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
Maeve Brennan is a London-based artist and filmmaker. She works with moving image, installation, sculpture and print media to explore the political and historical resonance of material and place. She develops long-term investigations guided by personal encounters, drawing on expert knowledge that encompasses a material practice, such as that of geologists, archaeologists, or restorers, with a particular focus on repair. In An Excavation (2022), she works with forensic archaeologist Dr Christos Tsirogiannis to track down international underground networks that facilitate the looting, smuggling and sale of cultural artefacts.
Film artist Karimah Ashadu explores living and working conditions, patriarchy and notions of independence in the socio-economic and cultural context of Nigeria and West Africa. At the SCHIRN, Ashadu will show her film Plateau (2021, 30 min.), named after the Nigerian state of Jos-Plateau. The video work follows a group of miners who illegally mine tin and columbite in this region and opens a postcolonial discourse. After the end of the trade in the minerals, which was founded in colonialism, in 1985, many companies there were closed and the workers laid off. However, the knowledge acquired was passed on and independent communities formed to mine for minerals again. Plateau portrays workers, villagers and landowners reflecting on the destruction of the landscape, injustice and the dangers of tin mining. At the forefront, however, is the quest for independence through work. Ashadu thereby directs the gaze unabashedly to the beauty of the rutted landscape and creates a real image of the dangerous working conditions without moralizing.
