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


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.