Was nicht in die Suppe kommt, geht ins Klo

Experimentalfilm / 2011/ 24 min.

„Im Zirkus lächeln die Leute beim Sterben.

Ich werde nicht lächeln.

Ich werde nur im Film sterben. Wenn ich dann ge-

storben bin, geht das Licht aus, und ich werde wie-

der lebendig. Ich werde nie ganz sterben! Ich werde

es im Leben länger als hundert Jahre aushalten.“

Text:  aus „Warum das Kind in der Polenta kocht“ von Aglaja Veteranyi

Shot in the urban scapes of the city of Zurich the intimate film work addresses essential issues of an artistic work life in a mobile universe and womanhood by merging the cosmos of the director and performer Kirsten Burger and Laura Vogel with those of the romanian artist Agalaja Veteranyi. Born and raised  in a circus family Veteranyi has spend her life consistently commuting in space and social context. „We always live in different places. Sometimes the caravan is so small that we keep bumping into each other. But sometimes we live in luxury hotels with a fridge and a television in our room.“ As the quoted experiences of Agalaja Veteranyi, a woman associating her desires for continuity in love, life and affiliation with the demanding requirements of her profession and the effects of mobility, insecurity and transformation also Kirsten Burger and Laura Vogel manage their reality communting between distinctive cities, cultures, artistic disciplines and female role models. In their work they express fragility as a relevant moment of any identity that involves migration, anonymity and nudity to the same extend than the fascinating necessaty to invent and create your life with your entire being. Hereby the women exemplify how much identity and role models are a fluid result of social movement and gesture as well as spacial concepts and their socio-cultural implementations – as many other principles that organize our life.

and Dirk De Bruyn is writing about my film in the Belgrad Filmfestival:

……Under Festival Director Miodrag Milošević’s guidance, Vladimir Petrić, Jovan Jovanović and Sava Trifković reprised their role as the first festival’s jury, a brave gesture. A Thirty Years On roundtable demonstrated that these veterans had lost none of their critical bite, adding historical perspective to current trends. Neither did their age stop the three wise men from following change’s shooting star to deliver an early Christmas present, the Ivan Kaliević Award to Kirsten Burger and Laura Vogel for their Swiss made film „What You Don’t Put in the Soup Goes Down the Loo“. Like the flash crowd’s de-stabilising effect, this film’s use of dance registers a transition point, a mobile resistance to surveillance culture. In this over-information age Burger and Vogel’s film points out how public space can still be occupied creatively and performatively employing dance’s ephemeral mobility.

In Burger’s film a dancer (Vogel) moves, with a trace of Parkour, through water, subway and fountain, parking on fences, at times trying to engage with passers-by but only doing so successfully with another intruder into this Swiss city-urban landscape. The only person who responds positively with his body to the dancer is an outsider himself, a man who has travelled from Portugal. Vogel’s dialogue with and in a water fountain is very different to Anita Ekberg’s Trevi Fountain scene with Marcello Mastroianni in La Dolce Vita, there infused with erotic anticipation. Vogel’s transgression of public space is performed with a different vitality in the cold hard light of day. There are some young men sitting at this fountain’s side while having lunch but seated with their backs turned, their glances snubbing Vogel’s performance. This is not about performing to a male gaze or walking into the sea to disappear on its horizon line in a heroic gesture of self-effacement. This work sits more closely to the space explored by Cindy Sherman’s imaginary film scenes, but with its focused, critical persona no longer cocooned inside style, but a body openly marking its own relationship to public space. The prize for Burger is not money but a residency at the Academic Film Center to make another film, with all the access to technology this brings.

über die Hintergründe:

Alle Texte sind aus dem Buch Warum das Kind in der Polenta kocht von Aglaja Veteranyi.
Aglaja Veteranyi wurde in eine rumänische Zirkusfamilie hineingeboren. 1967 floh ihre Familie vor der
Diktatur in den Westen, wo sie sich ein besseres Leben erhoffte. 1977 kam Aglaja als Flüchtling
in die Schweiz.In Zürich absolvierte sie eine Schauspielausbildung und wurde Autorin und freischaffende Schauspielerin.
Ihr Erstlingsroman „Warum das Kind in der Polenta kocht wurde preisgekrönt.
2002 ertränkte sie sich im Zürichsee.

Regie:                Kirsten Burger & Laura Vogel

Darstellerin:    Laura Vogel

Bildgestaultung:             Kirsten Burger

Schnitt:               Imri Kahn

Ton:                      Milian Vogel

Stimme:               Elena Hufnagel

Farbkorrektur:   Lilli Kuschel

Eine Produktion der Gesellschaft für zeitgenießenden Tanz 2011

Mit freundlicher Unterstützung von:

Stadt Zürich Kultur

Fabriktheater

Indycine-Kameraverleih

Kino Riffraff

Aufführungen

-Kino riff raff, Zürich /2011/ (www.riffraff.ch/kino/heute.html)

-Festival gipfeltreffen/2011/ (http://www.gessnerallee.ch/festivals_reihen/index.html)

-Kino Movimento, Berlin 2011

-Tanzhaus, Zürich 2011 /www.tanzhaus-zuerich.ch

-35. Grenzland-Filmtage 2012 12.04.-15.04.2012 /www.grenzlandfilmtage-selb. (Publikumspreis für den besten Kurzfilm)

-Internationales Frauenfilmfestival Köln /2012 (http://www.frauenfilmfestival.eu/)

-Im Rahmen der Ausstellung AMBIGUOUS BEING. Who is afraid of identity? 

TAMTAMART, BERLIN 2.Juni bis 13.Juni 2012

KAV 16, Tel Aviv, Israel,  3. Juli bis 3. August 2012

HONG GAH MUSEUM,Taipei,Taiwan, 24. August bis 25. September 2012

– im Dock 11, Berlin, zum Filmfestival Pool 12, www.pool-festival.de,

– Performa-Festival, Locarno /CH   05.-07. 10.2012

– Filmfestival filmzeitkaufbeuren vom 10.-14. Oktober 2012

– Derive Art space, Taichung, Taiwan / November 2012

– International competition program at Festival Alternative Film/Video 2012, Belgrad/ Serbien/Dezember 2012

– 1. Preis, Ivan Kaljevic Preis beim Alternative Film/Video Festival Belgrad/Serbien gewonnen 2012

– Digital Art Lab in Holon, Israel und dort ins Archiv aufgenommen. http://www.digitalartlab.org.il/ArchiveIndex.asp. 2013

– Beim Filmfestival „Der goldene Hirsch“, Karlstorkino Heidelberg, März 2013, dritten Preis gewonnen.

– AMBIGUOUS BEING zu Gast  in der Galerie  Sinpink, in Kaohsiung, Taiwan von 23.2.2013 bis 15.5.2013  / http://www.sinpink.com/index.php.

–  7th International Film Festival Kratkofil Plus 2013, in the official competition Section, Banjaluka, Bosnia and Herzegovina.

– The association of NGOs in Banja Luka, Bosnien & Herzegowina screened the movie at the programme of films related to human rights for the Human Rights Day on Dec 10. / 2013

– The Alternative Film/Video Festival Belgrade  presented a program of its 2012 award-winners at International House Philadelphia USA. Please follow the link for details: http://ihousephilly.org/calendar/alternative-film-video-belgrade-award-winners-2012