ScreeningStefan Römer Conceptual Paradise: There Is a Place for Sophistication
Wednesday, March 5, 7.30PM
Co-presented with Pacific Cinémathèque, Simon Fraser University, and University of British Columbia
In three years of filmic research, the artist and author Stefan Römer has interviewed numerous outstanding international artists with his film team. In engaging in intellectual exchanges before the camera, Stefan Römer is able to develop a special filmic mode of reflecting on the state of international contemporary art.
The film essay Conceptual Paradise: There Is a Place for Sophistication traces out the debates that allowed the intellectual art movement of Conceptual art to emerge in the 1960s and led to the most relevant questions in art today. The artists speak about their own artistic practices and the socio-historical development of the various conceptual movements. In so doing, it becomes clear that there can be no one valid definition of conceptual art, since a permanent engagement also makes up its theoretical and philosophical complexity, including for example the question of whether there can be art without an object.
In these discussions with the most interesting artists and art theorists alive today, the fiction and ideal of art as political engagement are brought to life. The history of art is a history of struggles around strategies of representation. This makes this film about Conceptual art also a film about filmmaking. Stefan Römer reflects in numerous passages of the film with the well-known German filmmaker Hartmut Bitomsky about the documentary as a genre.
With the documentary essay Conceptual Paradise, Stefan Römer continues his analytic engagement with forms and modes of narrative for artistic documentation. Beside his extensive body of photography, his recent work includes the Super 8 film Corporate Psycho Ambient (235 media Köln on DVD 2004) and The Analysis of Beauty, a short film produced on the basis of single photographic montages (on the DVD Loop Pool by Graw Böckler, commissioned by Internationale Kurzfilmtage Oberhausen 2005). His filmic praxis extends back before the period of video activism in the mid-1990s, including interview videos, for example on the 1993 exhibition Unfair, and numerous multimedia punk performances in the 1980s.
Made possible with the financial support of Kulturstiftung des Bundes.
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