DIE SONNENFINSTERNIS AM 8. APRIL 1921
Entering the world of art is not easy. The interaction between artists, artwork and visitors is usually dialectical. To be admitted, the viewers of Ulay/Abramović’s performance <i>Imponderabilia</i> are required to work through the naked bodies of this art couple. The relationship between a work of art and its viewer is also shown in Brian De Palma’s comical documentary <i>The Responsive Eye</i>, which focuses on the legendary 1965 op art exhibition at the MoMA: The increasing amalgamation of images and viewers is accompanied by a teaching Rudolf Arnheim. Kurt Kren’s <i>47/91</i> Ein Fest re-orchestrates a banquet at the Museum für angewandte Kunst (MAK) [Vienna Museum of Applied Arts] as a sequence of reeling imagery: The viewers’ befuddlement is translated into Kren’s personal cinematic idiom. Finally, <i>Die Führung</i> by René Frölke sheds light on the challenging relationship between art, politics and business: The German head of state, Horst Köhler, visits the Karlsruhe ZKM at the worst moment of the economic crisis. A cinematic puzzle.
