Stile der Stadt, Ein Projekt von Filomeno Fusco und Dirck Möllmann

deutsch

Videopanel 2011

February 19 – 27, 2011

Altonaer Museum, Hamburg

House

Volko Kamensky

Volko Kamensky *1972
lives and works in Hamburg

Exhibitions and Festivals (S – Solo; G – Group)
2010 Der offene Garten, Städtische Galerie Nordhorn (G)
2010 Media City Film Festival, Windsor, Kanada
2009 Erkenne die Lage, Duisburger Filmwoche 33 (Uraufführung Oral History)
2004 Museum für Gegenwartskunst Siegen (S)

Movies (selected)
2004 Alles was wir haben / All That We Have
1999 Divina Obsesión

Awards and Fellowships
2009 Filmförderung Hamburg, Kulturelle Filmförderung Schleswig-Holstein, Unabhängige Landesanstalt für Rundfunk und /and neue Medien (ULR) (Oral History)
1999 Förderpreis der deutschen Filmkritik
1999 Dokumentarfilmpreis des Goethe Instituts

ORAL HISTORY

A report from the land of the Brothers Grimm

2009, 35 mm film on BluRay, colour, 1:1,66, sound (dolby surround) 22 min.
German with english and french subtitles
Director, Producer, Film Editor: Volko Kamensky; Cinematography: Uli Fischer;
Dolly Grip: Dirk Herzog; Sound Design: Julian Rohrhuber

Supported by Filmförderung Hamburg, Kulturelle Filmförderung Schleswig-
Holstein, Unabhängige Landesanstalt für Rundfunk und / and neue Medien (ULR)

The film begins with a kettledrum beat that turns into a murmuring drumming sound, and a camera shot that looks – as if seen from the eyes of a child that holds its breath – over to the fairytale world beyond the fence. The camera moves, but barely noticeably so, a phone rings, a female voice starts talking. The slow movements, leading us past houses and landscapes, raise some tentative doubts about the reality behind the pictures. We see open air theatre backdrops. The shots are chosen in a way that directs our gaze beyond the objects in the foreground to the picture’s background. The film reminds us of landscape painting with its division into painting grounds. Kamensky’s conception – or rather experimental design – for his film Oral History becomes clear in the credits. He paid 1.99/min Euros for stories from women working at phone hotlines (that require a fee). His intention is explicitly stated, yet the women’s work on the phone is as unclear as the key picture of the “village at the end of the forest”, about which they are asked to tell him something. Each story evokes archetypes of a collective memory, like childhood and growing up. The voices and the sounds from archives were added to the originally silent film images. Oral History renders the credibility of film and telephone slightly less reliable. At the same time, the story told is also always a hidden condition of the documented truth, as if seen through the gaps of a fence.