Double Feature

The monthly Double Feature sees itself as a plat­form for various trends 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 artists who have partic­i­pated so far can be accessed via 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 accom­pany the Double Feature series.

Rather than presenting the works as objects in an exhibition room, “Double Feature” creates a cinema-like viewing situation that focuses solely on the screen. 


In her work, writer, director and artist Jovana Reisinger highlights entrenched behaviors, market-driven decisions and identifications formed by stereotypes. With her specific film language, the artist takes a critical as well as humorous look at consumption, gender roles and beauty standards in a meritocracy. At the SCHIRN, Reisinger presents her latest film "On the Road in the Name of the Empress. Prequel" (2022, 17 min.), in which she sends three hip young people into the mountains. Romy, Karlheinz and Magda-Gustav, named after actors and actresses from the well-known Sissi triology, set out under the motto "Forever young - no matter how!" in search of the legendary fountain of youth in which Empress Sissi and King Ludwig II are said to have bathed. With this video work, Reisinger not only presents the clichés associated with the Heimatfilm, but also addresses the attitude to life of a generation between youth mania, chic outdoor clothing and Instagram


In his multimedia works, Philipp Gufler questions the power structures of heteronormativity. Again and again, the artist draws on self-organized archives and places personalities of the recent past at the center of his work. He often slips into the role of these persons himself, thereby creating a new narrative. In the Double Feature, Gufler presents his video work "Lana Kaiser" (2020, 13 min.). It is dedicated to the media star of the 00s who became popular as Daniel Küblböck. Lana Kaiser, Küblböck's self-chosen name, was an essential identification figure for her fans as a queer person. Lana Kaiser disappeared in 2018 on a boat trip to North America. Philipp Gufler's short film can be understood as an homage, but at the same time it opens up a complex discourse on the controversial way the German media landscape deals with the portrayal of queerness as "Otherness


James Gregory Atkinson's multimedia works respond to the extreme incompleteness of official archives regarding Black people, their narratives and cultures. To do so, he draws on the history of queer and Black people and brings them into a dialogue with contemporary conditions. At the SCHIRN, the artist shows two video works that refer to Detroit. The setting of "The Day I Stopped Kissing my Father" (2019, 3:54min.) is the Detroit Public Library and its Great Hall, whose murals depict American history to the exclusion of Black people. Atkinson has a young black rooster walk the hall as a symbol of sexuality, desire, and fear. Its youthfulness alludes to insights about normative notions of masculinity and patriarchy. With the ongoing project "Detroit Archive" (2019-present), Atkinson explores the idea of the body as archive. Members of the Detroit ballroom scene provide him with videos that he uses to build an archive for the community. Their performances are forms of nonverbal communication and gestural self-expression whose visibility is documented through the collection



Bani Abidi is known for her distinctive film aesthetic, which is characterized by subtle humor and the dark absurdities of everyday life. Her film The Distance from Here (2009) is about applying for a travel permit, the bureaucratic procedure and the nervous wait for the visa. For this, Abidi stages an anonymous crowd of people similar to an absurd theater in an undefined location. Seemingly only following a formality, the waiting for the individual acquires an existential dimension that decides on the continuation of life.