Evi Vingerling / Dora Garcia / Anthony Howard / falkeandcharlotte 20/01/07-24/02/07

Go to: Dolores

Evi Vingerling
…and more to come!

Statement Evi Vingerling (NL1979): “When I look out the window of the car I see the sun lighting up the clouds, one bright white straight stripe sticks up from behind an apartment building, as if to say, ‘Here I am and here I go, and nothing will stop me.’

I want the experience I had when I saw the idea to lie flat on the surface. I don’t want the work to be a window, rather I want it to remain a flat plane and an autonomous image (…)”

In the gallery Evi Vingerling will show new work (paintings and wall painting)

Dora Garcia

Zimmer, Gespräche

(Rooms, conversations)

2006, video, colour/sound, 31 min.
Written and directed by Dora García
Original language: German
Subtitles: English, Spanish, French, and Dutch

The encounter in a Leipzig apartment between a Stasi officer and a civilian informant is the chosen setting for Zimmer, Gespräche (‘Rooms, conversations’).
The Stasi was the all-powerful East-German political police until the fall of the Berlin wall in 1989. However, neither the Stasi nor the city of Leipzig are ever mentioned explicitly. The video is thus set in an undetermined time and space, only discernible through the accent of the actors, the clothes they wear, the furniture and the architectural backdrop. Constructing a realist scene or reconstructing a historical situation is not Dora García’s intention, and Rooms, conversations is neither a documentary nor a documentary fiction. What García seeks is to use the parameters of a given historical situation in order to communicate abstract notions such as fear, control, authority, dependency, obedience, absurdity, and power. All notions that are closely connected to issues of secrecy, archiving, the community, or the codes of human behaviour: recurring themes in the work of the Spanish artist.

The video was shot in the spring of 2006 in one of the most representative social housing projects of the 80’s in Leipzig, the Grünau neighbourhood. The script is based on the research the artist carried out for over a year on the photo, video and audio archives of the Stasi in the Leipzig and Berlin headquarters, now managed by the BStU (http://www.bstu.bund.de).

East Germany was and still is the epitome of the Cold War country, the iron curtain, the other side, the fractalization of repression and surveillance… but it is as well a country that has ceased to exist, and its rushed disappearance caused a deep melancholy and malaise among its ancient inhabitants. The situation narrated in the video “Rooms, conversations” is full of this melancholy, definitely not nostalgia, but melancholy; it recreates the extremely complex codes of behaviour of this sort of encounters, the very particular ways of speaking and telling, so absurdly multi-significant and cryptic at the same time; in this sense, the characters in the fiction are as much actors as the actors who play them.

Anthony Howard
B.I.K.E., 2006

Anthony Howard / Jacob Septimus
B.I.K.E., 2006
Video, colour/black/white/sound, 89 min.
There are documentaries about issues (Michael Moore comes to mind) and documentaries that introduce unknown subcultures (like last year’s brilliant hip-hop testament “Rize”) and documentaries that are detailed character studies (the rock-themed “Dig” or Terry Zwigoff’s “Crumb” are two great examples), but very few movies successfully combine all three. With “B.I.K.E.,” filmmakers Jacob Septimus and Anthony Howard have hit the trifecta by creating a film that manages to present a largely unknown movement in terms of vivid real-life characters, and the results are great.

Beginning as an explication of the militant anti-corporate bike protests that have taken root in American cities in the past decade, “B.I.K.E.” appears at first to be a typical if stylishly directed leftist rant against big oil and consumer conformity. But gradually, the film reveals a radical subculture within a radical subculture: the tallbike gangs of New York, who ride double frame bicycles of about six feet in height, and engage in punk rights of heraldry, ritualistically jousting each other on the night-shrouded streets of the city. Heads break, necks crack, drugs are consumed in mass quantities, and the inherent contradictions of radical individualists attempting to maintain a group identity implode, reform and implode yet again, in an absolutely fascinating tour of a modern netherworld.


Ray Greene


falkeandcharlotte at Dolores

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