| How does art deal with historical archive material? How are historical sites used in artistic film? How do political aspects and aesthetic concepts intertwine? These questions form the starting point for a panel discussion with film screening that highlights different approaches to archives and historical sites. The film “In Retrospect” by artist duo Mila Zhluktenko and Daniel Asadi Faezi will be shown. Their latest work continues the exploration of place already contained in the video installation overexposed/underexposed (on display until 19 October 2025 at the NS Documentation Centre, Max-Mannheimer-Platz, Munich). The film combines historical archives with artistic film material in an essayistic manner. 2016, the right-wing extremist attack on the Olympia shopping centre. 1970, the construction of the Olympic site, beneath whose hills lie the ruins of the Second World War. In 1982, Iranian director Sohrab Shahid Saless, in exile in West Germany, shoots “Empfänger unbekannt” (Recipient Unknown): an inventory of the growing hatred of foreigners, expressed in graffiti on the city walls. In 2024, Zhluktenko and Asadi Faezi shoot at the site of the OEZ attack. The images, the time levels, the places and the archives begin to communicate. As its second contribution, the Munich-based Sammlung Goetz brings Ute Adamczewski’s “Neue Ordnung” (New Order) into the discussion. Originally a two-channel video installation, the Berlin-based artist shows a series of interviews alongside cinematic perspectives of Berlin’s Schlossplatz on a split screen, juxtaposing contemporary neoliberal and neoconservative tendencies with the cultural historicisation of the city. Finally, UNDERDOX rounds off the programme with an international selection of three short films. In her short videos, Zurich-based artist Cora Piantoni gives the working class a voice and a visual platform to tell their stories of vanished professions and times gone by. Declan Clarke’s cinematic works are precisely timed, laconically staged studies of contemporary history, which also repeatedly feature the Irish artist himself. Belgians Annik Leroy and Julie Morel are closely linked by their collaboration as authors of films that deal with the violent aberrations of European history and the aftermath of the Second World War in archival work and their own images. |
ART & ARCHIVE – Panel with films
Daniel Asadi Faezi & Mila Zhluktenko
In Retrospect – Rückblickend betrachtet
Immigrant workers build a shopping mall for the upcoming 1972 Olympic Games in Munich. In 2016, nine people with migrant backgrounds are killed in a racist attack at the same mall. A woman in “Addressee Unknown“ (1983) asks: “Why such hatred?” By interweaving three periods of history, “In Retrospect“ powerfully reveals the forces of hatred at work. – Vision du Réel
sunday 12 oct 11:00 theatiner
guests: Ute Adamczewski, Daniel Asadi Faezi, Mila Zhluktenko,
Anke Hoffsten (NS-Dokumentationszentrum), Susanne Touw (Sammlung Goetz)
Daniel Asadi Faezi & Mila Zhluktenko
DE 2025
14 min | English
R+B+E+P: Daniel Asadi Faezi, Mila Zhluktenko | K: Tobias Blickle
M: Hora Lunga | SD: Andrew Mottl
Ute Adamczewski
Ute Adamczewski Studied architecture with a focus on urban planning. Her work centres on architecture and urban planning as a reflection of social developments, the deconstruction and reconstruction of contemporary history, and the representation of war and violence in audiovisual media.
www.uteadamczewski.net
Films
Die neue Ordnung 2013 | La Ville Radieuse chinoise 2015 | Zustand und Gelände 2021 (15. UX)
New Order
Berlin viewed through the lens of economic modernization and cultural historicization. A series of interviews is juxtaposed with cinematic perspectives on Berlin’s Schlossplatz. The radical spatial and socio-political changes since the fall of the Berlin Wall reveal neoliberal and neoconservative tendencies.
sonntag 12 oct 11:00 a.m. theatiner
zu gast: Ute Adamczewski, Daniel Asadi Faezi, Mila Zhluktenko,
Anke Hoffsten (NS-Dokumentationszentrum), Susanne Touw (Sammlung Goetz)
Ute Adamczewski
DE 2009 / 2013
28 min | German
R+B+K+E+P: Ute Adamczewski
Mit Monica Bonvicini, Can „Khan” Oral, Katja Diefenbach, Christof Dreher, Felix Ensslin, Luis Feduchi, Douglas Gordon, Carl Hegemann, Joep van Liefland, Claus Löser, Pia Marais, Horst Markgraf, Diana McCarty, Olaf Nicolai, Matthias Sauerbruch und Louisa Hutton
ART & ARCHIVE – international film programm
Declan Clarke
Declan Clarke Studied fine art at the National College of Art and Design in Dublin and at Chelsea College of Art in London. He lives in Berlin. Artist in Focus 18. UX.
Films (selection)
Group Portrait with Explosives 2013 (18. UX) | The Most Cruel of All Goddesses 2015 (18. UX) | Saturn and Beyond 2021 (18. UX)
In 1929, the Ardnacruscha hydroelectric power station was inaugurated in County Clare, Ireland. Observing the interplay of water and concrete, this essay examines the majestic edifice by replacing it in the context of a burgeoning modern nation-state.
sunday 12 oct 6:00 p.m. werkstattkino
guests: Cora Piantoni, Declan Clarke
Declan Clarke
IE 2024 | German Premiere
46 min | English
R+B+E+P: Declan Clarke | K: Simon Köcher | S: Francisco Petrucci, Jamie Lemoine
Cora Piantoni
Cora Piantoni Studied at the Zurich University of the Arts and the Academy of Fine Arts in Munich. From 2007 to 2011, she was the photographer for the UNDERDOX festival motif.
piantoni.de
Films (selection)
Die Reise nach Jerusalem 2003 (1. UX) | Seestück 2005 ( 1. UX) | Seemannsgarn 2007 (2.UX) | Vogelhaus 2011 (6. UX) | Arbeitslieder 2014 (12. UX) | Wir waren das Kino 2016 (12. UX)
Mille donne, mille lotte
The former workers of the tobacco factory in Venice and their struggles.
sunday 12 oct 6:00 p.m. werkstattkino
guests: Cora Piantoni, Declan Clarke
Cora Piantoni
CH 2025 | German Premiere
14 min | Italian
R+B+K+E+P: Cora Piantoni
Annik Leroy & Julie Morel
Annik Leroy Born in Brussels in 1953. Filmmaker and professor of experimental and documentary film in Brussels. In her films, she paints a highly complex, never reconciled picture of Europe.
Films (selection)
In der Dämmerstunde Berlin – De l’aube à la nuit 1981 | Vers la mer 1999 | Tremor – Es ist immer Krieg 2017 (12. UX)
Julie Morel Born in Montpellier in 1976. Numerous analogue film installations. Collaboration with Annik Leroy since “Tremor”.
Joint Films
The diagonal force 2023 | Ferne Stimmen 2023
Ferne Stimmen
Between the frames of the 16mm material, three German conditions. 1942: Hannah Arendt writes a poem for Walter Benjamin. 1944: Oradour-sur-Glane is wiped out by the Waffen-SS. 1970: Ulrike Meinhof rises up against imperialism.
sonntag 12 oct 6:00 p.m. werkstattkino
guests: Cora Piantoni, Declan Clarke
Annik Leroy & Julie Morel
BE 2023
German | 5 min
R+B+K+S+E: Annik Leroy & Julie Morel | P: Auguste Orts