press release

Amie Siegel
Friday, Oct 23rd, 2015, 24:00 | midnight
BABYLON, Rosa-Luxemburg-Platz, Berlin, big cinema hall
(Eintritt frei | admission free)

We are very much looking forward to welcome Amie Siegel, who will be back in town to premiere a new work for the exhibition Wohnungsfrage at the HKW. For Videoart at Midnight she selected The Architects (2014), one of her very recent works. followed by The Sleepers (1999) an earlier work shot on 16 mm.

The Architects
2014, HD Video, color/sound

The Architects cuts transversally through the city of New York, producing a continuous image of the global architecture office today. Moving through several architecture studios—from Fifth Avenue to Downtown to Brooklyn—the film depicts the operational territories and landscapes of worldwide architectural production from New York. As a singular unfolding visual, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit its frames, raising questions of scale, agency, and power.

Parallel tracking shots through the working offices chart their typologies of sameness and difference, revealing reappearing elements of the spaces of architectural production: long horizontal desks, screens, renderings, and models. The film frames a wide spectrum of practices, from large firms to smaller studios in a collective new whole. It positions itself from a vantage point that places the lens of the camera between the spaces of production and the world, which is always, and only, just outside the window

The Architects was originally commissioned by Storefront for Art and Architecture, New York, as part of OfficeUS, the United States Pavilion at the 2014 Venice Biennale of Architecture.

The Sleepers
1999, 16mm film, 45 min., colour/sound

The architecture of city windows at night, lives glimpsed at a distance—a man talks on the phone as his wife reads the paper, another watches TV, a woman stares out into the dark. Are these scenes set-up? Are the people actors? Do they know they are being watched? These narrative fragments elicit tensions between public and private, performance and reality, lyrical and vernacular. The images and soundtrack (police surveillance, cell phone conversations, dramatic "film-score" music, occasional synch dialogue) further blurring the boundaries between the real and the fictional, reformulating expectations of duration, privacy and narrative suspense.

Ranging from photographs, video, film installations, performance and feature films for the cinema, American artist Amie Siegel’s work has been exhibited in solo exhibitions including Amie Siegel: Provenance at The Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, NY; MAXXI, Rome; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at the Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award and Berlin Film Festival Forum Expanded award.