Melanie Jame Wolf, The Creep (Filmstill)


The Double Feature sees itself as a platform for different currents and forms of expression in film and video art production. For more than eight years, the SCHIRN has invited national and international film and video artists to present a work from their own oeuvre, followed by a film of their choice. Films and video works by over 60 artists have already been shown at the SCHIRN. The videos and conversations with the artists involved so far are available on the SCHIRN's YouTube channel under the title "Video Art." The SCHIRN MAGAZINE also regularly provides discursive contributions with an editorial focus on video art to the Double Feature series

The Double Feature is a platform for very different tendencies and forms of expression in artistic film production


Alicja Wysocka, born in Poland and a graduate of the Städelschule School of Fine Arts in the class of Haegue Yang in Frankfurt am Main, Germany, focuses her practice on documenting and creating alternative economic models, commons, and communal forms of living. Wysocka produces site-specific video installations, objects, and situations, exploring crafts, rituals, and collaborative forms that potentially function as collective therapeutic experiences. In "Untitled (Nothing Happens)" (2023, 30 minutes), Alicja Wysocka poses a question to a chatbot: "Are you bored?" To which the bot replies: "As an AI language model, I don't experience boredom as humans do." Her new film explores the potential of boredom. Retired female friends gather to play hand games in a spinning teacup. The film's structure focuses on the group's dynamics, confined to a small space over a long, empty time. The teacup originates from Societe Ceramique, a ceramics company founded in Maastricht from 1863 to 1958, whose production operations were associated with the exploitation of local populations. The film draws on sentimental memories of amusement park rides and invokes the temporalities of productivity and work that govern our lives.


In her video works, Johanna Billing explores the factors influencing interpersonal actions and decisions, and in particular, the role that unpredictable moments play. The starting point of Billing's works is often a dialogue in which the people involved explore their role within a group through performance and improvisation. At the SCHIRN, the artist presents her film "Each Moment Presents What Happens" (2022, 27 minutes), which re-applies the experimental practices of the American composer and artist John Cage (1912–1992) with a group of students. On the occasion of the opening of the new center for the performing arts at the Bristol Grammar School, Billing takes up John Cage's performance "Untitled Event (Theater Piece No. 19)" to develop workshops together with the students. They experiment with a variety of found objects from their immediate surroundings. The non-hierarchical teaching method puts the past and present in relation and opens up a multiperspective view. The idea that the experiences of a moment are never the same is illustrated by Billing through the use of a 360-degree camera instead of an audience. By inserting scenes from the school routine, she also addresses the complex way in which situations in everyday life are choreographed, actions in relation to others are constantly recalibrated, and our knowledge systems are organized.

Johanna Billing, Each Moment Presents What Happens (Film still), 2022, Courtesy of the Artist


The American artist Anita Di Bianco (born 1970 in New York) works with film, video and print media. Her short films pursue strategies of restaging works by well-known writers such as Winfried Georg Sebald or Gertrude Stein, thus destabilizing the idea of an untouchable authorship. The choice of text is analytical, the images purist: Di Bianco's remakes make hidden structures visible and open up new ways of reading. The work "Com Viet" restages an interview with the French writer Marguerite Yourcenar from 1980. Yourcenar, who had tracked down and experimentally tested all conceivable forms of unconventional love in literature, spent her life researching alternatives to the "great staged emotion", which she considered to be a characteristic of French culture. The relevant passages from the interview are recorded in voice-over against the backdrop of a Vietnamese restaurant and partly recited monologically by an actor in the rooms of the Berlin Münzsalon.


Melanie Jame Wolf is a visual artist and choreographer. In her work she deals with themes such as power, capital and show business. At the Schirn, she presents her most recent video work The Creep (2023, 15 min.), which she created in the context of a multimedia installation. As a continuation of her ongoing "Creep Studies", the artist analyzes the dynamics between violence, desire and performativity in this work. In her work, she concentrates on specific performance techniques such as imitation, rehearsal or stand-up. In The Creep, a cowboy figure takes center stage. The choreographed actions of this protagonist are used to examine the multi-layered definitions and experiences of "creep" - a feeling, noun and verb. Visually, Wolf borrows from a hyper-stylized pop aesthetic. She also uses language and humor in her work as a means to question structural violence, power and everyday tensions.