index

dadalenin - index

tensta kunsthall stockholm - part I, Spring 2008

tensta kunsthall stockholm - part II, Fall 2008

about this work Lenin- a founding member of DADA

DADALENIN drawings

DADALENIN my dadaists

DADALENINHABER Fritz Haber

MAK vienna show: dadalenin

DADALENIN VIDEOS - various videos with Lenin

DADALENIN sculptures

DADALENIN ENGINEERING social engineering, Aleksej Gastev

DADALENIN VERTOV DZIGAVERTOVKINOPRAVDAFILMTRUTH

DADALENIN materials, propaganda, history, news

DADALENINMEHRWERT - dadalenin Marcel Janco surplus

DADALENINGLASS fragile

dadaleninmodernamuseet yesterday I went to the ...

DADALENIN_ ALEXANDER RODCHENK the Belomor Canal

dadalenin exhibitions

dadalenin drawings

DADALENIN NY TIMES obituaries

DADALENIN NY TIMES obituaries- TEXT

DADALENINACCIDENT - animation film

GOOGLELENIN - materials - drawings, paintings etc.

STO DIELAET / WHAT IS TO BE DONE collective works / questionnairs

Reading Lenin a reading seminar

UBULENIN - a theatrical performance, 2008

ubulenin FREE CREDIT CRUNCH MEAL good bye dinner

 

MAK GALLERY - SHOW - VIENNA 2009 / 2010

 

DADALENINDZIGAVERTOKINOPRAVDAFILMTRUTH

dc

 

Dziga Vertov's Man with a Camera tries to give an "unedited" view on Soviet life - in 1929; He tried to create a cinematic experiment to "create a truly internationall absolute language, a cinema based on the total separation from the language of theater and literature, ... without sets, actors, etc. "

I have selected 42 film stills and had them rendered in ink with the help of my assistant. Vertov's experiment to "create an international abosolute language". the ink drawings highlight the wonderful believe in the revolution of a new artistic medium (hence: my anachronisitc format) i.e. film who was of cousre, immediately instrumentalized in propaganda and worse.

Dada is interpreted by me not only as a critic of utopian dreams but also as a non-explicit critic of technology. the film's embrace of mechanical representation and its drive to overcome theater, literature and other forms of art - transcending actors, film sets and screenplays - interests me since it is embedded in the teleological hopes for a Lenininst soveit society that is equal, just and hence 'representational". The technics of superimposing and flicker montage as well as the cameramen's sensibility to caputre the poetry of his nearly encyclopedic approach to filming the soviet industry, soviet work and it's daily live (including war, accidents and death) allow to create moments that are dadaist in appearance and spirit. Needless to say, that Lenin (as well as his Fife Year plan) also has his appearance.

needless to say, the film is really also about production and specifically the production of this film. filming is presented as part of the national production of a soviet empire, the (dada)lenin revolution. the cutting of the film --- editing is given a major importance.. as well as srcreening.. : the public is also alwasy included. the major protagoist is the camera man. or lets say, the man with the camera, walking, standing, driving, flying, doing magic with his camera.. filmed by another camera which is not in the screen.. (there is no mirror situation with 2 camera in the screen but sometimes the objective of one camrea mirrors the filming second camera ---

yet another observation : the omnipresence of the film camera is an anticipation of the control totalitarian society turned into.. - and neo-liberal societies are now becoming : even without cameras --- we are seeing now without cameras... (electronically - by what people key into computers == ps: we see typwriters in Vertov).last but not least, even the viewer in Vertov's film, the spectator in the movie is subject to filming and gets scrutinized non stop... just like today's advertizing agencies are having their ratings measured.

these drawings give us back the breath that is taken while seeing these news real kind of strips... and one can see that it is a very carefully, aestheticized and thoughfully edited film that not only had a script but also an ideological basis that carries these images into eternity trying to render film making into the most sublime of all productions topping even the people in machine rooms and miners underground.

Vertov was himself a victim of the Soviet System he helped to create inasfar as he couldn't really tell the "truth", was in fact pushed out from his job and couldn't do anymore his real shows.... Even the Soviet Union prefered "hollywood style" genres to his topological filming. Thus he is himself DADALENIN and can be happy to have survived it. (which might not have been the case, had he had more success -- as in the case of Stalin's Social Engineering who where all liquidated and executed.

paper size: 19 x 24 inches (48 x 61 cm ), inch on paper

below a suggested grouping that could change.. : new editing..

 

camera eye

dv

dv

dziga

dv

 

 

Workers

dv

dv

dv

 

 

outdoor

dv

dv

dadaleninvertov

dv

 

 

film editing..

dz

dv

dv

 

 

in beer pub

dv

dv

dv

dv

dv

 

 

guns

dv

dv

dziga

dz

 

 

technology

dv

dv

dv

dv

 

 

propaganda, media

dv

dv

dv

dv

Lenin's Club

dv

dv

dv

dv

 

 

Cultural questionnaire, workers' newspaper

dv

dv

dv

dv

 

 

Cinema of the proletarians

dv

dv

dv