Becoming-Rabe

The video installation „Een gebeuren“ is based on Ben d’Armagnac’s performance of the same name, which took place in Amsterdam on 14th June 1975. D’Armagnac occupied a glass cube with the dimensions of about 2x1x1 metres, painted white from the inside, together with about 2,000 freshly hatched flies; he began to scrape off the paint centimetre by centimetre in order to at least partially reveal the cube’s inside for the spectators. Gufler reconstructed d’Armagnac’s performance based on rudimentary documented material and conversations with d’Armagnac’s partner Louwrien Wijers. In his own version of “een gebeuren,” Gufler captures the events with a GoPro camera. Instead of documenting the slow appearance of a person behind a white surface the video shows the diligent process of laying bare and opening up from an inside perspective – an action, which Gufler completes by releasing the flies at the end of the performance and by which he also upgrades d’Armagnac’s own performance.

Philipp Gufler's video installation "Projektion auf die Krise (Gauweilereien in Munich)" provides a kaleidoscopic look back at the beginnings of the AIDS crisis in Germany in the 1980s - a time when Munich's repressive policy against homosexuals reached its peak. The work brings together newspaper articles, posters, photos and press reports from this period. The historical material from the 1980s is commented on by artists.

In 2002, Lana Kaiser became well known in the first season of the German version of the Idol television franchise. She was born in 1985 and went by her birth name Daniel Küblböck. At only 17 years old she polarised the audience with her androgynous appearance and open bisexuality. On September 9th 2018, Lana disappeared from a cruise ship on her way to North America. Most media outlets and the majority of the public didn‘t consider calling her by her chosen name, Lana Kaiser. Philipp Gufler's video installation is a personal portrait of the singer and entertainer.

A nameless drifter navigates a barren landscape punctuated by satellite dishes, radio towers and droning airplanes. Stopping periodically in anonymous hotel rooms, she makes attempts to connect to an unidentified second party.

In this video installation Philipp Gufler grapples with different images and ideas of masculinity that art has produced over centuries: from vomiting, well-endowed Greeks, to the vain Narcissus, towards Andy Warhol’s gun shooting Elvis Presley. The selected images are printed on Lucent fabrics and behind those the artist coquets with masculine and feminine poses: smoking, applying makeup, knotting a tie etc. The reference to the painting “Pygmalion and Galathea” by Jean-Léon Gérôme can be regarded as the ironic highpoint concerning the gender debate: The ancient legend of the gifted sculptor Pygmalion, who, in the spirit of the Male Gaze, carves his perfect woman out of stone, is a perfect metaphor for the creation of a completely artificial femininity, as it is alsoembodied by transvestites. The prefix trans- is thereby symptomatic for the whole staging of the film: the projections and the artist seem to permeate and superimpose each other constantly.

Hans Zimmer is one of the most successful film music composers working today. His multi-award winning career reaches back to the mid-eighties and he has developed close working relationships with renowned directors such as Ridley Scott, Tony Scott, Michael Bay, Ron Howard, Gore Verbinski and Christopher Nolan. His credits include some of the biggest blockbuster movies of all time along with acclaimed TV series such as The Crown and Planet Earth II. This concert was filmed on 7th May 2016 in Prague during Hans Zimmer’s hugely successful European concert tour. Hans was accompanied by a band, orchestra and choir, 72 musicians in total, including guitarist Johnny Marr. The staging was spectacular with a ground breaking light show, stunning visuals and a state of the art sound system. Hans Zimmer performs on multiple instruments and gives introductory insights to many of the pieces during the concert. This show is a treat for lovers of both great music and great movies.

At a sold-out concert in her hometown of LA, Olivia Rodrigo pours her heart into an electrifying night of chart-topping hits and pop-rock power ballads.

In Gufler’s video installation The Responsive Body (2019), questions, directed at heteronormative, masculine self-conceptions of an art movement, arise. Gufler channelled texts by the British Op Art artist Bridget Riley into the film and thus provides her with space in an egocentric museum.

Taylor Swift takes the stage in Dallas for the Reputation Stadium Tour and celebrates a monumental night of music, memories and visual magic.

A video installation composed of a performance by the artist alongside archival film scenes centered on queer and transgender content. Presented across two projections, the film juxtaposes explicit and everyday expressions of non-normative sexuality: from people dancing freely at a lesbian party to Charlotte Charlaque's reverent smile, and the provocative speeches of far-right homosexual politicians. This collage is underscored by a rich soundtrack featuring recitations from Karl Heinrich Ulrichs’s seminal 19th-century texts advocating for decriminalizing homosexual love, interwoven with atmospheric and pulsating soundscapes by English artist Rory Pilgrim. These elements immerse viewers in a poetic and political reflection on the histories and expressions of excluded sexualities and genders.