolting in his Saville Row suits. His muscular body got the full leer treatment in Gate of Flesh 1964 where he is nursed back to health by a girl gang of tough street walkers. Suzuki’s 1960s Cinemascope features are my favorites with such titles as Comfort Women, Detective Bureau 23-Go To Hell Bastards, Tokyo Drifter and Youth of Beast. His surreal 1980s films are spellbinding but a little hard to sit through at times.
Was on my bike and glanced at what must be the most hideous creature in the world. This thing was wearing a pastel colored leather jacket with matching leather speedo. He was shirtless with an orange ruffy tan and melting skin, bleach blonde hair in a faux hawk /mullet hairstyle. To top this off he had on brown boots with a Cuban heel, and a rainbow colored fannypack and visor cap. The poor thing was working every ill look in the book simultaneously plus a trendy thick beard that was braided in sections like a Radical Fairy.
