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Dienstag, 1. April 2025

The Beginning of Identification, and its End at Filmfestivals

The Beginning of Identification, and its End

by Philipp Gufler, 2024

19 min.
Music: Rory Pilgrim
Camera and color correction: Leo van Kann
Sound: Nathalie Bruys
Speaker: Susanne Sachsse
Contains adaptations of a performance by Ben d’Armagnac at Brooklyn Museum, New York, 1978 and text fragments from Karl Heinrich Ulrichs’s books Forschungen über das Räthsel der mannmännlichen Liebe, 1864–1880.

The short film by Philipp Gufler initially exhibits a binary situation: light blue and pink, flexibly assigned to two genders historically. This binarity liquefies in a lovely, obscuring initial development, androgynous bodies from various times appear with a text by Karl Heinrich Ulrichs, a pioneer of the ›third sex‹ theory. In the 19th century, he called for the public visibility of sexual diversity, as an imperative addressed to the »Uranians«: Expose yourselves, carry societal contempt onto the political stage, demonstrate solidarity with other oppressed people! An imperative of identification, a beginning of the history of queer emancipation. The circular form of the planet Uranus, for Ulrichs a utopian place of self-empowerment, is juxtaposed with the rectangular form of a tile trapezium. In it, the nude artist surrenders to a jet of water aimed at his heart. A ›naked body shot‹ that comments on the investigative, fixating gaze of society on the ›actual‹ gender of human beings. Here, Gufler cites a performance of Ben d’Armagnac from 1978, but is, in contrast with him, nude. The heart region symbolically hit by the jet of water becomes the erogenous zone of passivity. The second movement of the work leads to the end of the emancipation narrative. On the right side of the screen appear the right-wing positions of the ‘bad gays’ of our time (Pim Fortuyn, Alice Weidel, a neo-Nazi), in the historical footsteps of Ernst Röhm; self-confident gays and lesbians who have rejected solidarity, aim their toxic water at everything weak and at all sexual intermediaries and work to reconstruct binary conditions that allow for no third sex. The artist leaves the frame. (Jan Künemund for Videonale.20)

TRAILER

Filmfestivals

71. International Short Film Festival, Oberhausen (World Premiere)

German Competition

3. – 4.5.2025

Further Information

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Divine Queer Film Festival

Turin, Italy

23. – 25.5.2025

Further Information

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Queering the Belvedere

Blickle Kino im Belvedere 21, Vienna, Austria

12.6.2025, 18:30

Further Information

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Contexts Festival of Ephemeral Art in Sokołowsko

Kino zdrowie, ul. Główna 36, Poland

17.7.2025, 22:00

Further Information

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49. Open Air Filmfest Weiterstadt

Filmzelt, Weiterstadt

16.8.2025, 20:22

Further Information

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15. Fringe! Queer Film & Arts Fest

13.-21.9.2025

Further Information

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Nederlands Film Festival

20.9.2025, 8 pm

Louis Hartlooper Complex, Utrecht, NL

Further Information

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Montag, 25. März 2019

Movie poster, 2019

each 6 Euros + shipping! Get them here: kontakt (at) philippgufler.de
Poster by Philipp Gufler, special thanks to Yvonne Quirmbach!

Montag, 15. Oktober 2018

Fotografie der Performance

Burcu Dogramaci

Fotografie der Performance

Live Art im Zeitalter ihrer Reproduzierbarkeit
235 Seiten, 67 s/w Abb., kart.
ISBN: 978-3-7705-6383-8

Montag, 27. Februar 2017

Romankreisen

Philipp Gufler "Romankreisen"

Opening: Friday 24.3.2017
20 H: Reading by Fantasma and Philipp Gufler from his book “Indirekte Berührung”
Exhibition: 25.3. - 15.4.2017

"The whole novel touches its own page bottom and turns to the next page" Hubert Fichte on his literary project "Die Geschichte der Empfindlichkeit"

The title of Philipp Gufler’s first show at BQ borrows a term from the German novelist and ethnographer Hubert Fichte (1935 – 1986). Fichte associated this literal translation from Greek with the concept of a circular novel, which in its course returns to the point of departure. In his show, Gufler adapts Fichte’s thought as the conceptual idea of an abstract, orbital movement to reflect on exemplary themes, methods and forms that feature in his body of work. The artist book Indirekte Berührung / Indirect Contact forms the central piece of the exhibition and relates its elements in the form of a logbook. The installation includes mirrors that have been transformed with transparent colour pigments as well as layered fabrics with varying prints. These quilts are hung in the space and also constitute a separate space within the gallery. The last element is an acrylic glass showcase onto which the documentation of a previous performance is projected.

Making use of screen-printing on blue and pink plastic film with spiral binding (a technique which features prominently in his works), Gufler’s prose also takes a shape in which enables its haptic qualities to be experienced. Within these pieces, the reader encounters different characters, some of whom have inspired and influenced Gufler’s artistic production for a long time. They all position themselves on a fictional time scale, stretching from 1597 – the year in which the early baroque painter Caravaggio supposedly started work on his Narcissus – up to 2075 – the future year in which the performance een gebeueren, enacted in 1975 by the Dutch artist Ben d’Armagnac (1940 – 1978), will see its 100th anniversary. Besides locating these two artistic positions that are of personal relevance for Gufler, the years also serve as markers for a wide spectrum of reference points in his works that are often based on artistic research. All major characters – researchers, writers and artists alike – share a fundamentally critical attitude towards the norms of their time, putting into question cultural, political and sexual identity.

Indirect Touch allows historic figures and contemporaries of Gufler to meet outside the boundaries of chronological order. Gufler gives them an indirect voice in the form of appropriated fragments (which cannot be identified as citations in all cases). However, he does not merely cite or reproduce these characters but rather condenses the attitudes associated with or expressed by them. In the process of indirect writing, Gufler repeatedly seems to merge with his characters. The persona that links all 21 chapters is Jäcki, based on the gay flaneur and writer-protagonist from Hubert Fichte’s novel Palette (1968). Like Fichte, Gufler makes use of the character Jäcki as screen as well as ambivalent Doppelgänger (who never fully becomes the alter ego). The character Jäcki becomes a medium for repeated autobiographical passages that may be subtly woven into the text but may also dominate whole chapters.

Gufler’s literary and artistic self-assessments are indirect yet at the same time true to the principle ‘Put your self in quotation marks – call yourself a novel ’. The Fichte quote from Versuch über die Pubertät (1974), parts of which Gufler previously used in an exhibition title, illustrates a decidedly self-critical distance towards an up-close autobiographical approach. That same principle also governs Gufler’s installations and performances. His approaches to a choice of characters from a long tradition of emancipatory history are marked by the artistic pursuit of deeper involvement in regards to emotions and content. Gufler temporarily merges with his subjects of study and, in doing so, self-referentially reveals a fundamental difference between those subjects and himself.
Philipp Fürnkäs

BQ
Weydingerstraße 10
10178 Berlin

Philipp Gufler, Romankreisen, 2017
Silkscreen on fabric, 4-parts
208,5 x 216 x 216 cm

Een gebeuren, 2016
Video: 28:33 min., acrylic glass box, fly maggots, books, scraper, blades, key, lamp, projector, speakers, media player
Acrylic glass box: 99,7 x 204,8 x 89 cm, projektion variable

Reading by Fantasma and Philipp Gufler from his book Indirekte Berührung
during the opening

Philipp Gufler, Indirekte Berührung, 2017
Silkscreen on foil, spiral bound, 30,4 x 19,5 cm
Edition 100 (German), Edition 100 (English

Photo: Roman März, Berlin
Courtesy BQ, Berlin

Freitag, 12. August 2016

Een Gebeuren, Ausstellung in der Gallerie Françoise Heitsch, München

PHILIPP GUFLER:
Een Gebeuren

09.09.2016 - 29.10.2016

Open Art-Eröffnung, Freitag, 9. September, 18 Uhr

Françoise Heitsch
Amalienstraße 19
80333 München
Open: MI - FR 14 - 19 Uhr
Sa 12 - 17 Uhr
fheitsch (at) francoiseheitsch.de
www.francoiseheitsch.de
https://www.facebook.com/GalerieFrancoiseHeitsch/

Pressetext von Patrizia Dander (PDF)
Press release by Patrizia Dander (PDF)

Montag, 6. Juni 2016

Setze dein Ich in Anführungsstriche, Kunstverein Göttingen

Philipp
Gufler

19.06. – 31.07. 2016

Setz dein Ich in Anführungsstriche

Mit »Setz dein Ich in Anführungsstriche« präsentiert der Kunstverein Göttingen Philipp Guflers erste institutionelle Einzelausstellung. Der Titel bezieht sich auf Hubert Fichtes »Versuch über die Pubertät« (1974), der mit den Worten »Setz doch dein Ich in Anführungsstriche – nenn dich ›Roman‹« seiner literarischen Annäherung auch eine analytische Distanz zur Seite stellte, um die eigene (zum Teil autobiografische) Herangehensweise infrage zu stellen. Mit einer ähnlichen Geste nähert sich Philipp Gufler den Inhalten der Ausstellung an: Guflers Arbeiten beschäftigen sich unter anderem mit zwei künstlerischen Positionen der 70er und 80er Jahre – Rabe Perplexum in München und Ben d’Armagnac in den Niederlanden – deren Performances und künstlerisches Werk heute nur in Bruchstücken rezipiert werden können. Es ist ein persönlicher Zugang, der trotz großer Nähe eine künstlerische Distanz wahrt; eine Überlagerung, ohne dass sich die eigene Künstleridentität in den Sujets auflöst.

Die Annäherung an die beiden Positionen erfolgt bei Gufler nicht nach kunsthistorischen Regeln oder durch Reenactments, stattdessen versucht er eine Art künstlerische Dopplung zu schaffen. Es geht ihm nicht um das (Wieder-)Auf- führen der Performances, sondern darum, mit den Mitteln der eigenen künstlerischen Praxis die Persona hinter der Performance auszuloten. »Becoming-Rabe« heißt eine Videoinstallation, in der Gufler die Rolle der Künstlerin Rabe Perplexum übernimmt. Die resultierende Verschmelzung der Identitäten passiert nicht linear, sondern durch eine poetische Mimesis, die durch Archivaufnahmen und Rabes Performance-Requisiten aufgebaut wird.

Das Motiv der Dopplung oder Überlagerung zieht sich wie ein roter Faden durch den Ausstellungsraum. Durch das Zusammenbringen verschiedener Ebenen, sowohl visueller als auch zeitlicher und identitärer, bricht Gufler mit einem üblichen (wissenschaftlichen) Geschichtsverständnis. Indem er die beiden Künstleridentitäten nicht als abgeschlossene, historische Entitäten betrachtet, kann er diese fortschreiben, um- ändern oder neu anordnen. Philipp Gufler produziert keine identitäre Festschreibung, sondern verwischt die Grenzen zwischen dem künstlerischen Selbst und dem Sujet – eine Geste, die in einer Serie von Quilts wieder aufgegriffen wird und die sich für die BetrachterInnen auch in einer Reihe an Siebdrucken auf Spiegeln entwickelt.

»Schwule Sprache ist uneigentlich, ist indirekte Sprache«, schrieb Fichte über Henry James, sie arbeite mit »Soussentendus, Verfremdungen, Übertreibungen, Ironie, Travestie«. Gufler greift diese Stilmittel in seinen Arbeiten auf. Dabei wird er nicht zu einem »Für-Sprecher«, sondern im Gegenteil zu einem Sprecher, der mit den anderen zusammen spricht. Er formuliert Andeutungen, die einen Raum für das Werk Rabes und D’Armagnacs schaffen, und er verfremdet diesen Raum, um mit der eigenen Sprache die Idee einer Künstleridentität zu destabilisieren.

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»Setz dein Ich in Anführungsstriche« (Put your I in quotation marks) is Philipp Gufler's first institutional solo show. The title references Hubert Fichte's "Essay on puberty" (1974) with the excerpt, "Just put your I in quotation marks – call yourself a ‘novel’", which adds an analytical distance to his otherwise literary advancements in order to question his own (partly autobiographical) approach. Philipp Gufler appropriates a similar gesture when handling the exhibition content: The work deals with two artistic positions from the 1970's and 80's – Rabe Perplexum in Munich and Ben d'Armagnac in Holland, whose performances and artistic oeuvre can nowadays only be perceived fragmentarily. It is a personal technique, which through its immediacy still manages to preserve an artistic distance; a layering, without losing the artistic identity of its subjects.

The method Gufler applies does not follow art historical norms nor make use of reenactments, instead he attempts to create a kind of artistic doubling. His interest lies not in the repetition of a performance, rather he uses his own artistic praxis to sound out the persona behind the performance. "Becoming-Rabe" is a video installation in which Gufler takes on the role of artist Rabe Perplexum, wherein the resulting identity-merge does not occur on a linear basis, but through poetic mimesis using archival footage and Rabe's performance props.

The motive of doubling and layering is a common denominator throughout Gufler's exhibition. The merging of layers, visual as well as temporal and identitarian, manages to break with the common (scientific) understanding of history. Gufler's disregard of artistic identities as finalized, historical entities allows him the freedom to update, change and realign these. His work is not a production of identitarian fixation, but instead blurs the borders between the artist's self and the subject – a gesture which is also reflected in his series of quilts and elaborated on for the viewer in a sequence of silkscreened mirrors. The resulting reflections within the space add an additional layer to the exhibition's conceptual discourse.

Fichte wrote of Henry James that, "Gay language is inauthentic, it is a form of indirect speech", consisting of "innuendoes, alienation, exaggerations, irony, travesty". Gufler appropriates these stylistic devices, speaking with them, not for them. Gufler's individual language of intimations creates a space for the work of Rabe and D'Armagnac, whilst at the same time defamiliarizing it, in order to ultimately destabilize any form of artistic identity.

Kuratiert von Anja Lückenkemper

KUNSTVEREIN GÖTTINGEN

im Künstlerhaus

Gotmarstraße 1
37073 Göttingen

ÖFFNUNGSZEITEN

Di-Fr 14-18 Uhr, Sa/So 11-17 Uhr

VERNISSAGE
So, 19. Juni 2016, 11.30 Uhr

http://www.kunstvereingoettingen.de/

Fotos: Lucie Marsmann

Performance "Een gebeuren"

Thursday 2nd of June, 5-7pm

Een gebeuren

Performance by Philipp Gufler. By revising and adjoining on Ben d'Armagnac's performance at 1975 in De Appel Art Centre, he wants to embody the perspective from inside the cube and project the d'Armagnac's performance into the future.

Photos by Taocheng Wang and Kevin Gallagher