Deutsche Kinemathek im E­Werk

The raw, impres­sive hall, with its traces of indus­tri­al labor, is not trans­formed, but rather its sto­ry is reimag­ined. The scenog­ra­phy responds to the exist­ing struc­ture in a nuanced way, con­ceal­ing noth­ing and adding new accents. Semi-trans­par­ent tex­tile struc­tures orga­nize the space with­out clos­ing it off. They cre­ate a per­me­able shell onto which large-for­mat film sequences appear – float­ing, frag­men­tary, almost immaterial.

Light becomes the cen­tral nar­ra­tive ele­ment. Through the inter­play of bright­ness and pro­jec­tion, a play of film and object, of vis­i­bil­i­ty and imag­i­na­tion, emerges. Film, object, and space inter­twine; win­dows, gal­leries, and tech­ni­cal relics enter into a new dia­logue with the instal­la­tions. The list­ed build­ing and its medi­a­ti­za­tion merge into an inde­pen­dent nar­ra­tive – a sen­so­ry exchange between place and audience.

At the front of the hall, a strik­ing pre­sen­ta­tion of the col­lec­tion takes shape: select­ed key objects rep­re­sent the rich­ness of the hold­ings, and the super­im­po­si­tion of pro­jec­tions cre­ates a vir­tu­oso inter­play between the con­crete and the abstract. Fur­ther lev­els of the col­lec­tion open up in the low­er lev­el, allow­ing vis­i­tors to expe­ri­ence even del­i­cate, rarely exhib­it­ed pieces.