projectruimte voor kunst
On Architecture 1

On architecture and other stories –2
Film Screening of Aleksander Komarov, Renata Poljak, Romana Schmalisch, Robert Schlicht
Curated by Delphine Bedel (F)

Fri Jun 16, 20.30

With a very singular and strong cinematographic language, these films bring in perspective the cultural and political ideologies on urban development and landscape construction.

For the second part of the program On architecture and other stories, the films investigate specific buildings: such as the "Dom Sovietov" in Kaliningrad, the "Palace of the Republic" in Berlin and post–war constructions in Croatia. These films are being screened for the first time in the Netherlands, some of the artists will be present.

See you in Disneyland (2006) by Aleksander Komarov is a 16 mm film that investigation the ideology of modernity in contemporary Berlin. Since February 2006, the abandoned "Palast der Republik" passed the moment of no return. But memory constructs an aesthetical form in which the building still functions as a reminder of certain events, which we try to imagine in a personal way. We even tend to make them our own experience, although we haven′t been there on location. In resemblance to the audio file, the film utilizes these ideas and expands its visual vocabulary by incorporating new meanings that remind us of the temporality and the fragility of that moment in time.

Man and architecture speak the same language in Renata Poljak′s 17–minute film Great Expectations (2005). Human and architectural violence are the result of the same virus infection. Reflecting on people′s inconsiderateness and the birth of a hybrid pseudo urban context, the author has found a connection between family relations, and the architectural urbicide that is taking place in the area of Split (Croatia).

In a complex way, the "Dom Sovietov" (House of Soviets) reflects Kaliningrad′s historic and social structures. The film Dom Sovietov by Romana Schmalisch and Robert Schlicht (2004) tries to trace the complexity of these intersecting layers in different media. While the surface of the house is being silently scanned on 16mm b/w film material – thus depicting it without any context – different point of views on the house and suggestions for its future are being presented in interviews. One of the ′chapters′ is dedicated to the use of Kaliningrad and its castle ruins as a film set for Soviet movies. In superimposing the historic past with the future, and the actual site in the city with an imaginary one, an image of the "Dom Sovietov" as a projection screen emerges, whose architectural reality recedes into the background. In a paradoxical way, the building marks a blind spot in the city centre.