Sa, 31.7.21

Overflowing Environments: Submerged Continuities (Field Trip)

Screening

Artists  Deborah Jeromin & Clemens von Wedemeyer

Time  14:00

Curated by  Nanna Heidenreich & Marcus Held

This field trip is part of the pro­ject Overflowing Environments

This is an invi¬≠ta¬≠ti¬≠on to walk, to wan¬≠der off, to mean¬≠der, to unlearn the fixa¬≠ti¬≠on on a wag¬≠ging fin¬≠ger, and to learn how to rela¬≠te to ‚Äúnatu¬≠re out the¬≠re‚ÄĚ without hier¬≠ar¬≠chies and without lear¬≠ning objec¬≠ti¬≠ves. Field trips allow us to expe¬≠ri¬≠ence and under¬≠stand on mul¬≠ti¬≠ple levels; we will use this approach for asking ques¬≠ti¬≠ons in our envi¬≠ron¬≠ment and of our envi¬≠ron¬≠ment. In two dif¬≠fe¬≠rent are¬≠as, we will make con¬≠nec¬≠tions bet¬≠ween peop¬≠le, films, the¬≠ses and approa¬≠ches that we hope hold the poten¬≠ti¬≠al for expe¬≠ri¬≠en¬≠cing and reflec¬≠ting on the rela¬≠ti¬≠ons¬≠hips bet¬≠ween humans and natu¬≠re, bet¬≠ween natu¬≠re and cul¬≠tu¬≠re, and bet¬≠ween non-humans and humans.

In doing so, we will also con¬≠si¬≠der our move¬≠ments, our appro¬≠pria¬≠ti¬≠ons, and our gaze and ter¬≠mi¬≠no¬≠lo¬≠gi¬≠cal regimes. Artists, theo¬≠re¬≠ti¬≠ci¬≠ans, envi¬≠ron¬≠men¬≠tal and natu¬≠ral his¬≠to¬≠ri¬≠ans will bear us com¬≠pa¬≠ny, help to shape the field trips and set the pace. Our paths will lead us from the phy¬≠si¬≠cal to the cine¬≠ma¬≠tic world and vice versa.

Submerged Continuities

The con¬≠cept of Lebensraum (‚Äúliving space‚ÄĚ) refers to all types of eco¬≠lo¬≠gi¬≠cal com¬≠mu¬≠nities: bio¬≠to¬≠pes, eco¬≠zo¬≠nes, habi¬≠tats, bio¬≠s¬≠phe¬≠res. In colo¬≠nia¬≠list and National Socialist con¬≠texts, it was used to make natio¬≠na¬≠list and racist claims that left their marks even in the land¬≠s¬≠cape. Current eco¬≠fa¬≠scist move¬≠ments demons¬≠tra¬≠te that even terms like natu¬≠re pro¬≠tec¬≠tion or ani¬≠mal wel¬≠fa¬≠re can‚Äôt be used without poli¬≠ti¬≠cal impact and his¬≠to¬≠ri¬≠cal bur¬≠dens. Cyclic ‚Äúnatu¬≠ral‚ÄĚ time is con¬≠fron¬≠ted with a ‚Äúhis¬≠to¬≠ri¬≠cal‚ÄĚ time mar¬≠ked by vio¬≠lent inter¬≠rup¬≠ti¬≠ons, obli¬≠vi¬≠on, and memory.

We’ll start at a site whe­re silk­worms were bred for the pro­duc­tion of parachu­te silk for the Wehrmacht. Our next stop will be Lindenau Harbor. Construction of the har­bor basin star­ted in 1933, but the ori­gi­nal pro­ject of con­nec­ting it to the Saale Elster Canal and ulti­mate­ly to the North Sea was never com­ple­ted. Ammunition that was dum­ped in the canal after World War II has been re-sur­fa­cing sin­ce the end of 2020, among other rea­sons becau­se it has been sys­te­ma­ti­cal­ly sear­ched for. We aim to extend this search for con­scious­ly and sub­con­scious­ly sub­mer­ged con­ti­nui­ties to con­cepts and ideo­lo­gies of nature.

Verwundene F√§den/őúŌÄőĶŌĀőīőĶőľő≠őĹőĶŌā őļőĽŌČŌÉŌĄő≠Ōā (Riven Threads), artis¬≠tic docu¬≠men¬≠ta¬≠ry, 40 min, 2020

Mulberry hedges can still be found in one of the allot­ment gar­den sites in Leipzig. They were plan­ted in the late 1930s for the Nazi silk pro­duc­tion. An edu­ca­tio­nal film about silk cul­tu­re was also pro­du­ced in Leipzig at that time. The film Riven Threads traces the silk from the allot­ment gar­den site to its desti­na­ti­on, the tou­ris­tic island Crete. Hardly any pla­ne had been seen the­re befo­re, but in May 1941, wit­hin only one week 10.000 para­t­ro­o­pers jum­ped onto the bar­ren island. Contemporary wit­nes­ses recall memo­ries of the Battle of Crete and the ter­ror of the German occup­a­ti­on. They cut the sil­ken parachu­tes and recy­cled them as hand­ker­chiefs and dres­ses. The hand­craft pro­ces­ses are time units that are inscri­bed into their bodies and that have struc­tu­red their memories.

The artis¬≠tic docu¬≠men¬≠ta¬≠ry Riven Threads traces the rou¬≠tes of parachu¬≠te silk‚ÄĒfrom the Nazi silk pro¬≠duc¬≠tion as a pro¬≠pa¬≠gan¬≠da pro¬≠gram to the Battle of Crete in 1941, whe¬≠re parachu¬≠tes were later reu¬≠sed by hand¬≠craf¬≠ting women to make handkerchiefs.

Die Pferde des Rittmeisters (The Cavalry Captain‚Äôs Horses), Germany, 2015, 10 min, HD, trans¬≠fer¬≠red from 16mm film, colour and black-and-white, sound, 10 min
16mm foo­ta­ge from ama­teur film-maker Harald von Vietinghoff-Riesch’s estate

This com¬≠men¬≠ted chro¬≠no¬≠lo¬≠gi¬≠cal mon¬≠ta¬≠ge com¬≠bi¬≠nes foo¬≠ta¬≠ge of Wehrmacht hor¬≠ses and of civi¬≠li¬≠ans fle¬≠eing from the Wehrmacht into a pic¬≠tu¬≠re of war. The film is part of the pro¬≠ject P.O.V. (Point of View) by Clemens von Wedemeyer which exami¬≠nes the cinematographer‚Äôs sub¬≠jec¬≠ti¬≠ve view behind the front line.

Program Details

Meeting point: allot¬≠ment gar¬≠dens ‚ÄúHoffnung West‚ÄĚ, club house
Please sign up here: office@d21-leipzig.de

14:00‚ÄĒ15:15 Talk with Deborah Jeromin about her work on Nazi silk¬≠worm bree¬≠ding and the rou¬≠tes of German parachu¬≠te silk to Crete (KGV Hoffnung West)
15:30‚ÄĒ16:15 Time for wal¬≠king to Lindenau Harbour
16:30 Keynote by Anna-Katharina Wöbse
17:15‚ÄĒ18:15 Break/time for wal¬≠king to the cinema
21:30/22:00 LURU, open-air cinema
Film scree­ning: Deborah Jeromin: Verwundene Fäden (Riven Threads) (40min)
Film scree­ning + talk: Clemens von Wedemeyer: Die Pferde des Rittmeisters (The Cavalry Captain’s Horses) (10min)

Funding

Logo Kulturstiftung des Freistaates SachsenLogo Stadt Leipzig Kulturamt