For 3 days ALTES FINANZAMT was a filmste for the third episode of neurosex pornoia. The Film under direction of Eric Pussyboy is a queer sci fi trip.
A Special show. Its a one and omly special show
Vom 23-24.Juni war das Atelier ALTES FINANZAMT 48 Stunden Teil der Neuköllner Kunsttage. Unser Atelier zeigte neben Kurzfilmen, ein breites Spektrum an Bildender Kunst, Fotografie, Collage und Performancekunst. Die Mitglieder des Kunstateliers ALTES FINANZAMT zeigten erstmals ihre Werke in einer umfassenden Gruppen Austellung in 4 Räumen der Schönstedtstr 7.
We are organizing a grounded and gentle come down from all the Easter parties for the nature lovers out there. Come back down to earth with this curation of short films on the theme of ecosexuality.
Every two months we present hottest queer porn from different perspectives. We had artistic as also underground movies with or without sound.
da gab es mal etwas, pornomäßiges-..adndasmcölmölsavlasväö
An evening of several perspectives on and from Oporto city and its inner lives. The video selection presents, reflects and projects questions of nowadays living situation in Oporto and its relation to actual social-political questions within an European scale.
// “This Is not Manchester”
(A route in Campanhã), 33′ , 2012
“So the industrialization shapes the urban space in Porto, introducing new forms of settlement and occupation of the space, as well as new modes of urban life – in other words, new ways of living of the city and in the city.” Paula Guerra, 2008.
This is a route across Campanhã, a territory comprising a particular part of the city’s history, its development, and its community. A specific territory and community that being a part of the city, sometimes looks detached from it.
// “Hospedaria”, 20’47
An old inn, located in central Porto, hosted people with few possessions for many years: prostitutes and people passing by made of that place their home for long or short time. At the end of 2013, the landlady, who sub rented the rooms, handed out the key to the owner of the house. In the 14 rooms, which make up the building, almost everything was left behind, like unmade beds and all kinds of objects such as toys, posters, chairs and ladders, clothes and shoes in closets.
A diary written by a child and found onsite brings us to the kind of atmosphere – dark and violent – that would be lived in the inn. It left mainly memories that we project in time and space, echoes and sounds, images of emptiness and abandonment of a space that is no longer inhabited.
Rita Faustino- Portugal adjacente e ultramarino ou apontamentos / / Adjacent Portugal and Overseas or Notes
Felícia Teixeira -S/título
João Brojo- 26
Rui Pinheiro – Repérage
Fernando Sebastião -Aqui / here
Diana Carvalho – Olá, Adeus / Hello Goodbye
Amarante Abramovici – dezembro / december
Nuno Cassola Marques – “Hino da Alegria” / “Ode to Joy”
Adriana Romero – Rei e Rainha / King and Queen
Fernando Sebastião – Aqui / Here
Hernâni Reis Baptista – Lá Fora / Outside
Susana Chiocca – Não temos de morrer pelo euro!/ We don´t need to die for the euro!
Fernando Sebastião – Aqui / here
Diana Carvalho – Olá, Adeus / Hello Goodbye
José Oliveira – “Vamos Lutar Até ao Fim”/ “We Will Fight Until The End”
At first sight, the body of work gathered in this video screening does not seem be closely related, except for the fact that all the videos were created by artists who are either from Porto or working there. Despite the formal, thematic and technical differences contrasting these short videos, visualizing them as a whole allows us to perceive a collective attitude and sentiment: these are the fruits of the social, political and economic context which is currently lived in the city of Porto and in Portugal; fruits that bloom regardless of whether such concerns are part of the creative and productive processes.
The evening will count with the presence of José Oliveira.
open for talk and reflection on the works and the topics they bring.
soup & bread
doors open 20:00
first screening starts 20:30
‘Sticky Stage’ (fragment) by Discoteca Flaming Star
Pol Merchan‘s ‘True Stories’ of Art is a reading of a series of texts pertaining to art and its context.
1 Fear about showing my work
2 Trying to define art
3 A complicated story: The Kiss
4 Another complicated story: Exhibition in my hometown
5 Love and art or making art for someone
6 Transcript of a phone conversation
7 An excerpt of a letter by Sol Lewitt to Eva Hesse
8 Unconstructive criticism I received before doing a reading
9 What provoked my last reading
Discoteca Flaming Star (CGB, WM, Sara Pereira) werden ihre Arbeit “Sticky Stage”, welche sie als 14-stündigen Auftritt und Installation diesen Sommer für “The Kitchen” in New York entwickelten, vorstellen und ab 21.00 ein 2-3 stündiges Fragment davon aufführen.
Discoteca Flaming Star (CGB, WM, Sara Pereira) will present at 9pm a 2-3 hour fragment of their work “Sticky Stage”, developed as a 14-hour performance and installation this summer for “The Kitchen” in New York.
“Let’s describe three different settings – in all of them it is difficult to locate or orientate oneself: the periphery of Rome in the 1960’s, presented by Pier Paolo Pasolini in his film “Hawks and Sparros,” a lot with 66 acres of emptiness in the former military barracks located in the south of Madrid (entered by Discoteca Flaming Star in the Fall of 2013) and the exile of greek artists in New York City in 1974. These artists and the filmmaker Jules Dassin atempted the filming – against the naked and row background of a recording studio – of the film “The Rehearsal” that ought to be a vehicle of solidarity with the pro-democratic movement in Greece and was meant to inform the american public about of the represive brutality applied by the Junta under the complicit glance of the american government.
With the same sensation we encounter these three settings: “in order to be here, in order to orient myself/ourselves here I/we need help; I/we cannot be here alone.”
In each of the above described situations, help is artistically articulated in different forms. In Pasolini’s Film the help is rather unconfortable and is contained in the figure of a black crow that constantly asks the protagonists of this adventure “where are you going to?” In the case of “The Rehearsal” it is recorded material: many documentary audio recordings as well as previously filmed readings (of poems, letters, statements…) which are shown to the participants of the film during its making; these recorded materials constitute the narrative ground, the structure and support of a collective rehearsal of dissidence and activism. In the case of the filmic scenes by Discoteca Flaming Star in the south of Madrid it is a little prelingual magician, evoquing Pasolinis bird, who wanders around, next to signs that indicate poetical distances and locations.
Three films (recorded in … Madrid), scripts with poems on posters and big textiles (“Dawn-Banners” that collect the sunset and the dawn – and are potential props for the other contributing artists), as well as a performance constitute the open proposal “Sticky Stage” by Discoteca Flaming for the exhibition “The Rehearsal”.
The aprox. 14 h long performance – going over night – is an invitation to sleep in and on a stage suggested as a crossing of stages: in the building in which “The Rehearsal” was filmed in 1974, surrounded by the dystopic landscape of DFS’s films habitated by the magician and the Dawn–Banners that claim the connection with the change of light, the temperature and the density during sunset und sunrise.
In the Film “The Rehearsal” two levels of narration cross. One is the narration of the filmic rehearsal itself (mainly assumed by Dassin and Mercury) and on the other hand a sort of re-enactment of the recent historical events of the political life in Greece. In both levels of narration a sort of interruption appears through the representation of the moment of going to sleep. In the case of the first one we see the participants of the film shooting leaving the location and going towards their home or hotel. They appear bound to each other by the enthusiasm of those who are enabling something together of deep meaning. Cut. Dassin is coming the next day back to the shooting, the clarity of the morning accompanies him and his thoughts along the streets next to the The Kitchen’s current location. Dassin’s off voice tells us about the thoughts and deep emotions of the shooting of this film. In the narration of the event in Greece, there is a very perturbing scene in which the students who have uprised and occupied the University in Athens – the central story or re-enactment of the film- are going to sleep. The images of the student’s bodies lying on the ground and on top of tables contain a filmic temporal impass, in which the actual – already happened – deaths of students fallen in the military action of the Junta and the filmic deaths to come are evoqued. As viewers of Dassin’s film we are asigned the task to guard the dreams of the students. In the two levels of the narration the moment of going to sleep is introduced then as a moment of reflection and responsibility. Going to sleep knots the filmic temporality and its possibilities for dying, dying once again and perform the deaths of others. Here we encounter at its peak one of the highes qualities of this film: not being afraid of bathing in poetry, songs, enthusiasm and pathos.
In the performance “Sticky Stage” Discoteca Flaming Star proposes a rehearsal situation including the elements named further above mixed with a musical soundtrack. The musical rehearsal includes melodies and songs from different sources: going from “The Rehearsal” itself to Lana del Rey, Roxy Music, Virgin Prunes, Frederico García Lorca, Jimmy Scott and Rihanna. Discoteca Flaming Star builds a temporary space in which to take up our fatigue and our dreams in order to approach a tender imagination. The long intervals of repetition of the diferent elements that constitute the performance are characteristic to group rehearsals, they propose a persistance, as the persistance of the bonding among the participants of a rehearsal and the persistance of the joy of making art. It insists on the fact that we will sing again the song, we will recite again the poem and the text and that we will sleep in the same space, dreaming together. Who will guard our dreams?”
doors open 20:00 – performance starts 20:30
soup will be served
Exhibition by Barbara Marcel
22.11 – 13.12.2014
Barbara Marcel (1985, Rio de Janeiro, Brazil)
In »Pornographie du temps présent«, the philosopher Alain Badiou describes democracy as the greatest contemporary fetish of the Western world. Rather than thinking of it as a fiction of power under the participation of a demo, or as a form of effective popular sovereignty, democracy is presented by the philosopher as a phantasmagoria of the public liberty based on a political experience limited to a comfortable punctual participation of the great majority.
Inspired in movements such as the Arab Spring, the Indignados of Spain and the Occupy Wall Street, mass demonstrations took to the streets of cities across Brazil during June 2013. The claims were initially against increased costs of public transportation, but soon took larger proportions. The protests were harshly repressed by the state and its militarized security, clearly unprepared for dialogue. During the following months, Rio de Janeiro became one of the epicenters of the Brazilian manifestations and the carnival this year had its most traditional feast turned into another moment of popular political expression. Known for occupying the streets with the anarchy of revelry, pleasures and excesses, suspending laws and orders, transforming characters in costumes capable of temporarily reversing social roles, the carnival in 2014 incorporated critical discourses through the party. Speeches, that ventured into other possibilities of political experience and social participations, challenging in its own way the democratic model and its limits.
The exhibition »Representations« is the result of the artist´s presence in this carnival in Rio de Janeiro, amid the various meetings and experiences with the multitude.
Visit possible during events in Altes Finanzamt and by appointment at: firstname.lastname@example.org or email@example.com
Untitled (Dreams, 2007) and Untitled (Excel Chart) are two examples in which Angela Kaisers takes her observations and own experiences of interpersonal relationships a step further to the unconscious level: writing down, analyzing and interpreting her dreams over an extended period of time.
The outcome of recording her dreams is featured in different ways in her artworks, in the form of original dream notes, quintessential phrases and fragments of the dreams or charts and dream interpretations.
For Untitled (Dreams, 2007) Angela recorded her dreams for a whole year collecting 395 dreams and dream notes. The chart, Untitled (Excel Chart), represents and documents the most important people, places, and symbols of each of the 395 dreams. Quotes from exemplary dreams, thoughts, associations and interpretations accompany this work in progress.
Angela Kaisers (1980, Munich, Germany)
Untitled (Dreams, 2007), 2007.
395 Original notes, selection.
Ink, pencil, felt pen on paper and cardboard.
Untitled (Excel Chart), 2007/2014.
Inkjet print, post-its, photographs.
(pic by A.Kaisers)
opening hours – during current evening events.
next scheduled events: Oct 21st; Nov6th, Nov12th (all around 21h).
Start: 8 pm
The Dream Machine explores the unconscious by processing all forms of dreams in an attempt to arrive at a collective psychoanalysis of now.
Dream processing takes place on Saturday, 28th of June 2014, from 21 h to 23 h.
Come and feed the machine.
Die Traummaschine erkundet das Unbewusste durch Verarbeitung von Träumen, um zu einer kollektiven Psychoanalyse des Jetzt zu gelangen. Die Maschine verbrennt dein geträumtes Benzin.
Die Traumarbeit findet am Samstag, den 28. Juni, zwischen 21 und 23 Uhr statt.