JONAS MEKAS 365 DAY PROJECT Inhalt / Contents

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JONAS MEKAS 365 DAY PROJECT Inhalt / Contents JONAS MEKAS 365 DAY PROJECT Inhalt / Contents 3 Fabian Offert: Jonas Mekas on Video 10 Jonas Mekas: 365 Day Project 46 Jonas Mekas: 7 Projekte / 7 Projects 1966–2014 51 Jonas Mekas: 5 Kinofilme / 5 Feature Films 1964–2000 52 Jonas Mekas: Films, Videos, Installations 1962–2014 54 Impressum / Credits 55 Jonas Mekas: 365 Day Project Installationsansicht / Installation view Fabian Offert Jonas Mekas on Video I am a film-maker and a poet I am a huge image projector Jonas Mekas1 Der 1922 in Litauen geborene Filmemacher The filmmaker and poet Jonas Mekas has und Lyriker Jonas Mekas gilt als einer der been one of the most influential figures in einflussreichsten Protagonisten des Experi- experimental film since the 1960s. Born in mentalfilms seit den 1960er Jahren. Durch Lithuania in 1922, he found his second die Verwerfungen des 20. Jahrhunderts home in New York City in 1949, after fleeing hindurch – zunächst auf der Flucht aus his home country and surviving a German Litauen, dann eingesperrt in und auf der forced labor camp and a displaced persons Flucht aus deutschen Arbeitslagern und camp. In New York, Mekas personally Displaced Person Camps – fand er seine encountered the artistic movements of the zweite Heimat bereits 1949 in New York. In city and the protagonists of beat generation, beständiger persönlicher Auseinanderset- fluxus, abstract expressionism and pop art zung mit den Bewegungen der Stadt, Beat (all assembled in Birth of a Nation, 1997), Generation, Fluxus, abstrakter Expressionis- distinguishing himself among the avant- mus, Pop Art und ihren Protagonisten (die garde not only through his experimental zahlreich in Birth of a Nation, 1997 versam- films but also through his art criticism in the melt sind) avancierte Mekas dort zu einer Village Voice and in Film Culture, a magazine der zentralen Figuren der künstlerischen Mekas started with his brother Adolfas in Avantgarde – vor allem durch seine Filme, 1954. aber auch durch seine Kommentare und In 1962, Mekas founded the Film-Maker’s Kritiken in der Village Voice und in der von Cooperative, which revolutionized the dis- ihm und seinem Bruder Adolfas 1954 tribution of films produced outside Holly- geschaffenen Zeitschrift Film Culture. wood, and eight years later he launched Indem er 1962 die Film-Makers’ Cooper- Anthology Film Archives, an institution ative ins Leben rief, revolutionierte Mekas devoted to the study, conservation and den Distributionsapparat jenseits des Holly- wood-Mainstreams und mit der Gründung der Anthology Film Archives, deren Direktor er heute noch ist, legte er 1969/70 schließ- lich den Grundstein für die Erforschung, Bewahrung und Ausstellung jener Kunst- richtung, die er mitbegründete. Seitdem wird sein Werk regelmäßig in großen Aus- stellungen in den Vereinigten Staaten und in Europa gewürdigt, hier zuletzt in einer Doppelausstellung im Museum Ludwig in Köln (2008) und der Serpentine Gallery in London (2010) sowie im vergangenen Jahr 2 im DOX Prag . Gleichzeitig ist Mekas einer Jonas Mekas mit Bolex-Filmkamera / with Bolex der wichtigsten lebenden Lyriker der camera. Photo: Boris Lehman 3 litauischen Sprache. 2005 vertrat er Litauen exhibition of experimental film, which he bei der Biennale in Venedig, 2007 eröffnete still serves as a director. Mekas’ highly das Jonas Mekas Visual Arts Center in acclaimed work has been shown extensively Vilnius. in the United States and Europe, most Mekas’ künstlerische Arbeit dreht sich recently in a joint exhibition at the Museum einerseits immer wieder um den für seine Ludwig in Cologne (2008) and the Serpen- Biographie so zentralen Komplex der Erinne- tine Gallery in London (2010) as well as the rung, reflektiert dabei aber andererseits auf DOX Prague in 20132. Beyond that, Mekas eindrückliche Weise ebenso die medialen is considered one of the most significant Eigenheiten der zum Einsatz kommenden contemporary Lithuanian poets. In 2005, »Erinnerungsapparate«, vom klassischen he represented Lithuania at the Venice 16-mm-Film über digitale Videosysteme Biennale and in 2007 the Jonas Mekas Visual bis zur internetbasierten Videoplattform Arts Center in Vilnius opened to the public. und anderen Formen der nicht-kollektiven In his films, videos, and installations, Rezeption jenseits des Kinos, die Mekas Jonas Mekas frequently centers on the für seine Arbeit ohne Berührungsängste complex of biographical memory, simulta- erschließt. neously exploring the technological singu- Die Idee eines tagebuchartigen Filmens larities of the various “mnemonic devices” ist dabei von Beginn an in Mekas’ Arbeit, he audaciously uses: classic 16mm film, die er selbst oft als »diaristic« bezeichnet, digital video systems, internet based video angelegt, von der Einzelbildserie bis zum platforms and other forms of non-collective abendfüllenden Film. Im 365 Day Project, reception beyond the movie theater. für das Mekas an jedem Tag des Jahres The idea of a “diaristic” way of film- 2007 ein Video produziert hat und das am making is inscribed in every aspect of his ZKM | Karlsruhe zum ersten Mal als große work, from single-frame fragments to fea- Installation auf 52 Monitoren zu sehen ist, ture-length films. For the 365 Day Project begegnet uns dementsprechend eine Mekas recorded a video on every day of vielfältige Sammlung von Ausschnitten 2007. The resulting collection of videos aus Mekas’ Leben. Landschaftsaufnahmen forms a fragmented audiovisual journal. wechseln sich ab mit Mitschnitten von We see landscapes, live recordings of public öffentlichen Veranstaltungen, Konzerten, events, concerts, gatherings with friends Treffen mit Freunden wie Jean-Jacques such as Jean-Jacques Lebel, archive foot- Lebel, Archivaufnahmen und philosophi- age and Jonas Mekas himself, sitting in his schen Betrachtungen, die Mekas in seiner Brooklyn kitchen and speaking directly to Küche in Brooklyn frontal in die Kamera the camera, reflecting on philosophical spricht. Die Installation erlaubt es dabei, so- questions. In the exhibition, the project is wohl alle Filme gleichzeitig, gewissermaßen presented as an installation of 52 screens als bewegtes Mosaik, als auch einzeln zu that enables the viewer to watch the videos betrachten. Rezeptionsästhetisch verstan- both individually and simultaneously as a den verschiebt sich, wie auch schon bei large mosaic of moving images. Similar to Mekas’ früheren installativen Experimenten Mekas’ early installative experiments (like wie dem Destruction Quartet (2006), das Destruction Quartet, 2006), the filmic tech- filmische Mittel der Montage aus dem Werk nique of montage is spatialized and the con- in den Raum und wird so dem Betrachter überlassen. Mekas’ Inspirationen für das Projekt, Francesco Petrarcas Gedichtzyklus Il Canzo- niere aus dem 14. Jahrhundert und Edmon- do de Amicis Tagebuchroman Cuore (1886), verweisen auf seinen zentralen künstleri- schen Anspruch einer Fusion von Lyrik und Film, der in seiner Arbeit immer präsent ist. 4 Nicht völlig jenseits, aber zumindest in skep- struction of a timeline thus left to the viewer. tischer Distanz zur Narration und ihren kine- As an inspiration for the 365 Day Project, matographischen Mitteln, arbeitet er auch Mekas often names Francesco Petrarca’s im 365 Day Project an der Verwirklichung 14th century collection of poems Il Can- dieses Anspruchs. Wie Czeslaw Milosz in zoniere and Edmondo de Amici’s fictional seinem Vorwort zu Mekas’ Gedichtband diary Cuore (1886). This is hardly surprising, There Is No Ithaca schreibt, ist Mekas »a as his work and particularly the 365 Day Pro- visionary who lifts the most earthly details ject attempts a fusion of poetry and film of reality to a higher level of intensity: this while staying skeptically aware of the limi- explains why he is both a poet and a poet of tations of literary and filmic narration. As things observed and preserved on the film Czeslaw Milosz writes in his foreword to reel.«3 Mekas’ volume of poems There Is No Ithaca: Eines seiner zentralen künstlerischen Mekas is “a visionary who lifts the most Prinzipien ist dabei das »re-use«, die Wieder- earthly details of reality to a higher level of und Mehrfachverwendung, die Komposition intensity: this explains why he is both a poet und Rekombination von Bildmaterial aus and a poet of things observed and preserved unterschiedlichen raumzeitlichen und on the film reel.”3 medialen Zusammenhängen. Niemals One of Mekas’ main artistic principles is geht es Mekas dabei nur um die bloße the “re-use,” the recombination and compo- Abbildung des Bestehenden. Mekas’ Filme sition of footage from different spatial, tem- sind »Be-schreibungen« im Wortsinne, sie poral and medial contexts. His films never zeichnen auf der Oberfläche des Konkreten just represent reality but trace the abstract das Abstrakte nach, das in ihnen angelegt nature of reality beneath its specific surface ist, ohne das eine für das andere aufzuge- without abandoning representation in favor ben, also niemals bis hin zur vollständigen of abstraction. This inevitably draws our Abstraktion, aber immer mit der Tendenz zur attention to the technical apparatus, its vollständigen Abstraktion spielend. restrictions and artifacts. “Mekas on video“ Der technische Apparat mit all seinen is thus always also “Mekas on video,” Limitationen und Artefakten rückt so auto- Mekas (like in Self-Portrait, 1980) reflecting matisch mit in das Blickfeld des Betrachters. on the limitations of his medium and, en »Mekas on video«, Mekas auf Video, ist des- passant, on the numerous ontological ques- halb immer auch »Mekas on video«,
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