Michael Klier’s landmark work of video art DER RIESE (THE GIANT) (1983, 83 min) preceded by KINGDOM COME: RITUALS (2014, 7 min) by Vika Kirchenbauer and Martin Sulzer.
A post-screening panel discussion will be led by writer and film programmer Aily Nash, with the artists eteam (Franziska Lamprecht and Hajoe Moderegger), and researcher and writer Arthur Holland Michel, co-director of the Center for the Study of the Drone.
Comprised entirely of material generated by surveillance cameras, DER RIESE (THE GIANT) creates the impression of “an anonymous, powerful subject that omnipresently sees everything without itself being visible”. James Hoberman describes it as a city symphony that “inserts itself into film history somewhere between the motorized tripod of Michael Snow’s landscape film La Region Centrale and the ubiquitous kino-eye of Dziga Vertov’s all-over documentary The Man with a Movie Camera; using advanced yet tawdry technology, Klier questions [and deviously celebrates] the legitimacy of filming everything.”
Preceded by KINGDOM COME: RITUALS, comprised of aerial footage shot by pigeons equipped with lightweight digital cameras flying over a political protest in Berlin. Kirchenbauer and Sulzer’s rediscovery of pigeon photography references a method used mainly for military purposes during World War I in the field of what would nowadays be called ‘unmanned reconnaissance’, a precursor of modern drone warfare.