Tag Archives: wim wenders

15 April 2011

“Renowned film director and photographer Wim Wenders discusses his new exhibition of mostly unpublished photographs with Professor Yve Lomax (Goldsmiths University), in his first show in London since 2003”.

some notes:

_ titles, captions, takes us towards a place,

_ place for things out of place

_ having a place, naming a place,

_ place brings displacement

_ strange and quiet :: as adjective or verbs

_ places becomes quietly strange and strangely quiet

_ as a traveler you discover places

_ getting lost as a royal experience

_ it is getting difficult to get lost

_ space are underrated, because there are basically no more unknown places in the world

_ the experience of being somewhere, looking at a place, start reading the place, is something we all forget to do, because we thing we know it already.

_ asking locals about the place as a big mistakes

_ we are loosing the ability of being somewhere, exposing ourselves, to read the traces we see and let the space tell us its story

_ a space can suggest a story (related to his movies)

_ the place belongs to the story and the story belongs to the place

_ story as an expression of that place :: “as soon as I start feeling I could be somewhere else and I could tell it somewhere else, I get very lost (…) not in a good way”

_ place steps into the background :: necessary process in film making.

_ photography gives the chance to give place a center stage and let it keep it :: stories becomes a bit more like a secret

_ photographer as a translater between the place and the viewer

_ but as soon as you have people, even in the photographs, they dominate it right away

_ sense of place once was critical for survival

_ how does a place affect me?

_ we as a result of a place

_ people can tell us about the place where they live, but we can also hear this from the place itself.

_ dangers are eliminated, there are maps, signs “please stand here, take a picture and move on”

_ to relate to a place not being a tourist

(to be continued :: 30:05)

Open Air Screen

“When I look at a map, the names of mountains, villages, rivers, lakes or landscape formations excite me, as long as I don’t know them and have never been there,” says Wenders. “I seem to have sharpened my sense of place for things that are out of place.

“Everybody turns right, because that’s where it’s interesting, I turn left where there is nothing! And sure enough, I soon stand in front of my sort of place. I don’t know, it must be some sort of inbuilt radar that often directs me to places that are strangely quiet, or quietly strange”.

some quotes

_ Berlin is a city where such a fragmentation can be clearly read. Not only through the inner-city emptiness, but also because of the many crashes of different realities which can be observed all over the city.

_ the city is pieced together of fragments from several historical layers.

_ After the fall of the Wall, large inner city areas lay empty, and a heated public debate arose on possible future developments and strategies; hence how the future stories of the city could be told.

_ Oswalt continues to claim that what is missing can never be replaced by something which simulates history, and that these buildings do therefore not create the desired homogeneous image. Rather, they add yet another dimension to the conglomerate city.

”Die Simulation können das Fehlende nicht ersetzen, sondern nur  auf das Vermisste verweisen. So wird in Berlin die Heterogenität der Stadt, die eigentlich kaschiert werden soll, um eine weitere Dimension bereichert” (Oswalt)

_ new projects have “failed to project an image that Berliners could recognise” (Bisky 2006).

_ Berlin is a conglomeration of parallel worlds.

_ urban development projects initiated by the planning authorities in Berlin after the reunification do not correspond with people’s perception of the realities of the city (…) “crashes of realities”

_ Temporary use has even turned out to be “an important component of urban planning in Berlin” (Overmeyer 2007).

_ A void so filled with history and memories would lie as a reminder, telling the story of the city with its emptiness.

_ Thus, in an empty space it was easier for him to recall his memories and reconstruct the former platz in his imagination (Casu and Steingut 2006). Wenders continues with comparing the function of empty and open spaces in a city to reading between the lines in a text: “…the empty spaces in the cities work like that as well. They encourage us to fill them up with ourselves” (ibid). Perhaps this points out the most crucial quality of empty space, that it is a space of opportunities, of future stories. Thus, these places trigger our imagination; encourage us to add our own stories to the city. Because where nothing exists, everything is possible.

„Wo nichts ist, ist alles vorstellbar.” Phillip Oswalt