© 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  

Michaela Schweiger [Videonale.13]

*1966, in Heidenheim/Brenz GER, lives and works in Berlin and in Halle an der Saale GER
Studied at Kunsthochschule Kassel GER, UdK Berlin GER and at Kunsthochschule für Medien Cologne GER

Exhibitions [selection]:

2013 Der Globus ist unser Pony. Der Kosmos unser richtiges Pferd., Burg Galerie im Volkspark, Halle/Saale    
         Baby I'm Bored, C60 Collaboratorium, Bochum GER

2012 Blicke, Begleiter, Galerie Funke, Berlin GER [S]

2011 Glaskasten, Marl GER 

2010 14. Marler Video-Kunst_Preis, Skulpturenmuseum, Marl GER

         Begleiter, Galerie Waldbröl GER

         Gemeinsam in die Zukunft, Frankfurter Kunstverein GER

2008 La vie moderne, Centre d'art Passerelle, Brest FRA

2006 Zurück in die Stadt von morgen, plattform, Berlin GER  

         urban creatures, Pori ART Museum FIN


Michaela Schweiger [Videonale.13] x

Begleiter, 2010, 10:00 (2:30) min., Sound, Colour [Videonale.13]

In her films and drawings Michaela Schweiger takes on the subject of the utopias of the post-war age and their disintegration through political and social developments. Using the example of Le Corbusiers’ “Unité d’Habitation”,built in 1958 in Berlin, the video “Begleiter” (companion) focuses on social processes that can be easily observed in the model-like residential architecture. Architecture is not just the exterior skin, but the life that goes on inside it. The camera circles around installations reminiscent of a backdrop, showing a clichéd setting. It’s floating through time and space accompanied by an off-screen voice. Sometimes, within the installations, assistants drift into view, giving us a documentary insight into the production of the images. They stand in stark contrast to the artificiality of the staged scenes. Partial sequences of the play, which are based on interviews, re-tell the memories and show the way in which female role models of various generations have regarded themselves. In a central scene we witness a heated discussion about production arrangements between two men and a woman; in a clichéd, arbitrary manner the woman is dismissed. By the use of gestures or small actions, throughout the film women are continually casting off their assigned roles, each time with a knowing wink to the viewer.

Georg Elben 

Michaela Schweiger [ Videonale.13 ]