As part of an exploration into working with found materials, German experimental filmmaker and curator Matthias Müller joins us to introduce a selection of the more recent films he co-directed with Christoph Girardet, followed by an onstage conversation with Concordia’s Catherine Russell.
This event is part of the 2019 Summer Institute at York University, Archive/Counter-Archives, Janine Marchessault’s SSHRC Partnership Grant project.
Meteor (dirs. Christoph Girardet & Matthias Müller \ Germany 2011 \ 15 min.)
Kristall (dirs. Christoph Girardet & Matthias Müller \ Germany 2006 \ 15 min.)
Contre-jour (dirs. Christoph Girardet & Matthias Müller \ Germany 2009 \ 11 min.)
personne (dirs. Christoph Girardet & Matthias Müller \ Germany 2016 \ 15 min.)
Screen (dirs. Christoph Girardet & Matthias Müller \ Germany 2018 \ 18 min.)
Archive/Counter-Archive is a six-year project that aims to activate Canada’s most precarious audiovisual heritage. Using a practice-based approach, the project will foster a creative engagement with archives — one where preservation does not oppose access, but flourishes from new media practices of remediation.
Matthias Müller was born in Bielefeld, Germany. He studied arts and German literature at Bielefeld University and fine arts at the Braunschweig University of Art, HBK. He has produced videos, video installations, films, and photo works since 1979, many of them in collaboration with Christoph Girardet. Müller has organized film festivals and curated festival sections. He has had individual exhibitions in the Neuer Berliner Kunstverein and in the Tate Modern. Since 2003, he has served as a professor of experimental film at the Academy of Media Arts Cologne. His works include Epilog (87), Home Stories (90), Sleepy Haven (93), Alpsee (94), Vacancy (98), nebel (00), Album (04), and Air (16).
Catherine Russell is a Distinguished Professor at the Mel Hoppenheim School of Cinema at Concordia University. She holds a PhD in Film Studies from New York University. Her publications include work on avant-garde cinema, anthropological cinema, Japanese cinema, and early cinema. Her most recent book, Archiveology: Walter Benjamin and Archival Film Practices (18), explores how the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers provides ways to imagine the past and the future.