Berlin-based artist Erik Schmidt will come to the Goe the-Institut Wyoming Building to talk with New York-based Janet Biggs about some of his most recent film works\, including:

Down town (2012)
The Downtown series shows views of New York's Occupy camp. During his stay in New York in 2011\, Erik Schmidt experienced the start of the protest movement and had a direct view day after day of t he occupation of Zuccotti Park in Lower Manhattan. This is reflected in the unmediated gaze he turns on sleeping demonstrators\, the colourful sight o f the tent cities and on police interventions – all the while consciously u ndermining an aesthetic of spectacle. As in earlier works\, Erik Schmidt ex plores the norms and rituals of marginalised social groups\, immersing hims elf in them yet never really becoming part of them. The colours deployed se em to a large extent to dissolve and fragment as a result of the open paint erly brushwork.

Bogged Down (2010)
In Bogged Do wn the artist moves through a series of highly atmospheric locations\; new metaphors of his identity are revealed with each change of scene. The f ilm switches abruptly from the introductory sequence of a party on the balc ony of his flat in the big city\, suddenly showing footage of an autumnal f ield\, a Baroque landscaped park and an old spa resort. Individual motifs f rom the film also make an appearance in Erik Schmidt's paintings. Whilst th e artist struggles through the thicket of a hedge in Bogged Down\, i n a series of paintings the dense structure of trees and bushes is overlaid upon the figures dotted around a park (statues\, an equestrian monument\, figures adorning a fountain)\, the contours blurring amidst the painterly b rushwork. Various media – painting\, film and photography – are deftly comb ined in his works.

Hunting Grounds (2005-2008)
In the film Hunting Grounds (2006) scenes of a parforce hunt are interl aced with scenes of an aristocratic dinner party at Wendlinghausen Castle i n Teutoburg Forest. The artist\, playing the lead role in the film\, become s entangled in the social ritual of the hunt\, yet the question of whether he is the hunter or the hunted remains unresolved. Various narrative planes \, together with topics such as the artist’s self-image\, hunting instincts and paranoia\, passion and fear of death\, are superimposed one upon anoth er. Parallel to shooting of the film\, in 2005 Erik Schmidt began a cycle o f paintings that highlight individual hunting motifs\, and also comprise cl ear elements of self-staging. In these works\, the sense of motion conveyed by the pointillist style\, which fractures the pictorial surface into vigo rous dots\, serves as a counterpoint to the relative calm of the rural idyl l. Hunting Grounds is the first in a trilogy of films shot in rural areas of Westphalia. The trilogy also includes Bogged Down (2010) an d Gatecrasher (2010).

Parking (1999/2002)
" In traffic\, each driver is part of a whole\, dependent upon the other's co mmon sense\, a mobile individual figure amongst the wind of exhaust fumes\, the breath of the multitude. The only natural way to withdraw from this mo vement is to manoeuvre into a space designated for this purpose when you re ach your destination or interrupt your journey. Sometimes people who have s uccessfully parked a car are filled with an even greater sense of delight t han drivers revelling in their high-quality vehicle and its impressive road -handling" (Dirk Skreber/Erik Schmidt).

LOCATION:The Goethe-Institut (Wyoming Building)\,5 East 3rd Street \nNew Yo rk\, NY 10003 SUMMARY: in Conversation with Janet Biggs\, Erik Schmidt END:VEVENT END:VCALENDAR