četvrtak, 22. svibnja 2014.

Werner Nekes - ULLI-ISSES (1983)

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'Homersko putovanje kroz povijest slikanja svjetla koje pučki nazivamo fotografijom i filmom'.


jedan od najznačajnijih njemačkih i svjetskih autora eksperimentalnog filma...Werner Nekes autor je stotinjak kratkometražnih i dugometražnih filmova, uglavnom snimljenih 16-milimetarskom kamerom, u kojima je razvijao radikalnu eksperimentalnu estetiku. Filmskom umjetnošću počeo se baviti sredinom 1960-ih nakon studija lingvistike i psihologije s idejom da film oslobodi naracije i organizira ga s obzirom na vremenske jedinice i strukturalne sustave. Kada su mu 1967. godine odbijena dva rada od strane festivala u Oberhausenu, dobio je motivaciju da osnuje vlastiti kontrafestival, što je nekoliko godina kasnije rezultiralo stvaranjem Udruženja filmaša u Hamburgu (Ham­bur­ger Film­ma­cher Coo­pe­ra­ti­ve). Njegov rad je tijekom godina nailazio na različite recepcije, često je bio neshvaćen od publike, ali ga je kritika i struka u pravilu iznimno hvalila. Retrospektive njegovog opusa organizirane su na važnim svjetskim festivalima i u muzejima, uključujući njujoršku MoMA-u i Documentu u Kasselu.
Nekes je poznat i po arhivističkom radu – u osobnoj kolekciji posjeduje jednu od najvećih zbirki predfilmskih naprava na svijetu, o čemu je snimio i hvaljenu dokumentarno-obrazovnu seriju Media Magica.- www.culturenet.hr/default.aspx?id=58128

...svoj najpoznatiji dugometražni film "ULLI-ISSES" koji je od kritičara proglašen najboljim njemačkim filmom 1983. godine. Film je spoj Joyceova “Uliksa”, njemačkih riječi ULI (njemačko ime) IST ES (je), i eksperimentalne 22-satne predstave Neila Orama “The Warp”, priči o putovanju jednog mistika kroz nekoliko stoljeća.
"ULLI-ISSES" je jedno od najfascinantnijih filmskih putovanja ikada, audio-vizualno remek-djelo koje Nekes naziva \'Homerskim putovanjem kroz povijest slikanja svjetla koje pučki nazivamo fotografijom i filmom\', ističu iz AMKA-e
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"Nekes' films derive from and thrive on Art, set light, color, man and music in estranging motion and show disconcerting, stimulating possibilities for play. It is in experiments such as these that the language of film is developed." (Brigitte Jeremias, Frankfurter Allgemeine Zeitung, Oct. 14,1982)
"It is not easy to animate poetry visually since the fascinating Power of the imagination is all too easily numbed by pictures. Nevertheless, Uliisses is a masterpiece." (Doris J. Heinze, Oct. 1982)

Uliisses is a feature-length – in my eyes - more experimental than narrative movie from 1981 in which director Werner Nekes flirts with storytelling.
Its narrative sources are James Joyce’s Ulysses, Homer’s The Odyssey and Neil Oram’s The Warp. But it is no straightforward attempt at adaptation; anyone unfamiliar with at least one of these works certainly won’t come away with a grasp of their intent. Rather Nekes is unconcerned with their “storytelling” properties per se, but instead utilises them as a prop. Homer, Joyce and Oram are simply providing the framework upon Uliisses can hang together – once they are in place Nekes is able to concentrate more fully on his real preoccupations.
The film unfolds in a fragmentary fashion: Uliisses is divided into chapters, many of which almost serve as an experimental short in their own right. The overriding concern is the history of cinema, or rather the history of cinematography, and as a result each of these chapters in some way catalogues its developments.It tells its history of cinema not only through direct reference (from the Lumière brothers to the Carry On series) and demonstration (from the zoetrope to the lithograph), but also through a dazzling array of photographic methods: single frame animation, multiple exposures and other “special effects”. - revoirvideo.blogspot.com

"Werner Nekes, one of the best known of the German experimental/avantgarde filmmakers, has attempted a stylistic tour-de-force in ULIISSES, which derives not only from James Joyce and Homer but from Neil Oram's The Warp. The result, for the experimentally minded, is a fascinating transposition of visual and verbal motifs from the originals into what Nekes calls a 'Homerian journey through the history of the pictures of light, ordinarily called photography and cinematography.' He takes the brain as the creator of light (in this case Ulysses' brain) and transposes his wanderings into a contemporary setting, i.e., West Germany in September 1980. Ulysses/Bloom becomes a photographer named Uli, Penelope/Molly becomes his model and Telemachus/Stephen becomes Phil. The 'narrative' of the film consists of analogues of Homerian episodes involving Calypso, Nestor, the Lotus Eaters, Proteus, the Cyclops, etc. Nekes concludes his film with visual storm, the culmination of what he describes as 'Lighterature' or writing with light." K.W.
"This film is a Homeric journey through the history of film. Its subject is the mythological Odysseus of Homer, James Joyce's Ulysses, and the synthetical Telemach/Phil figure of Neil Oram. Werner Nekes combines these three characters and unfolds their story in analogy to the history of Lichteratur, i.e. writing in light = film. Yet his main subject is visual language itself. Odysseus/Bloom is transformed into Uli the photographer. Penelope/Molly is his model, while Telemach/Stephen becomes Phil at the outset of Telemachia. The joining of their vitae occurs one day in September 1980 in the Ruhr area, just before the German elections.” (From the information leaflet the producer).
"... Nekes' latest film provokes praise such as this in a very special way. In my opinion Uliisses is his masterpiece up to date. As an excellent historian of cinematography, Nekes has always taken care that his own inventions are correlated to history as such. In this narrative the instruments of cinematographic history are reflected upon in their influence on our perception of the world, as well as in their metaphorical realization. Uliisses offers a wealth in metaphors of light, as no other director has previously achieved.” (Bazon Brock, Aug. 1982)

"Uliisses by Werner Nekes. The most bizarre of cinema trips of the last few years takes us from Dublin to the Ruhrgebiet from a cinematic location named Casablanca to a town, no less unreal, called Poona. We encounter both Groucho Marx and Helmut Schmidt, we meet the dispersed personell of Homer’s ‘Odyssey', of James Joyce's 'Ulysses' and of Neil Oram's experimental play ‘The Warp'. These strata overlap and interpenetrate in a complex process. But 'Uliisses' (a pun on 'it's Uli', Uli the photographer from the Ruhr, grandson to Leopold Bloom) turns out to be a picaresque and an erotic adventure as well. Dietrich Kuhlbrodt, the expert on the German avantgarde film scene, so basely deserted by official sponsorship and distribution, comments on 'Uliisses': 'The object of the odyssey is pictorial language as such: learning to see and wanting to see. It ranges from cinematographic archaeology to playful innovations of the latest kind.' Werner Nekes, a great magician and inventor, who is constantly devising new machines and optical tricks in his workshop in Mülheim, works with phosphoric dust, laser beans and computer-controlled sequences: 'the world as cinematograph picture puzzle' (Nekes). There is no film technique that does not occur in this movie. 'U1iisses' acquires attentive viewing - and this more than once. Possibly the cinema is no longer the right medium for film like 'Uliisses', Nekes said recently in Cannes The film's details disclose themselves only after one has seen it several times on video disc or cassette. Nevertheless, ever a movie screen, 'U1iisses' remains an unusual, and at times a bewildering pleasure."
(Hans-Christoph Blumenberg, Die Zeit, May 1983)


The term 'visual arts' that is prevailing in modernity is really a symptom for the reduction of perceptional categories within the human creativity as a whole. An anthropological conception of art - and I have proved for instance in sculptural theory that you hear a sculpture before you see it, that consequently the auditive element is not just an equal part, but a constituent of the perception of plastic art - confronts you with the task of exploring the conception of creativity in all directions, of spreading it out and substantiating it anthropologically. So for instance, the human creativity potential as a whole doesn't only comprise the recognition criteria in thought, but it also comprises the sensational categories in the middle of the soul, that is, the moving element, and it positively comprises the will potential in human will. It is this interpretation of human creativity potential, beginning with the triple position, the connections of will, sense, and thought categories, which will get you to the more differentiated position of considering the perception, too, and thus the connection of human senses, discovering that for example seeing, the visual sense, the auditory sense, the static sense, the architectonic sense, the haptic sense, can be thought forward into the sense of feeling, the sense of will, the sense of thinking, and many other still to be developed senses.

This means: Man in his creative potential is a developing being, and in the next cultural epoch, which is what we are trying to reach and where the conception of self-determination of man in all positions of work can lead to free development of human activities, we shall be confronted with the possibility to develop new sensory organs, new qualities of creativity in the given entities of will potential, potential of feeling, and thus potential of movement and an intellectual sense of form and thought. So, when I chose primordial materials, such as fat, felt, or copper, I could, to a certain extent, anticipate, that such materials would have a provocative effect in the time I'm living in, which means they would provoke questions for reason and purpose. So these materials were not chosen to do again what has been done already by Duchamp, that is, to exercise in a way a revolution in the museum without acting accordingly with regard to the conception of capital. I could not afford that; those materials, however, have proved to be adequate, with regard to fat, to will potential, with regard to copper, to the element of movement, and with regard to felt, to the isolating, analytical characteristics in thought. So, the sculptural theory contains the possibility to orientate the entire social organism to a new level, and thus to a new height, and thus to a future human culture, and simultaneously to systematically state the measures that should be taken to get from the given to a future form. 'To get back to the willing, which is a completely neglected category in science of creativity: we also have to deal with the conception of warmth, which I have quite often brought up in sculptural theory as a possibility to really hatch the future in this element of warmth or will as in an - I might say - aesthetic willing. It has become obvious, however, that this hatching process may indeed begin in a chaos of warmth, but that it does require strategy and tactics to lead to future possibilities of man; this has also been shown by the critical reproaches against an attempt like that, which made it necessary for the author to give accordingly deep reasons. That this whole approach, that this whole approach, that this whole approach ....


(DVD PAL) 29,00 euros
When both children and grown-ups laugh about the same thing it cannot be without good reason. That it is at all possible, is delightfully demonstrated by the Australian Richard Bradshaw with his One-Man-Shadowtheater. Bradshaw is, like Buster Keaton, Charlie Chaplin or Jacques Tati, one of the few great players in the world of kind-hearted humour. Jim Henson, the creator of the legendary muppet-show, adored him arid tried to solve the mystery of his wit. With the simplest means of media like light, silhouettes and shadows, accompanied by live singing and a few words, he astonishes and enchants his audience.


The painter gazes at his female model, or how voyeurism is transformed into culture. An erotic adventure film where the theme is the viewer himself.
"THE DAY OF THE PAINTER shows what " La Belle Noiseuse " does not want to show: the enclosed "Unknown Masterpiece". It is a walk through the picture world of the painter that directs the gaze to the unveiled female model.Associations with the picture world of Dürer, Marey, Matisse, Seurat, to the "Origin of the World" by Courbet, to " L' étant donnés" by Duchamp and to many other works of art can be called up and are actually intended. THE DAY OF THE PAINTER amalgamates the artistic expressive possibilities of painting, video and computer images as film .
Unusual ways of showing make the film an adventure film for the viewer I s gaze. The art of
painting melts into the film." Werner Nekes
Le peintre admirant son modèle féminin ou comment le voyeurisme devient culture. Un film d'aventure érotique dont le sujet est le regardeur lui-même. "Der Tag des Malers" dévoile ce que la Belle Noiseuse se refuse à montrer, le Chef d'Oeuvre Inconnu. C'est une marche à travers les tableaux du peintre qui dirige le regard vers le modèle féminin dévoilé. Des associations avec les peintures de Durer, Matisse, Seurat, L'Origine du Monde de Gustave Courbet, "Etant donnés" de Duchamp et bien d'autres œuvres d'Art peuvent être faites. "Der Tag des Malers" fusionne les différentes possibilités d'expression artistique de la peinture, de la vidéo , et des images numériques en un film. Les techniques inhabituelles utilisées pour le montrer font de ce film un film d'aventure pour le regard du spectateur. « L'art de la peinture se fond à l'intérieur du film » Werner Nekes

Hynningen (1973) :



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