raum inst

Oskar Fischinger's

Raumlichtkunst

A three-screen HD installation by Center for Visual Music

2012 reconstruction with newly restored film elements from Fischinger's 1920s experiments

"Dazzling...an exhilarating phantasmagoria of abstraction and metaphor" - New York Times

Artforum's Best of 2012, Top 10 List by J. Hoberman

"A hallucinatory mind-blower" - Time Out New York

"pure enjoyment" - J. Hoberman, Movie Journal

 

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Installation Shots at Whitney Museum, New York (c) Center for Visual Music

 

Upcoming:

Opening early September, 2014 - details soon

Previous:

Palais de Tokyo, Paris, June - September, 2013
in the exhibition La Fin de la Nuit

Tate Modern, London (5th Floor Collection Displays) - June 2012 through March 2013

Whitney Museum of American Art, New York - June 28 through October 28, 2012

eflux from Whitney exhibition

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images (c) Center for Visual Music

 

 

PRESS:

artforum, Sept. 25, 2012: Three's Company, by Suzanne Buchan

New York Times (Ken Johnson), July 26, 2012: The Lines and Shapes of a Mystical Stenography

Time Out New York, July: Oskar Fischinger: Space Light Art - A Film Environment

(more press links at bottom of page)

 


 

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Installation shot at Tate Modern, 2012, (c) CVM

 

ABOUT RAUMLICHTKUNST :

In 1926, abstract filmmaker Oskar Fischinger (1900-1967) began performing multiple projector cinema shows in Germany with up to five 35mm film projectors, color filters and slides. Fischinger wrote of his concept of Raumlichtmusik (space-light-music), believing all the arts would merge in this new art. The critics called his performances "Raumlichtkunst" and praised Fischinger's  “original art vision which can only be expressed through film.” These shows represent some of the earliest attempts at cinematic immersive environments, and are a precursor to expanded cinema and 1960's light shows.

Under the concept name of "Raumlichtkunst," Fischinger performed several different versions of these multiple projector shows in the late 1920s, some of which were called Fieber and Macht (Power). Biographer William Moritz speculated that another name used may have been R-1 ein Formspiel, though no reviews or documentation exist of this name. Our re-creation does not strive to represent any one specific performance, rather the concept and effect of Fischinger's series of shows.

Working with Fischinger's original 1920s nitrate film, Center for Visual Music restored the 35mm film via traditional photochemical processes, transferred to HD, digitally restored the color, and mounted this 3 screen recreation of his c. 1926 - 27 performances.The 3 screen installation is projected in High Definition video. No documentation exists of the original music used, other than reports of "various percussive" accompaniment. For this re-creation we have chosen to use Varese's Ionisation and two versions of Double Music by John Cage and Lou Harrison..

Long before he became an American, Fischinger was part of the international avant-garde of modernism's most radical phase. Oskar's early abstract experiments push aside narrative and reduce cinema to pure plane, scale, motion and color. Because of his highly accessible later work, especially from Radio Dynamics onward, and because of the musical dimension, he is generally regarded as a colorist/lyrical film-maker. But the early experiments including Raumlichtkunst are much more formalist and invested in the specificity of the medium. They are closer to Malevich, the suprematists and the futurists in intent - all in search of the absolute in painting and in cinema.

(text by CVM, 2012)

See below for credits, press, essays, links and further information

More installation shots

Curator/archivist Cindy Keefer has given illustrated presentations on Raumlichtkunst and Fischinger in London, Linz, and other cities, and as part of other lectures at many venues.

Contact us at cvmaccess (at) gmail.com

 


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Installation Shot at Tate Modern, London (c) Center for Visual Music

 

Contact Center for Visual Music - cvmaccess (at) gmail (dot) com or call (213-683-1514)

 

CREDITS

Curator/Archivist: Cindy Keefer

Music Consultant: Richard H. Brown

Film restoration supported by an Avant-Garde Masters Grant, funded by The Film Foundation,
administered by The National Film Preservation Foundation

Thanks to: Barbara Fischinger, The Fischinger Trust, Cinemaculture, The Film Foundation, The NFPF, William Moritz, Chrissie Iles, Stuart Comer and Xarene Eskander. Additional thanks to Joshua Harrell, Media City (Ontario), and Goethe Institut Paris.

Film restoration done at Film Technology Co., Inc., Hollywood. HD post-production and color by Technicolor. Thanks to Opticus for L.A. HD projection tests.

 

 

 

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Images (c) Center for Visual Music, 2012-14
thanks to cinemaculture


Further reading:

Keefer, Cindy. 'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments. Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009. PDF.

Keefer, Cindy. "Space Light Art" - Early Abstract Cinema and Multimedia, 1900-1959. White Noise. Ernest Edmonds and Mike Stubbs, Eds. Melbourne: Australian Centre for the Moving Image, 2005. Ex. Cat.

Moritz, William. Optical Poetry: The Life and Work of Oskar Fischinger. John Libbey Publishing, 2004, pp. 11-16, 202-204.

 

PRESS:

December 2012: Artforum, Best of 2012, Top 10 List by J. Hoberman (NOTE: Incorrect credit)

Sept. 25: Artforum, Three's Company, by Suzanne Buchan

September: SPIKE Art Quarterly (Austria) - "Oskar Fischinger" by Fionne Meade. On cargocollective.com

August 28. Time Out New York Review, by Joseph Wolin

August 22. Man Out of Time, Moving Image Source (online) by Gregory Zinman

July 26, 2012. New York Times The Lines and Shapes of a Mystical Stenography by Ken Johnson

July 25, 2012. Movie Journal, by J. Hoberman. Oskar Fischinger's Film of the Future, 1926. Artinfo online.

July 14. Oskar Fischinger's Raumlichtkunst. Michael Sporn, Animation Splog

July, 2012. The New Yorker. Oskar Fischinger: Space Light Art - A Film Environment

May, 2012: Artlog magazine - A Multimedia Pioneer at The Whitney

April 26, 2012: Unframed, LACMA Blog

2009 Press about CVM's preservation project, online at Animation World Network

 

Other Links:

CVM's Fischinger Research Pages

Main Page - Center for Visual Music

The Fischinger Archive

Oskar Fischinger: Ten Films DVD order page

 

FOR MORE INFORMATION: Contact CVM at cvmaccess at gmail dot com, or 213-683-1514

Images (c) Center for Visual Music, 2014, all rights reserved.