{"id":30755,"date":"2022-06-21T13:38:42","date_gmt":"2022-06-21T11:38:42","guid":{"rendered":"https:\/\/archive.camerimage.pl\/?p=30755"},"modified":"2022-07-04T13:27:09","modified_gmt":"2022-07-04T11:27:09","slug":"pomiedzy-dokumentem-a-kreacja-filmy-ulrike-ottinger","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/pomiedzy-dokumentem-a-kreacja-filmy-ulrike-ottinger\/","title":{"rendered":"BETWEEN DOCUMENTARY AND CREATION. ULRIKE OTTINGER\u2019S FILMS"},"content":{"rendered":"

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Goethe-Institute in Warsaw and the Centre of Contemporary Art \u0141a\u017ania in Gda\u0144sk come back after a two-year break caused by the pandemic. They join forces to work on a joint project meant to showcase relevant German representatives of the experimental cinema. They will also work together with the EnergaCAMERIMAGE festival this year in order to honour the amazing work of Ulrike Ottinger by screening her movies in three Polish cities.<\/strong><\/span><\/p>\n

This year\u2019s edition is devoted to\u00a0<\/span>Ulrike Ottinger<\/strong>\u00a0not only as a celebration of the 80th birthday of the artist, but most importantly because of the referred topics: memory, loneliness, isolation, the search for one\u2019s place on Earth or the fight for women\u2019s rights. The director\u2019s films present an interesting view on those problems which become even more topical taking into consideration the pandemic or war in Ukraine.<\/span><\/p>\n

Ulrike Ottinger<\/strong>\u00a0gained recognition as a director in 1970s. She went down in history thanks to her original, multidisciplinary and experimental craft.\u00a0<\/span>Ottinger\u2019s\u00a0<\/strong>art stands out in terms of a unique formal search, limitless visual imagination and daring technical experiments.<\/span><\/p>\n

The artist goes far beyond directing. She is a screenwriter, cinematographer and producer, apart from that she was also the creator of production design, posters and costumes in her films. Her productions featured such cinema icons as: Veruschka von Lehndorff<\/strong>,\u00a0Magdalena Montezuma<\/strong>\u00a0or\u00a0Tabea Blumenschein<\/strong>.\u00a0Ulrike Ottinger<\/strong>\u00a0made a lot of documentary films which revealed her remarkable observation skills, an exceptional expertise in camerawork, but most importantly a huge respect and empathy of the artist towards a human being and their culture. When creating her feature films, the director formed new constellations of meanings, juxtaposing and multiplying motives and mythological, religious and historical references. In her films,\u00a0Ottinger\u00a0<\/strong>also used the experience from her numerous journeys. She constructed her own, perfectly refined, surrealist and complex worldviews which are characterized by interweaving reality and fiction predicting future topics in a shamanic way.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Under Snow<\/em>
\n[photo by Ulrike Ottinger, 2011 \u00a9 Ulrike Ottinger]<\/em><\/p>\n

The program of the review included such cult films by\u00a0<\/span>Ottinger\u00a0<\/strong>as\u00a0<\/span>Prater\u00a0<\/strong><\/span><\/em>(2007), filmed on the site of the Viennese amusement park,\u00a0<\/span>Ticket of No Return<\/strong><\/em><\/span>\u00a0(1979), telling a story of an anonymous woman, who lives to drink and drinks to live,\u00a0<\/span>Freak Orlando<\/strong><\/em><\/span>\u00a0(1981), narration of crossing the duality of gender and the boundaries between the imagined and the real world. The review also contains numerous documentaries from\u00a0<\/span>Ottinger\u2019s\u00a0<\/strong>vast body of work. You will have a chance to watch her first full-length documentary \u2013\u00a0<\/span>China – The Arts – The People<\/strong><\/em><\/span> (1985) \u2013 an outcome of her multiple journeys and research. Another item in the retrospective is one of <\/span>Ottinger’s\u00a0<\/strong>recent film productions,\u00a0<\/span>Under the Snow<\/strong><\/em><\/span>\u00a0(2011), which shows the Japanese region of Echigo, covered in everlasting snow.<\/span><\/p>\n

This year, the project was joined by\u00a0EnergaCAMERIMAGE Film Festival<\/strong><\/span>\u00a0, which will honour\u00a0Ulrike Ottinger<\/strong>\u00a0with the\u00a0Award For Avant-Garde Achievements In Film<\/strong>. The artist will come to receive the statuette in person during the Opening Ceremony of the festival on November 12, and will meet the audience the next day. Four of her films will be screened during the festival:\u00a0Ticket of No Return<\/strong><\/span><\/em>\u00a0(1979),\u00a0Prater\u00a0<\/strong><\/span><\/em>(2007),\u00a0Under the Snow<\/strong><\/em><\/span>\u00a0(2011) and\u00a0Parisian Calligrammes<\/strong><\/em><\/span>\u00a0(2020). The detailed information about the screenings will be available on the\u00a0EnergaCAMERIMAGE\u00a0<\/strong>website after its festival program is announced.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Ticket of No Return<\/em>
\n[photo by Ulrike Ottinger, 1979 \u00a9 Ulrike Ottinger]<\/em><\/p>\n

 <\/p>\n

Curators: Jolanta Woszczenko, Renata Prokurat<\/span>
\nOrganizers: Goethe-Institut in Warsaw, Centre of Contemporary Art \u0141A\u0179NIA<\/span>
\nPartners: MCK Nowy Teatr in Warsaw, EnergaCAMERIMAGE Film Festival, Ulrike Ottinger Film Produktion<\/span><\/p>\n

\"\"<\/a><\/p>\n

PROGRAMME OF THE REVIEW<\/strong>
\nMCK Nowy Teatr in Warsaw<\/strong><\/p>\n

5.07.2022, 7:00PM<\/span>
\nPRATER, 2007, 104 min.<\/span>
\nIntroduction: Ma\u0142gorzata Radkiewicz, film studies scholar<\/span><\/p>\n

6.07.2022, 7:00PM<\/span>
\nTICKET OF NO RETURN, 1979, 107 min.<\/span><\/p>\n

7.07.2022, 7:00PM<\/span>
\nUNDER THE SNOW, 2011, 109 min.<\/span><\/p>\n

8.07.2022, 7:00PM<\/span>
\nFREAK ORLANDO, 1981, 126 min.<\/span>
\nDiscussion with: Agnieszka Graff, writer and publicist,\u00a0 Iwona Kurz, film scholar and critic<\/span><\/p>\n

9.07.2022, 7:00PM<\/span>
\nCHINA – THE ARTS – THE PEOPLE, 1985, 270 min.<\/span><\/p>\n

Centrum Sztuki Wsp\u00f3\u0142czesnej \u0141A\u0179NIA, Gda\u0144sk<\/strong><\/p>\n

06.07.2022, 7.00PM<\/span>
\nPRATER, 2007,104 min.<\/span>
\nIntroduction by: Jolanta Woszczenko<\/span><\/p>\n

07.07.2022, 7:00PM<\/span>
\nTICKET OF NO RETURN, 1979, 107 min.<\/span><\/p>\n

08.07.2022, 7:00PM<\/span>
\nUNDER THE SNOW, 2011, 109 min.<\/span><\/p>\n

09.07.2022, 8:00PM<\/span>
\nFREAK ORLANDO, 1981, 126 min.<\/span>
\nMeeting with: Alicja Ewa Majewska, philosopher, Jolanta Woszczenko and Renata Prokurat, curators of the project<\/span><\/p>\n

10.07.2022, 4:00-9:00PM \/ 30′ break<\/span>
\nCHINA – THE ARTS – THE PEOPLE, 1985, 270 min.<\/span><\/p>\n

Films with German audio and Polish subtitles.<\/span>
\nTICKET OF NO RETURN with German audio and Polish and Ukrainian subtitles.<\/span><\/p>\n

Free admission in Gda\u0144sk and Warsaw, in Toru\u0144 \u2013 in accordance with the regulations for the purchase of entry cards and tickets for the EnergaCAMERIMAGE Film Festival.<\/span><\/p>\n

Contact for media:<\/span>
\nJolanta Woszczenko,\u00a0<\/span>j.woszczenko@laznia.home.pl<\/a><\/span>,\u00a0<\/span>j.woszczenko@laznia.pl<\/a><\/span>
\nRenata Prokurat,\u00a0<\/span>Renata.Prokurat@goethe.de<\/a><\/span>
\nKarolina Wajman,\u00a0<\/span>karolina.wajman@nowyteatr.org<\/a><\/span>
\nHelena Ho\u0142od,\u00a0<\/span>promocja@laznia.pl<\/a><\/span>
\nAleksandra Paprocka:\u00a0<\/span>ola@archive.camerimage.pl<\/a><\/span><\/p>\n

Press Release<\/em><\/p>\n

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