TIERGARTEN - DAY FOR NIGHT (AT), approx 45 min, in postproduction
with
Anastasia Mandel
Elias Johannson
Romina Küper
Simon Frühwirth
Cruising as a social practice knows many modes of moving through the city. It involves strolling, lingering, loitering, and waiting. Silent and vulnerable. As an artistic strategie it allows us to challenge the camera’s perspective on what is happening, the perspectives of the actors in the filmic representation, and possibly even the perspectives of the audience itself.
The project Tiergarten - Day for Night (AT) is an approach to the Tiergarten Berlin as a public space, a historic site and infamous cruising ground. Against the backdrop of the monkeypox out- break in Berlin in the summer of '22, the Corona pandemic, and the HIV epidemic, it is interrogating the social practices of queer communities within the urban space and how trauma manifests in them.
In the so-called day-for-night process the cinematic illusion of night is created by means of appropriate settings during shooting and editing in post-production.
On the one hand, this allows one to be considerate while shooting and not disturbingly intrude the park at night time. On the other hand, it creates an aesthetically exaggerated, artificial image of a night beyond time, which creates space for questioning the ideological implications of concepts of work and leisure, visibility and invisibility, the private and the public.
TIERGARTEN - DAY FOR NIGHT (AT), approx -29 min, in postproduction
with
Anastasia Mandel
Elias Johannson
Romina Küper
Simon Frühwirth
The project Tiergarten - Day for Night (AT) is an approach to the Tiergarten Berlin with cinematic and performative means. In doing so, we reflect on its role as an open space within the city, as well as its significance as a cruising ground for the social practices of marginalized, queer communities. Against the backdrop of the current outbreak of monkeypox in Berlin, the Corona pandemic, and the HIV epidemic, we interrogate how we come into contact with each other and how trauma that spans generations manifests itself in it.
Cruising as a social practice knows many modes of moving through the city. It involves strolling, lingering, loitering, and waiting. Silent and vulnerable. As an artistic strategie it allows us to challenge the camera’s perspective on what is happening, the perspectives of the actors in the filmic representation, and possibly even the perspectives of the audience itself.
In the so-called day-for-night process the cinematic illusion of night is created by means of appropriate settings during shooting and editing in post-production.
On the one hand, this allows us to be considerate while shooting and not disturbingly intrude the park at night time. On the other hand, it creates an aesthetically exaggerated, artificial image of a night beyond time, which creates space for questioning the ideological implications of concepts of work and leisure, visibility and invisibility, the private and the public.