For more than five years, the SCHIRN has served as a forum for national and international filmmakers and video artists. Under the heading Double Feature, the latter present a work from their own oeuvre, followed by their favorite film. Already, films and videos by more than 50 guests have been shown. Double Feature is designed as a platform for various trends and forms of expression in film and video production which, with the dawn of digitization if not before, is now considered an art form in its own right. On the last Monday of every month and in conversation with the curators Katharina Dohm, Matthias Ulrich and guest curators, the invited artists provide extensive insight into their creative work, especially their interest in film. In 2018 the audience can look forward to contributions from Lili Reynaud-Dewar, Gery Georgieva, Holly Zausner and Amie Siegel, among others. 

Amer­ican artist Holly Zausner has created a figure as an alter ego who then accom­pa­nies her in her work. In her film “Unset­tled Matter” (2015), Zausner has created a dystopian cine­mato­graphic version of Manhattan and roams through the other­wise lively city.

Artist Hamza Halloubi, who was born in Morocco, tackles ques­tions of iden­tity and its inter­pre­ta­tion. His often melan­cholic films, with their lonely protag­o­nists, create space for suppos­edly unim­por­tant gestures or inci­dents that conjure up a different percep­tion of the world.

Christoph Keller’s works call to mind the magical realism of Jorge Luis Borges. In his installations, which look like experimental configurations, Keller makes use of art’s discursive possibilities to address scientific phenomena and their utopias. Keller positions his artistic products in the realms of objective science, to verify them and at the same time take them to absurd levels. Far more important in terms of the artist’s extensive research are the numerous spaces for thought that Keller creates with comparatively sparing artistic means.

Video artist Nina Könnemann situates her work between realistic cinema and a structuralist materialism. Her pieces are often observations of everyday (marginal) phenomena, which take the form of studies of human behavior in a socio-economic context. Könnemann is particularly interested in marginal, urban spaces and everyday activities taking place within them that receive little attention. Using filmic means, in particular editing, she hones her unspectacular observations to create a subtly eloquent portrait.

Defined by her simultaneously European and Asian roots, as well as her interest in the tonal dimension of the world, the artistic practice of Su-Mei Tse is permeated by questions of time, memory, musicality and even language. Su-Mei Tse was born in Luxemburg in 1973 and won the prestigious Golden Lion at the Venice Biennale for her country pavilion in 2003.