Florian Zeyfang

  • Open Form

    Open Form

    Space, Interaction, and the Tradition of Oskar Hansen

    Axel Wieder and Florian Zeyfang

    Oskar Hansen's (1922–2005) theoretical concept of “open form” was developed in the context of international debates around late-modern architecture in the 1950s. Open form assumed that no artistic expression is complete until it has been appropriated by its users or beholders. In the following decades, the concept became a key principle of performance and film art, and led to the development of process-oriented and interdisciplinary artistic techniques. Hansen's concept revolutionized the traditional means of artistic communication.

    This publication examines the impact of Hansen's ideas within contemporary visual culture and the redefined role of the viewer since the 1960s. The book includes in-depth interviews with some of the most important protagonists of experimental art in Poland, who investigate the historical impact of the open form. Other contributions comment on the theory's influence on a younger generation of artists. Visual material by Hansen and the artists complete this extensive volume.

    ContributorsJames N Hutchinson, Anna Molska, Łukasz Ronduda, Pelin Tan, Felicity Scott, Łukasz Stanek, Jan Verwoert, Axel Wieder, Michał Woliński, Florian Zeyfang; interviews with Wiktor Gutt, Grzegorz Kowalski, Paweł Kwiek, Anna Niesterowicz, Artur Żmijewski

    • Paperback $26.00
  • Slow Narration Moving Still

    Slow Narration Moving Still

    Florian Zeyfang

    Slow Narration Moving Still takes Florian Zeyfang's 2009 solo exhibition at the Bildmuseet in Umeå as its starting point and ends with the artist's newest work shown at Künstlerhaus Stuttgart and KW Institute for Contemporary Art, Berlin. The arrested film, the silent video still, the rhythm of the slide projector—Zeyfang's videos, slideshows, and installations explore a politics of form. Along the lines laid out by experimental film, the works explore, in the language of a “minor medium,” the possibilities of minimal narratives.

    But this publication is more than a monograph. On the occasion of the 2009 exhibition, Anselm Franke and Marc Glöde prepared lectures on the perception of slides in art, Walter Benjamin's complex notions of the “dialectic image” and the “image sphere,” and the horizon as the border of visual operation. For this volume they developed these ideas further into subjective analyses of artistic narration. Ariane Müller tosses a stone in a lake and Adnan Yıldız talks with Zeyfang about image, time, and the narrating archive. An interview by Bildmuseet's director Katarina Pierre runs through the publication, and an extensive index translates the concept of Zeyfang's films into the printed format.

    Copublished with Bildmuseet, Academy of Fine Arts, Umeå universitet, and Künstlerhaus Stuttgart

    ContributorsAriane Müller, Marc Glöde, and Anselm Franke; interviews by Katarina Pierre and Adnan Yıldız

    • Paperback $26.00
  • Poor Man's Expression

    Poor Man's Expression

    Technology, Experimental Film, Conceptual Art—A Compendium in Texts and Images

    Martin Ebner and Florian Zeyfang

    Poor Man's Expression examines the relationship between film, video, technology, and art, with a particular focus on the reciprocal influences between conceptual art and experimental film. The publication is based on the eponymous exhibition in Berlin in 2006, but represents an independent compendium of texts and images beyond the show. Works, lectures and performances by international artists, created for the exhibition and expanded for the publication, are set alongside historical experimental films from the archive of the Freunde der Deutschen Kinemathek in Berlin. The authors and artists respond to the questions that arise as to the semantics of critical and experimental conceptual art, medial representation, and the expansion of a concept of technology towards social functions and psychology; they explore problems of medial control, intellectual property, and a changing concept of the public.

    as a point of departure we have assumed that there was once a close relationship between forms that now exist rather separately, namely the realms of visual art, experimental film, literature, poetry, music – and very much the development of technology, too. what is it supposed to mean that 16mm projectors now occupy their luxurious final performance sites at art societies and galleries, while iphone youtube (without open source codecs, to be sure) is the current way to watch a hollis frampton interview.

    the other way around, isn't the gentle entry of the genre of "experimental film" into the realm of "media art" of the 1980s and 1990s itself a transformation analog to general social and medial development brought about by the development of individualization and consumer society? in poor man's expression we have sought, through an advanced setting ("affirmative" neon light surfaces, and the exhibition's "paradoxical" bipartite spatial principle) to address the surrounding "corporate public" architecture of the sony center as well as the film archive deep underground and the dark cinema space of the "avant-garde cinema."

    In collaboration with Arsenal Institute for Film and Video art

    ContributorsSabeth Buchmann, Anselm Franke, Ariane Müller, Branden W. Joseph, Stefanie Schulte Strathaus, Ian White, Axel John Wieder

    Artists: Stephanie Taylor, Sebestyén Kodolányi, Sebastian Lütgert, Henrik Olesen, Mathias Poledna, Sean Snyder, Daria Martin, Kirsten Pieroth, Martin Ebner, Florian Zeyfang

    Images: Anthony Balch, Len Lye, Carolee Schneeman, Bruce Conner, Harry Smith, Joyce Wieland, George Landow, Marie Menken, Ken Jacobs, Rober Breer, Emile Cohl, a.o.

    • Paperback $34.95
  • 1,2,3… Avant-Gardes

    1,2,3… Avant-Gardes

    Film/Art between Experiment and Archive

    Łukasz Ronduda and Florian Zeyfang

    1,2,3… Avant-Gardes is dedicated to the ongoing history of the experiment in film and art. This book describes and analyses the works of filmmakers and artists, defining two decades of experiments in Polish avant-garde film, and juxtaposes their work with contributions by international artists, who started to work during the last fifteen years. The outstanding history of Polish experimental film, represented by the work of Bogdan Dziworski, Paweł Kwiek, Natalia LL, Józef Robakowski, Stefan and Franciszka Themerson, and many others, is presented in an archive containing descriptions of more than 30 films of the Polish avant-garde between 1920–1970 and organized around six themes: Analytical Strategies, Political Film (Soc Art), Sound and Image, Imagination, Games and Participation, and Consumption.

    Artist pages by Paweł Althamer and Artur Żmijewski, Bernadette Corporation, Matthew Buckingham, Judith Hopf and Katrin Pesch, Igor Krenz, Jonathan Monk, Jeroen de Rijke and Willem de Rooij, and Wilhelm Sasnal complete this compendium as a contribution toward an extended examination of the history and practice of experimental filmmaking and art.

    Artists: Akademia Ruchu, Antosz & Andzia, Paweł Althamer/Artur Żmijewski, Piotr Andrejew, Bernadette Corporation, Kazimierz Bendkowski, Matthew Buckingham, Bogdan Dziworski, Marcin Giżycki, Janusz Haka, Oskar Hansen, Judith Hopf / Katrin Pesch, Tadeusz Junak, Jacques de Koning, Igor Krenz, Grzegorz Królikiewicz, Zofia Kulik, Paweł Kwiek, Przemysław Kwiek, Natalia LL, Jolanta Marcolla, Jonathan Monk, Ewa Partum, Andrzej Pawłowski, Zygmunt Piotrowski, Jeroen deRijke/Willem de Rooij, Józef Robakowski, Zbigniew Rybczyński, Zygmunt Rytka, Wilhelm Sasnal, Jadwiga Singer, Zdzisław Sosnowski, Mieczysław Szczuka, Michał Tarkowski, Stefan & Franciszka Themerson, Teresa Tyszkiewicz, Ryszard Waśko, Jan S. Wojciechowski, Krzysztof Zarębski, Florian Zeyfang

    ContributorsDavid Crowley, Steven Ball and David Curtis, Anselm Franke, Stefanie Peter, Łukasz Ronduda, Leire Vergara, Jan Verwoert, Axel John Wieder, Michał Wolinski

    • Paperback $29.95