© Videonale e.V.

The development of the VideonaleOnlineArchive was supported by

Contact us

Videonale e.V. Phone +49 (0)228 69 28 18
im Kunstmuseum Bonn archive@videonale.org
Helmut-Kohl-Allee 2  
53113 Bonn  

Peter Freund [Videonale.13]

*1960 in USA, lives in California, USA
Studied at University of Buffalo USA, at University of California at Berkeley USA, at American University in Cairo, EGY and at Cambridge University GBR 

Exhibitions [selection]:


2012 Trauma, Desire, Otherness, City University of Hong Kong CHN
        Cologne Experimental Documentary Film Festival, Köln GER

2011 Festival of (In)appropriation, Carsey-Wolf Center, Pollock Theater, UC Santa Barbara USA
        Antimatter Film Festival, Victoria BC, CAN

2010 Sazmanab Gallery, Tehran, IRI

2009 Les Rencontres Internationales, Berlin (on consultation):,Haus der Kulturen der Welt, Berlin GER

2008 Universidad de los Andes, Bogotá, COL

2007 Museo de Arte, Biblioteca Luis Ángel Arango, Bogotá COL
        Do Gallery, St Petersburg RUS




Peter Freund [Videonale.13] x

Camp, 2010, 7:00 min, sound, colour [Videonale.13]

Peter Freund's visual and literary collage combines two notions of the word ‘camp’. A camp may signify a place where people are held together in a temporary shelter. Freund narrows down this meaning by using archive footage from Nazi camps and quotes from philosophers on the atrocities of WWII. The second meaning of camp, that of an aesthetic phenomenon marked by consciously artificial behavior, surfaces through a video potpourri of Busby Berkeley's 1943 movie “The Gang's All Here”  with quotations from Oscar Wilde and Susan Sontag citations.
Three narrators deliver the literary quotes. The first narrator opens with a question that encapsulates the essence of Freund's intellectual inquiry: We don't want to be indifferent to fascism and concentration camps, but how can we talk about a tragedy that did not happen to us? In this light, the incongruity of Freund's collage ceases to be a mere brazen mismatch between the austerity of black-and-white footage from Auschwitz and the color overload of Berkeley's dance scenes. Perhaps the second meaning of camp can provide a way out of the impossibility of speaking about the concentration camp experience. If we narrate it as a melodrama, through tears and laughter, we will be able to relieve ourselves of this collective trauma of nazism. Won’t we?

Olena Chervonic

Peter Freund