Clemens von Wedemeyer

The video is an artistic exploration of the schematic representation of human relationships and non-human entities, such as in images in networks. It represents the translation of data into abstract images.

Shot with a hidden camera, from the perspective of someone wandering the streets, the 40-minute film loop tracks 24 hours in the life of the area around the railway station. Actors play passers-by, and passers-by thus become actors.

The film reconstructs in Berlin a scene in front of the German consulate in Moscow, using a single and continuous camera shot, with no cuts. Russian immigrants are standing and waiting to get a visa; there's a different gate for each travel reason. Help and assistance is being offered in front of the entrances. A woman walks by the waiting line and is withheld: Her bag is too big and must be handed in. She looks for a place where she can leave it.

How are you using my memories? What programs will replace us? Where is my data? At a bank in the year 2051

No synopsis available yet.

Blockbuster movies are increasingly produced based on the use of algorithms. We have grown accustomed to watching scenes in which numerous automated charac-ters populate the screen. Animated by algorithms, they interact as an artificial crowd that appears lively and real. Simulated life originated in computer games and movies, but is meanwhile influencing many areas of the real world. In addition to urban planning and evacuation plans, market forecasts are also determined by virtual scenarios. To what extent does this impact our society and thus our life? Do we already sense a change?

The video is an artistic exploration of the schematic representation of human relationships and non-human entities, such as in images in networks. It represents the translation of data into abstract images.

Shot with a hidden camera, from the perspective of someone wandering the streets, the 40-minute film loop tracks 24 hours in the life of the area around the railway station. Actors play passers-by, and passers-by thus become actors.

The film reconstructs in Berlin a scene in front of the German consulate in Moscow, using a single and continuous camera shot, with no cuts. Russian immigrants are standing and waiting to get a visa; there's a different gate for each travel reason. Help and assistance is being offered in front of the entrances. A woman walks by the waiting line and is withheld: Her bag is too big and must be handed in. She looks for a place where she can leave it.

The film reconstructs in Berlin a scene in front of the German consulate in Moscow, using a single and continuous camera shot, with no cuts. Russian immigrants are standing and waiting to get a visa; there's a different gate for each travel reason. Help and assistance is being offered in front of the entrances. A woman walks by the waiting line and is withheld: Her bag is too big and must be handed in. She looks for a place where she can leave it.

How are you using my memories? What programs will replace us? Where is my data? At a bank in the year 2051

No synopsis available yet.

Blockbuster movies are increasingly produced based on the use of algorithms. We have grown accustomed to watching scenes in which numerous automated charac-ters populate the screen. Animated by algorithms, they interact as an artificial crowd that appears lively and real. Simulated life originated in computer games and movies, but is meanwhile influencing many areas of the real world. In addition to urban planning and evacuation plans, market forecasts are also determined by virtual scenarios. To what extent does this impact our society and thus our life? Do we already sense a change?

No synopsis available yet.

Short film featuring digital technology about crowds and demonstrations.

During World War II, Wehrmacht captain Harald von Vietinghoff-Riesch traveled in advance of the army scouting for barracks. An amateur cinematographer, he also made 16mm images behind the front. Part of a larger project, Die pferde des Rittmeisters, made by Vietinghoff-Riesch’s grandson, presents footage of the cavalry horses, the artist’s commentary never letting us forget that these attractive creatures were also Nazi machines.

The Cast (Procession) recalls the the protests that broke out among extras in 1958 during filming of the Hollywood production Ben Hur in the Cinecittà film studio near Rome, which was originally founded by Mussolini. Thousands of unemployed workers had hoped to be hired for the scenes featuring human masses. When they were turned away they stormed the film studio. In the film, the voices of the protesters of yesterday are played by cultural activists of the present: members of the Teatro Valle Occupato, who came together in 2011 in order to save the Teatro Valle, the oldest theatre in Rome, by assuming collective management of the theatre. - e-flux

Inherently political, the three films that constitute Muster (Rushes) (2012) visually link to one another, with each roughly half-hour narrative (79 minutes combined for the single-channel version) taking place at a former Benedictine monastery outside of Kassel, Germany. This monastery functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic.

Inherently political, the three films that constitute Muster (Rushes) (2012) visually link to one another, with each roughly half-hour narrative (79 minutes combined for the single-channel version) taking place at a former Benedictine monastery outside of Kassel, Germany. This monastery functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic.