On Thursday 3.2. at 7 pm Constanze Fischbeck and Daniel Kötter invite to a university internal screening as part of the video workshop The Camera as Performer.

Screened will be:
-State-theatre #2 Tehran / Daniel Kötter, Constanze Fischbeck, 24 min, 2010

-Hashti Tehran / Daniel Kötter, 60 min, 2016

Please send advance notification to Lina Determann

State-theatre #2 Tehran:

The Greek word "theater" refers first to the place, the architecture of the performance, and less to what is performed. A theatrical architecture represents the order of its time of origin even after decades and centuries. The geometric space of architecture stands against the anthropological space of its use.

Case Study 2: Tehran.
Vahdat Hall Tehran was Iran's first and only opera house. The auditorium of the building, commissioned by the Shah regime in 1966, is modeled on the Vienna Court Opera, while the ornamentation repeats the formal language of Persepolis, the central representative architecture of the Persian Empire. Since the Islamic Revolution in 1979, no opera or ballet performances have been held in Vahdat Hall. There is no archive of the pre-revolutionary period. Since 2006, the theater has had a system of pan and tilt cameras for documentation purposes. Zoom Out: the former workshop building of Vahdat Hall. Director Behrooz Gharibpour replaces the opera singer with a puppet with a poet with himself.
Zoom Out: roof in the north of Tehran. Sara Reyhani, virtual dancer, imagines the gaze regimes of various invisible stages.

Hashti Tehran:

Hashti, in most traditional houses in Iran, is an octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service.

Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the west, the construction of social housing called Pardis Town in the far east and the neighborhood Nafar Abad at the southern edges of the city.

Daniel Kötter is a filmmaker and music theater director. His works oscillate between different media and institutional contexts and combine techniques of experimental film with performative and documentary elements.
His works include the music theater trilogies Falsche Arbeit, Falsche Freizeit, Freizeitspektakel (2008-10), KREDIT RECHT LIEBE (2013-16), and STADT LAND FLUSS(2017-19, with Hannes Seidl), as well as the multiple award-winning film, performance, and discourse series state-theatre about the conditions of the performative in the cities of Lagos, Tehran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 with Constanze Fischbeck). The film State-theatre #2 TEHRAN won the award of the Association of German Film Critics of the European Media Art Festival in Osnabrück 2012.In 2014-18 he worked with curator Jochen Becker (metroZones) and others on the research, exhibition and film project CHINAFRIKA. Under Construction.2017-20 he elaborated the documentary film trilogy Hashti Tehran (2017), Desert View (2018, with Constanze Fischbeck) and Rift Finfinnee (2020) about urban peripheries in Tehran, Cairo and Addis Ababa. Hashti Tehran won the special prize of the German Short Film Award. Currently, Daniel Kötter is working on a series of spatial performances and 360° films on the landscape and social consequences of extractivism in Germany, West Papua, DR Congo and Estonia under the title landscapes and bodies. His most recent film "Rift Finfinnee" has also won several awards, including the DEFA Prize at the Dok Leipzig Festival 2020 and the Best Architectural Film Award at the Milano Design Film Festival 2021.

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