Werkschau/Retrospective Anja Dornieden & Juan David Gonzáles Monroy
Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice Horrorism, a simulated method of inner and outer transformation. They have presented their work internationally in a wide variety of venues. They are currently members of the artist-run film lab LaborBerlin.
Konrad-Adenauer-Straße 2, 70173 Stuttgart
U-Bahn, Bus: Haltestelle Charlottenplatz
Germany 2015, B/W, 16 mm, 30:00 Min.
The masked arts of Indonesia are thou- sands of years old. They are commonly referred to as “wayang topeng” (wayang: shadow or puppet; topeng: mask). It is believed that wayang topeng originated from tribal death rites, where masked dancers were considered the interpreters of the gods. In the lowest rungs of Javanese society a unique manifestation of these masked traditions can be found. Its practitioners are performers, but they are not merely entertainers. Their aim is not simply to amuse. Their ambition is to be respected, to be honored, to be successful. They have embarked on a path they know will lead to a higher state, to an honorable and noble position.
Germany 2017, Colour, 16 mm, 26:00 Min.
Heliopolis Heliopolis was the name of a metropolitan simulacrum devised as a training tool for urban planning at the NoUn School of Architecture in Egypt in the 3rd century BC. This model was a tool to train students in the design of a revolutionary city meant to surpass the ancient city of Heliopolis. This model based exclusively on texts and second-hand knowledge. Heliopolis Heliopolis is a cinematic interpretation of the simulacrum and the hypnotic, trance- inducing ritual connected to its use.
Germany 2018, doubleprojection, 16 mm, 30:00 Min., premiere
In 1816 Professor I.B.D. Naheseer devised the first and only water bear phantasma- goria. Inspired by the phantasmagorias of Étienne-Gaspard Robert, he concocted a plan for a magic lantern show that focused on the water bear, or tardigrade, a near microscopic animal known for its capacity to survive in extreme environmental conditions.
Naheseer planned the show as a love story between himself and one particular water bear, which he called ”Wasserbärchen”. The story he intended to present went like this: Naheseer finds Wasserbärchen while observing some plant specimens through his microscope. He becomes fascinated with Wasserbärchen and the more he looks the more he realizes that Wasserbärchen is aware of being observed. He notices that Wasserbärchen does a little dance every time he places his lens above her. These flirtations prove to Naheseer that Wasserbärchen enjoys being watched. He decides to use his scientific powers to blow up Wasserbärchen in size so they can be together.
With the help of a special optical device he planned to create the illusion of Wasserbärchen materializing in human size from a billow of smoke. The show would end with Naheseer and Wasserbärchen dancing with one another, floating above the audience. he show was never staged for an audience. It seems that the technical and aesthetic complexity of Naheseer’s vision was beyond the means available to him. That fact did little to lessen his determination and after many failed attempts at inventing the required machinery he came upon the notion that he needed to call on his muse for help. So he went to work on writing a song to Wasserbärchen. He spent 30 years attempting to write the song that would speak to Wasserbärchen in such a manner that she would grant him the faculties he needed to actualize his dreams. Eventually his implacable obsession led to him being institutionalized. He never completed the song. Learning of this story inspired us to devise a traumatoscopic reply to Naheseer.