Screening at StateStudioBerlin
Intervention at MarineRegionsForum
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
We Are Ocean Filmstill
Born out of an immersive workshop with secondary school classes in Berlin which centered around the pressing topic of climate change and its impact on the ocean, this collective film shoot captures a distinct essence of a generation caught amidst a profound state of transition. The fragmented nature of the film serves as a mirror to the turbulent experiences of the young adults, aged around 15 years old, as they navigate the complexities of their existence, offering a unique glimpse into their hopes, fears, and aspirations in grappling with the complexities of our time. The film incorporates a diverse range of sounds and moods, seamlessly merging the concrete realities of Berlin with the abstract realms of association connected to the vastness of the sea.
A film by Lisa Rave in collaboration with
Barbara-Zürner-Oberschule Velten
and Schule am Berlinickeplatz Berlin
Camera and Sound: Andreas Bolm
Editing: Andreas Bolm, Lisa Rave
Comissioned by: ARTPORT_making waves
Produced by: Anne Marie Melster and Julia Moritz
In association with the Institute for Advanced Sustainabilty Studies Program,
the Marine Regions Forum 2019, The Intergovernmental Oceanographic Commission of UNESCO
As a contribution to the United Nations Decade of the Ocean Science for Sustainable Development
Installation
Tabu Ceremony Filmstill
AMERICIUM Installation Glasmoog
AMERICIUM Installation Glasmoog
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Americium Filmstill ©LisaRave
Research material Workers complete drilling of the five-mile long, horseshoe-shaped exploratory tunnel through Yucca Mountain at the proposed high-level nuclear waste repository in Nevada. US Department of Energy 1997 © Yucca Mountain Science Center Pahrump
Research material Nevada Test Site (NTS), 65 miles north of Las Vegas. Nuclear testing, both atmospheric and underground, occurred between 1951 and 1992. © Yucca Mountain Science Center Pahrump
Research material Decontamination Practice © Yucca Mountain Science Center Pahrump
Taking its title from a man made radioactive element on the periodic table, AMERCIUM addresses the literal contamination of sacred lands and the spiritual neglect of an American landscape. The film revolves around the contested long term nuclear storage facility of Yucca Mountain using portraits of individuals and local communities to explore the conflicting ideologies and fantasies of the American West. It is a search for what is invisible and embedded within the landscape, a meditation on what is simultaneously real and imagined. The project is a culmination of several years of research on the subject, with most material being produced just prior to the November 2016 Presidential Election.
Music: Floating Cult by John Butcher
Image and Sound: Erik Blinderman and Lisa Rave
Sound Design: Chrstian Obermaier
Sound Mixing: Ralf Schipke / Kunsthochschule für Medien Köln
With kind support by the Akademie Schloss Solitude,
Kunsthochschule für Medien Köln (KHM)
and Tabakalera International Centre for Contemporary Culture, San Sebastian
Produced by Whole Wall Films
Bar del Ponte Filmstill ©LisaRave
Bar del Ponte Filmstill ©LisaRave
Bar del Ponte Filmstill ©LisaRave
Bar del Ponte Filmstill ©LisaRave
Bar del Ponte is a short documentary film that explores the situation of refugees in an Italian village, centered around the now-closed bar of the same name. What initially began as a trailer for a fictional film transformed into a short documentary about the making of a film. The bar was closed by the city shortly after.
Located in the heart of Albenga, Italy, Bar del Ponte served as a vital social gathering place for refugees faced with numerous obstacles on their path to integration. Run by a compassionate Moroccan, it provided a safe haven for individuals fleeing war, persecution, and hardship. Within its walls, people from different backgrounds, cultures, and experiences found solace and companionship.
Through interviews, personal stories, and poignant visuals, "Bar del Ponte: Unveiling the Invisible" sheds light on the unique struggles and triumphs of these refugees. It delves into their individual journeys, highlighting the challenges they faced before finding refuge in the bar and the obstacles they encountered on their path to integration.
Ausstellungsansicht Akademie Schloss Solitude Stuttgart 2015
Burning in patterns Filmstill ©LisaRave
Burning in patterns Filmstill ©LisaRave
Ancestral Figure, © Lisa Rave 2015, C-type Print 36 cm x 52 cm
Research material Hermann Schlenker Papua, New Guinea © Hermann Schlenker
Research material Hermann Schlenker, Venezuela © Hermann Schlenker
Research material During filming Burning-in Patterns 2015 © Lisa Rave
Hermann Schlenker, Papua, New Guinea © Hermann Schlenker
Burning-in Patterns depicts a German ethnographer. Between the 1960s and 1980s he completed more than 400 ethnographic films of indigenous communities around the world for renowned institutions such as the Institute for Scientific Film (IWF) in Göttingen, the BBC, Encyclopaedia Cinematographica (EC) and various museums worldwide. By using the same techniques he himself used to create his ethnographic films, the resulting film examines the many ambiguities of ethnographic fieldwork, institutional archiving and the conservation of memory. The film oscilates between objectification and subjective accounts. Through playing with the gaps of montage, the juxtaposition of image, text and sound the film’s shifting narrative moves between filmic document, recounted memory and the act of staging.
A film by Lisa Rave and Anna Vetter
Camera: Jürgen Haller
Sound: Jürgen Haller, Anna Vetter
Montage: Lisa Rave
Sound editing: Tobias Bilz
Color grading: wave-line GmbH Berlin
16mm transfer: Reiner Meyer, Kornmanufaktur, Berlin
Produced by Whole Wall Films
With kind support by:
Künstlerinnen Programm des Berliner Senats
Akademie Schloss Solitude
21 min
HD
2014
EUROPIUM Haus der Kulturen der Welt, 2018 Ausstellungsansicht Transmediale,Territories of Complicity Photo©Luca-Girardini
EUROPIUM Kunstmuseum Basel 2019 Ausstellungsansicht Circular Flow.On The Inequality of Economy, Kunstmuseum Basel
Curved Flatscreen 50 Zoll, curved carpet, 2 white leather seats, 4 drawings by Paul Gauguin of the collection Kunstmuseum Basel
EUROPIUM Vitrine Museumsvitrine 180 cm x 40 cm, fluoreszierendes Licht Muschelgeld aus der Sammlung des Hessischen Landesmuseums mit Beschriftungen Archiv Handschuhe, Fotografien aus dem Bestandsarchivn Ausstellungsansicht Vitrine Ozeanische Gefühle Hessisches Landesmuseum Darmstadt 2018
Europium, Hessisches Landesmuseum Darmstadt, 2019 Ausstellungsansicht Vitrine Ozeanische Gefühle, Hessisches Landesmuseum Darmstadt, 2019 Museumsvitrine 180 cm x 40 cm, fluoreszierendes Licht, Muschelgeld aus der Sammlung des Hessischen Landesmuseums, Archivkarte, Handschuhe
EUROPIUM Filmstill ©LisaRave
EUROPIUM Filmstill ©LisaRave
EUROPIUM Filmstill ©LisaRave
EUROPIUM Filmstill ©LisaRave
EUROPIUM Filmstill ©LisaRave
EUROPIUM Filmstill ©LisaRave
Research material Missionary Heinrich Zahn with the Conch Shell Choir 1930, Hocpoi Papua New Guinea © Mission EineWelt Neudendettelsau
Research material The Conchshell Hymnal 2019 © Lisa Rave
Research material The Conchshell Choir Neuendettelsau 1979 © Mission EineWelt Neudendettelsau
Using various levels of imagery, the essay film Europium draws connections between Papua New Guinea's colonial past and the planned excavation of raw materials from the Bismarck Sea. The film weaves a narrative around the rare earth element Europium; named after the European continent, the material will be culled from the ocean floor to ensure brilliant color images on smartphone displays and other flat screens, and of course for its fluorescent property, which is used to guarantee the authenticity of euro bank notes. The film describes this seemingly mundane fact as a return and repetition of history, pointing in the process not only to the complexity of human culture, its economies and systems of exchange, but also exposing the invisible ghosts of the past as they appear in the modern objects of our lives.
-Philipp Kleinmichel
A film by Lisa Rave
Voiceover: Hanne Lippard
Written by Lisa Rave, co-writer and editor: Erik Blinderman
Assistance: Anna Vetter
1st camera: Nicola Hens
2nd camera: Erik Blinderman
Camera Operator: Moritz Fehr
Sound editing: Christian Obermaier
Color grading: Moritz Fehr
Produced by Whole Wall Films
Production funded by:
Filmförderung Hamburg Schleswig-Holstein
Stiftung Kunstfonds Bonn
Videokunst Förderpreis BremenAkademie Schloss Solitude
Additional links and publications:
Vdrome
Mousse Magazine
TAZ
Transmediale
The Villages Filmstill
The Villages Filmstill
The Villages Filmstill
The Villages Filmstill
The Villages is a documentary film, presenting two geographically distinct communities as they begin to merge into one fictive filmed space. The film moves from intimacy to observation, focusing on a retirement community of the same name and the former German colonial town of Swakopmund, Namibia, most recently appearing as the setting for the remake of the British television series, The Prisoner. Using the series as a leitmotif, The Villages portrays the reconstruction and the idealization of colonial histories, through the architecture, borders and social relations of both communities. A narrative begins to form between the analogies of spaces and the conventions of documentary, between the synchronization of image and sound; between acting and editing. The Villages represents a fantastic dystopian space, through the ever evolving social segregation of the communities and the transformation of tourism into everyday life.
A film by Erik Blinderman and Lisa Rave
Sound editing: Christian Obermaier
Colorist: Antonia Gogin / Venim Berlin
With kind support by:
Filmförderung Hamburg Schleswig-Holstein
Berlin Funding for Graduates (Elsa-Neumann-Stipendium des Landes Berlin)
Venim Berlin
We Are Stardust Filmstill
We are Stardust We are Golden and We´ve got to get Ourselves back to the Garden
The film, whose title is taken from a verse of Joni Mitchell's song "Woodstock," returns to the place where the legendary festival of the same name took place in 1969. Exactly forty years later, a 16mm camera documents the now privatized grounds, which are patrolled by police. It captures the surveillance and fences surrounding the field, as well as the commodification of the "counterculture" in the newly opened museum.
With kind support by Bard College, New York