Film screening
18.7., 16:30 – 19:00
Free admission

A retrospective of video works presented at the M1 VideoSpace (2026 – 2020)

Cihad Caner. Demonst(e)rating the Untamable Monster, 2019
HD video, 16:11 min., Turkish with English subtitles

In Demonst(e)rating the Untamable Monster, two animated figures recount their experiences of exclusion. They sing, hum, and speak in a rhythmic choreography about dehumanisation and fear, about the right to speak – and about the fact that they cannot be erased. Intertitles posing questions to the audience foreground the distinct perspectives of the speakers – a woman, a queer person, and a migrant. In this way, Caner (* 1990 in Istanbul) offers a compelling contemporary reflection on the mechanisms of othering and on possibilities of resistance.

Nina E. Schönefeld. RIDE OR DIE, 2024
HD video, 30:13 min., English with German subtitles

Nina E. Schönefeld’s (* 1972 in Berlin) video work RIDE OR DIE focuses on the pivotal moment when radical resistance against the political shift to the right in Europe begins. The story, set in 2039, is told from the perspective of a journalist couple living in a surveillance state permeated by totalitarian structures, where AI governs every aspect of daily life and suppresses dissent. In the face of existential threat, the protagonists join an underground resistance to overthrow the system. The imperative – and the work’s title – RIDE OR DIE, implies an escalating radicalisation with the aim of political upheaval. 

Kerstin Honeit. THIS IS POOR! Patterns of Poverty, 2024
HD video, 20:04 min., English and German with German and English subtitles

In THIS IS POOR! Patterns of Poverty, Kerstin Honeit (* 1977 in Berlin) examines social structures that foster economic inequality through the lens of class discourse. The artist collaborates with members of the Berlin Street Choir and her family, juxtaposing “decors of poverty” from her home interior with the architecture of the Steglitzer Kreisel in Berlin – a victim of luxury real estate speculation that once housed the district authority and served as a distribution point for social welfare. 

Rhys Hollis, Andrea Baker, Divine Tasinda & Kheanna Walker. OMOS, 2022
Video, 20:16 min., English with English subtitles

OMOS pays tribute to Black performers at the Scottish court in the 16th century, with reference to Shakespeare’s A Midsummer Night’s Dream. The locations – Puck’s Glen Forest and Stirling Castle – establish a connection to a historical performance for King James VI, where a lion was supposed to pull a chariot through the castle’s great hall. This was deemed too dangerous, and the chariot was ultimately pulled by an unnamed Black man – one of many Black performers at the Scottish court. OMOS—originally an acronym for “O monstrous! O strange!” evolved over the course of the project, into the phrase “Our Movement, Our Stories”.

Rhys Hollis (* in London) / Andrea Baker (* USA) / Divine Tasinda (* in Kinshasa) / KheannaWalker (* in Montreal)

Gernot Wieland. Turtleneck Phantasies, 2022

HD video, 17:36 min., English with English subtitles
The poem Turtleneck Phantasies runs fragmentarily through the film of the same title by Gernot Wieland (* 1968, Horn, AT). It was written by a man whose life story forms the starting point of the work: Born in Germany shortly before World War II, he worked as a sailor on a British cargo ship. After surviving a shipwreck in the 1980s, he was left severely traumatised and was first admitted to a psychiatric clinic in England before later being placed in a residential care home in West Berlin. In the homes he began tattooing words, texts and drawings on the skin of his fellow patients. The phenomenon of the tattoo runs throughout Wieland’s video as a leitmotif—it appears as a protective “second skin”, anchor point, and medium of reorientation in the wake of traumatic experiences.

Basir Mahmood. Good ended happily, 2018
HD video, 13:05 min., Urdu with English subtitles

The starting point for Good ended happily is an interest in the production processes of the film industry on the part of Basir Mahmood (* 1985, Lahore). The artist entrusted the film shoot to a crew from “Lollywood” in Lahore—once a thriving centre of the film industry, which today only has a marginal presence in Pakistan’s cultural landscape. The only directions he gave to the crew were that the events should revolve around the death of Al-Qaeda leader Osama bin Laden. By making the instructions of the director, cinematographer, and assistant director audible, Mahmood reveals the production process, which gradually takes on a reality of its own over the course of the film.

Eli Cortiñas. Walls Have Feelings, 2019​

HD video, 13:10 min., English with German subtitles

Eli Cortiñas (* 1979 in Las Palmas, ES) uses found material from films, YouTube videos, advertisements, animations, and image archives in her video works, which she reproduces, rhythmises, and sets to music. In Walls Have Feelings she deals with the concepts of work and value creation, among other things, and creates a dystopian picture of our present. The artist questions architecture as a manifestation and instrument of political power as well as the role of supposedly innocent objects and interiors in their function as silent witnesses, protectors, and amplifiers of power.

Ann Oren. Passage, 2020
16mm film ‬transferred to HD video, 12:48 min., without language‬‬‬‬

Passage is about a foley artist working on a film featuring a dressage horse. With her film Ann Oren (*1979 in Tel Aviv) creates a portrait of both the horse’s body and the foley artist, while referencing Eadweard Muybridge’s early film experiments, in which he conducted motion studies of racehorses. As the character in the film—played by Simon(e) Jaikiriuma Paetau—appears to dissolve into a gender-transcending centaur transformation, the artist reflects on the boundaries between the human and the animal, as well as the construction ofgender roles and their overcoming.