In 1984, the “First Leipzig Autumn Salon” took place. Bypassing every state institution, six painters, sculptors and filmmakers organised an art exhibition.
A Gordian knot, a criminal case still waiting to be solved: who overpainted the works of Arnulf Rainer, an artist known for his own overpaintings?
“The Net” was the ultimate expansion of Dammbeck’s spectrum of themes. The focus of ideological interpretations and appropriations is no longer the artist but technological progress.
A portrait of the artists Cornelia Schleime, Hans-Hendrik Grimmling and Hans Scheib who left the GDR for West Berlin between 1984 and 1985.
In a nocturnal clearing, an old gramophone plays dance music for some strange animals and creatures. This attracts the moon’s curiosity.
Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details.
The project Dammbeck had already started to prepare before he left and had partly explored in media collages, was produced for Südwestfunk in 1990.
An ironic salute and tribute to the avant-garde cinema of the 1920s, which can be seen as a dress rehearsal for the great films of the “Herakles-Konzept”.
Produced at the DEFA Studio for animated film in Dresden, this film traces the life story of one man from birth to death.
This film was first planned in 1976 for an interdisciplinary exhibition of six Leipzig artists called “Tangente I” intended to revolve around joint projects by painters, filmmakers, composers and choreographers.
For Baudrillard the game show in the consumer society is a ceremony “like the catholic mass or the rite of sacrifice in primitive society.” For Dammbeck it is also an instrument of re-education.
“Age of the Gods” asks a fundamental question: can the aesthetical and the political be separated?
