正在同步电影信息
Inhispictures,films,collagesandinstallations,thepainterandfilmmakerLutzDammbeckseeksasynthesisofexpressivemeansfromthegenresoffilmandfineart.HisworktodateidentifieshimasoneofthekeyrepresentativesofindependentfilmandmediaartintheformerGDRandasaunique,outstandingphenomenonwithinmoderncontemporaryart.The2-discDVDpresentsforthefirsttimeallhisanimationfilmsandmediaworks,includinganextensivebookletwithessaysaboutLutzDammbeck'sfilmicworkandalotofdocumentsabouthisfightwithstateauthoritiesasROMfeatures. *TheMoon1975,6' *Live!1987,10' *TheTailorofUlm1979,14' *Einmart1981,15' *TheDiscovery1983,17' *TheFlood1986,10' *DukeErnst1984-93,45' *ConversationwithLutzDammbeck-Teil12008,23' *MetamorphosisI1979,7' *HommageàLaSarraz1981,12' *REALFilm1986-2008,48' *TheCaveofHercules1983-90,45' *PrepationforthemediacollageREALFilm1986,5' *MediacollageHercules1985,4' *ConversationwithLutzDammbeck-Teil22008,20' Ontheonehand,LutzDammbeckmadeanumberoffilmsinthestate'sstudiosoftheGDR,buthealsoworkedsystematicallyontheconceptofa"parallelcinema",whichoperatedquiteindependentofallthecensorsstipulationsregardingcontentandform.Thesetwofacetsofhisworkhavenowbeenbroughttogetherinthispublication.Bringingthemtogetherinthiswayrevealsmutualpermeation,butalsoindicatesaboveallanemancipativecontinuitythatpointsbeyondthecontradictionbetweenstateartandsubculture.Itisonlylogical,therefore,thatthepublicationalsoincludesfilmsthatwerebegunintheGDR,butonlyrealisedafterDammbeck'semigrationfromLeipzigtoHamburgin1986.Theinclusionoffragmentscanalmostbeconsideredmoreimportant;theseexplodethetraditionalconceptoffilm.OnlybyincludingintheDVDreleasesomerarerecordingsofhismediacollages,includingtestrecordings,isitpossibletoevensupposetheintentionofDammbeck'soverallconcept. Theartistbegantofocusonmovingimagesatanearlystage.In1972,whenhecompletedhiscourseatthe"CollegeofGraphicArtandBookDesign"inLeipzig,ananimation-scenarioalreadyrepresentedapartofhisdiplomapiece.Althoughheworkedsuccessfullyasaposterdesigneronlyalittlelater(andreceivedseveralawardsforthiswork),hisprimaryinterestwasinintermediaworkingmethods.Thiscorrespondedtohisownimpulsetoextendthetwo-dimensionalityoftheclassicpanelpictureintofreespace.Filmmakingbecameaconcreteexperiencewhenhewasabletorealisehisfirstfilmicworkon35mm;THEMoonmadeattheDEFAin1975.Threeyearslater,headvancedtotheexperiencedutopiabymakinghisprivatelyproduced,experimentalfilmMetamorphoses1.Fromthenonwards,Dammbeckworkedontwoparalleltracksinhiscinematicoeuvre,andhetouchedthelimitsinbothfields.UnderlatentcensorshipofcontentandaestheticsattheDEFA,andundertheratherprovisionaltechnicalconditionsofartisticautonomy.Inanalmostexemplaryway,Dammbeckscareerdemonstratestherestrictionsinevitablyexperiencedbyafilmmakerandartistwithconsiderabletalent,activeinmanyfields,whenattemptingtobalanceartisticpretensionsandsocialrealityinEastGermany. AsadirectconsequenceoftheDEFA's"official"rejectionofhisHeraclesfilmconcept,LutzDammbeckdevelopedhisinterdisciplinaryexperimentalset-ups,whichhereferredtoas"mediacollages",from1981onwards.Thisideaemergedfromanemergencysituationdeterminedbyculturalbureaucracy:Dammbeckactuallywantedtomakeafilm,butwasthrownbackonfineartsinthewidestsense.Interestingly,theenergytriggeredbythisworkgoesfarbeyondwhatafilmmighthaveachieved.Whenheusedgraphicelementswithinhismultifacetedinstallationcompositions,theirmontagealmostalwayswenthandinhandwiththeirdeconstruction.FoundorreproducedmateriallikethephotographsofsculpturesbysculptorsBreker,ThorakandKolbearetornupandattachedwithroughstitchingtootherphotosattheirtornedges,e.g.toaself-portraitoftheartist.Bymakingthecracksvisible,Dammbeckformulatesanimportantprincipleofdesign,whichrunsthroughhisentireoeuvre:hedoesnotmakeuseofcollageinordertobringharmonytothecomponents,butalwaystomakethetransitionsthemselvesasjoinsrecognisableascomponentsofthemontage.