Daniel Eisenberg

The third of Daniel Eisenberg’s thematically connected film essays about postwar Europe, PERSISTENCE, an award-winning feature-length experimental documentary in gorgeous color, once again explores the relationships between past, present and future in a complex portrait of the city of Berlin (divided from 1961 to 1989 by the grandiose Berlin Wall).

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed.

Daniel Eisenberg's film (or "memory essay," as theorist Nora Alter referred to DISPLACED PERSON) is a challenge to a conventional view of history, a provocation using traditional documentary forms: found footage, newsreels, a radio lecture of French anthropologist Claude Levi Strauss and Ludwig van Beethoven's "Razumovsky" quartets.

What do a luxury automobile, a cymbal, and a wall clock all have in common? What are the diverse attachments and experiences produced by those who make these things and those who consume them? What exchanges take place through the object itself—sensually, esthetically, abstractly? We often forget that most of the things we use are made by the labor of others, often in distant places, living dramatically different, diverse lives. What do these objects mean to them? How does their labor, their aspirations, their sense of alienation or satisfaction connect to ours?

Composed entirely of long-take, stolen shots taken at night in Chicago, this dialogue-free, music-free film is an experimental meditation on urban spaces and the denizens who live in them.

Daniel Eisenberg's greetings for #Forum50 give us a glimpse into the past. In this video we see Alf Bold on the phone in September 1991 in the Arsenal office.

The third of Daniel Eisenberg’s thematically connected film essays about postwar Europe, PERSISTENCE, an award-winning feature-length experimental documentary in gorgeous color, once again explores the relationships between past, present and future in a complex portrait of the city of Berlin (divided from 1961 to 1989 by the grandiose Berlin Wall).

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed.

Daniel Eisenberg's film (or "memory essay," as theorist Nora Alter referred to DISPLACED PERSON) is a challenge to a conventional view of history, a provocation using traditional documentary forms: found footage, newsreels, a radio lecture of French anthropologist Claude Levi Strauss and Ludwig van Beethoven's "Razumovsky" quartets.

What do a luxury automobile, a cymbal, and a wall clock all have in common? What are the diverse attachments and experiences produced by those who make these things and those who consume them? What exchanges take place through the object itself—sensually, esthetically, abstractly? We often forget that most of the things we use are made by the labor of others, often in distant places, living dramatically different, diverse lives. What do these objects mean to them? How does their labor, their aspirations, their sense of alienation or satisfaction connect to ours?

Composed entirely of long-take, stolen shots taken at night in Chicago, this dialogue-free, music-free film is an experimental meditation on urban spaces and the denizens who live in them.

Daniel Eisenberg's greetings for #Forum50 give us a glimpse into the past. In this video we see Alf Bold on the phone in September 1991 in the Arsenal office.

In this greeting for #Forum50 by Daniel Eisenberg we see Erika and Ulrich Gregor in September 1991 in the former Arsenal office in Welserstraße in Berlin Schöneberg.

Using optically printed news footage taken in mid-April, 1975. Featuring a two-week period where the Vietnamese People's Army and their Viet Cong allies engaged the South Vietnamese Army at Xuan Loc in the last battle of the Vietnam War.

The film follows Eisenberg as he explores Europe, focusing on France, Germany, and Poland. His journey is shaped by questions about signs, landscapes, memories, and fixed meanings. He visits historical sites, including the Auschwitz and Dachau concentration camps.