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Werkschau | Michael Brynntrup – Sex, Death, Film | 性、死亡、電影 | ||||||
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The Nearby Film Festival is an independent film exhibition established in Guangzhou. The non doctrine thought originated in the early 21st century is supported by AMM Fund. Near death is never an accurate word or slogan. It extends to an art group and a collection of projects to try to generate some meaningful dialogue, so that the world is not so boring. Launched "split", "image group" and other screening plans and artistic actions, focused on "the dialogue between film and life", invited, solicited, excavated and found excellent video masterpieces, carried out offline focused theme exhibitions and related post screening activities, provided opportunities for young creators and their works to face the market audience, and restored the free and diverse atmosphere of film to the public. (http://nearbyfilmfestival.com/ Guangzhou, 2024) |
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“附近映像季”（THE Nearby Film Festival) 是在广州建立的一个独立影展。来源于21世纪初期的没有主义思想，由AMM基金提供支持。附近在消亡从来不是一个准确的词或者口号。延展到艺术群体，和项目的一个集合体，试图产生一些有意义的对话，让世界不在那么无聊。发起了“裂”“映像小组”等放映计划与艺术行动，着眼于“电影与生活的对话”，邀请、征集、挖掘、发现优秀的影像佳作，开展线下集中主题展映及相关映后活动，提供年轻创作者及其作品面对市场观众的机会，使电影自由多元的气息重新回归大众。 (http://nearbyfilmfestival.com/ Guangzhou, 2024) [english] [deutsch] |
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Programm | Details – Sex, Death, Film | 性、死亡、電影 [ 82 min | 1983-2005 | 9 filmvideo ] | ||||||
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DER RHEIN - ein deutsches Märchen 12 min | 1983 | Super8 + 16mm | col | sound [MBCFILM#05] (Heimatfilm) | (home movie) | |||||
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Where I come from, people stay at home. Except when they go on holiday or off to war. {Information sheet of the film, 1983} Some filmmakers, like Michael Brynntrup, blissfully ignore conventional technical limitations and expand the presentation possibilities for super-8mm. Brynntrup's single-screen »The Rhine, A German Tale« (»Der Rhein, ein deutsches Märchen«, 1983) is an ambiguous reworking of a home movie of a family trip which the filmmaker layers so that an uncomfortable equation is made between sentiment of nostalgia and the spirit of war. (Berlinart, exhibition catalogue Museum of Modern Art, New York 1987 - Laurence Kardish) | ||||||
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VERONIKA (vera ikon) 12 min | 1986 | Super8 + 16mm | bw | sound [MBCFILM#17] (Trailerfilm) | (trailer) | |||||
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The biblical prohibition of images word for word. God's life story in the form of a trailer: from zero B.C. to the Second Coming of Christ - coming soon. {Information sheet of the film, 1986} Brynntrup even went so far as to make a special promotional short for »JESUS« called »VERONIKA«. As well as raising theological questions on the Turin Shroud, »VERONIKA« divulges the best way to knock a nail through the hand; how to experience eternal mysteries anew, and that yes, He is coming "to this theatre - soon." - Still no joy with the Catholic church. (Headpress Manchester, 3/91 - David Kerekes) | ||||||
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NARZISS UND ECHO 14 min | 1989 | 16mm | bw | sound [MBCFILM#30] (Rätselfilm) | (riddle film) | |||||
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Long seemed invalid the Prophet's word, - But honored it was, - By the outcome at last: - How odd the maddness, how strange a death!
(Ovid, Metamorphoses) {Information sheet of the film, 1989} Brynntrup creates his own rococo version of the classical myth of Narcissus and Echo, a story of longing, love, and self-love. Brynntrup comments "A film in the form of a riddle is a special kind of entertainment film whereby the film's content must be deduced from the film's formal structure." (Information The Museum of Modern Art Department of Film, 1992 - Karen Lund) | ||||||
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LIEBE, EIFERSUCHT UND RACHE 7 min | 1991 | 16mm | col | sound [MBCFILM#35] (Lehrfilm) | (educational film) | |||||
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Du weißt ganz genau, daß jetzt viele Länder Filme in ihrer Sprache herstellen ... (Original mit Untertiteln). - You know that every film has its own language ... (subtitled original) {Informationsblatt zum Film, 1991} You know very well, that nowadays many countries produce films in their own language ... (original with subtitles). {Information sheet of the film, 1991} The witty »Love, Jealousy and Revenge« explores the mobile meanings of language in film with the help of sophisticated telecommunications; an aural/oral offering. (Hygiene and Hysteria Tour Program, UK 1994 - Sarah Turner, Ian Rashid) | ||||||
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ALL YOU CAN EAT 5:30 min | 1993 | 16mm + 35mm | col | sound [MBCFILM#42] (Kopffilm) | (head film) | |||||
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Using found footage from the early 70s porn films, Michael Brynntrup creates a humorous and titillating moving collage of mediated erotic imagery - one that keeps promising the viewer always anticipated cum shot, as well as asking the question, "How 'graphic' does an image have to be before it comes pornographic?" (Mix '95 New York, Festival Catalogue) »All You Can Eat« by Michael Brynntrup takes the 'cum-shot' to new heights with a montage of some of the wildest, orgasmic, facial expressions ever composed to a mellow, easy listening sound track. (Boys On Film No.6, cover text, dangerous to know 1996) | ||||||
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TABU V (wovon man nicht sprechen kann) 13:00 min | 1998 | 16mm | col | sound [MBCFILM#52] (Tagebuchfilm) | (film diary) | |||||
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About which one cannot speak, one must make films. (loosely based on Ludwig Wittgenstein) {Information sheet of the film, 1998} TABU V plays with the medium of film in a light-hearted and inquisitive manner; a concentrated, intelligent and multilayered film in which wit is juxtaposed assuredly with profound, searching analysis. (New York Film Academy Award - Best Short Film, Panorama 1998) | ||||||
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ACHTUNG - die Achtung (concentration chair) 14 min | 2001 | 35mm | bw + col | stereo [MBCFILM#56] (Sensations- und Besinnungsfilm) | (sensation film) | |||||
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There can be no doubt that all our knowledge begins with experience. (Immanuel Kant, Introduction to the Critique of Pure Reason, opening sentence) Born in the body (...and in time...) {Information sheet of the film, 2001} Certainly even today some viewers will be affected by this work. Respect for the true art of filmmaking demanded that even the closeup be kept in, where a razor slices through an eye. (Warning introduction to the German archival copy of UN CHIEN ANDALOU) | ||||||
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TV-X-PERM. (mein Schwulsein als Auftragsarbeit) 3:20 min | 2002 | DV | col | sound [MBCFILM#57] (TV Portraitfilm) | (TV film portrait) | |||||
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My Gay Self-Portrait For Arte TV. Being queer as a commissioned work. Elastic Reality[TM] as program. {Information sheet of the film, 2002} Who is gay: the film, the film-maker or even both? Magnificent commissioned work. (VIDEOEX Festival, catalogue, http://www.videoex.ch - May 2003) | ||||||
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The Hong Kong Showcase (eine Fallstudie) 3:20 min | 2005 | DV | col | stereo [MBCFILM#64] (minikino) | (micro movie) | |||||
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“The world is everything that is the showcase.” Living in a globalized world - a case study. (loosely based on Ludwig Wittgenstein, Tractatus logico-philosophicus, sentence no.1) {Information sheet of the film, 2005} The Emporio Armani shop window in Hong Kong is a small theatre of the global fashion industry. At night, a window cleaner sways across the stage, accompanied by classical Chinese music. (http://www.idfa.nl/idfa_en_filmdescription.asp?filmid=27497, October 2006) | ||||||
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x UP CLOSE AND PERSONAL: MICHAEL BRYNNTRUP Being used to a certain aesthetic presented in mainstream TV and cinema, people often find experimental short films strange and hard to digest. However the personal works of Michael Brynntrup, one of the most profilic German filmmakers working mainly on the underground circuit, are regarded as small jewels of cinematic culture that are very appealing and attract enthusiastic audiences. Michael Brynntrup often performs the leading role in his movies. Yet his films are different than the films originating from an autobiographical filmmaking tradition in North America who use private lives as a form of artistic expression. When Michael Brynntrup exposes his subjectivity, it's not a one-to-one representation and he addreses always the human being in general. His films can be seen as experimental reflections of a narcissistic artist who presents himself as a man portraying himself to others who are supposed to recognise themselves in him. "I see cinema, in essence, not as mass media, but as an individual experience that takes place in the mind of each viewer." (Michael Brynntrup) He leaves the audience to decide on the ambivalence of his work and to reflect on themselves while identifying with the exposed character in the film. As an experimental and independent filmmaker who sees his work as a medial self-reflection (film as metafilm) and working from a gay male perspective, he tries to direct his films to different contextual and technical limits. How well can reality be presented? What limits do morals and the media set? Despite his preoccupation with heavy existential themes of death and personal identity in his work, his vision is often ironic. He is able to integrate a personal diaristic strategy using humour and pathos to subvert, to create films which are both intimate and visually stunning. (Tampere International Short Film Festival, catalogue March 2004 - Maarit Jaakkola)  Michael Brynntrup Short-Biography Born in Münster, Germany, 1959. Studied in Freiburg, Rome and Berlin. Master degree Fine Arts at the Braunschweig School of Art in 1991. Experimental poems, texts, paintings, photography, fotocopies, performances, installations and exhibitions since 1977. Over 70 experimental short films and videos since 1981, three feature films. Digital art in interactive media since 1995 (CD-ROM, DVD and internet). Film exhibitions at the Museum of Modern Art New York (1987, 1992 and 1999). Numerous international exhibitions and film awards. Organisation of avantgarde and gay film events for museums, institutions and international film festivals. Publications on Super8 and Off-Off-Cinemas. Guest lecturer on Experimental Film and Interactive Media (e.g. at Merz Akademie Stuttgart and at Beijing Normal University Zhuhai/China). Since 2006 Professor for Film/Video at Braunschweig University of Art. - The artist lives and works. Personal notice: As an independant 'experimental' film-maker who sees his task in particular in a medial self-reflection (film as metafilm) I try to lead films in all its different forms to contextual and technical borders. (And naturally I make the viewers come along to these borders). I comprehend film in its essence not as a mass media but as an individual experience which takes place in the head of each viewer.
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x Michael Brynntrup Kurz-Biografie Geboren 1959 in Münster/Westfalen, Studium Kunstgeschichte und Philosophie in Freiburg und Rom. Seit 1982 in Berlin, 1987-91 Studium Freie Kunst (Filmklasse der HBK Braunschweig, Prof.Büttenbender/Hein), 1991 Meisterschüler. Diverse Künste und Copyart seit 1977. Über 60 Filme und Video (drei Langfilmprojekte) seit 1981. Digitale Künste in interaktiven Medien seit 1995 (CD-ROM, DVD und internet). 'Film Exhibition' im Museum of Modern Art New York (1987, 1992 und 1999). Zahlreiche Werkschauen, viele Filmpreise, Organisation und Präsentation von Experimentalfilm-Reihen im In- und Ausland. Stipendiat des Kunstfonds e.V. Bonn (1993). Publikationen zu den Themen Super-Acht und Berliner Off-Off-Kinos. Gastdozenturen für experimentellen Film und interaktive Medien (u.a. an der Merz Akademie Stuttgart und an der Beijing Normal University Zhuhai/China). Seit 2006 Professor für Film/Video an der Hochschule für Bildende Künste Braunschweig. - Der Künstler lebt und arbeitet. Persönliche Anmerkung: Als unabhängiger 'experimenteller' Filmemacher, der seine Aufgabe vor allem in einer medialen Selbstreflektion sieht (Film als Metafilm), versuche ich, Film in allen seinen Erscheinungsformen an dessen inhaltliche und technische Grenzen zu führen. (Und selbstverständlich nehme ich den Zuschauer immer mit an diese Grenzen). - Ich begreife Film in seinem Wesenskern nicht als Massenmedium, sondern als individuelles Erlebnis, das sich vor allem in den Köpfen jedes einzelnen Zuschauers abspielt.
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