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Themesicon: navigation pathPhoto/Byteicon: navigation pathStill Picture, Moving Picture
Waiting, Acting Waiting (Heimerdinger, Isabell), 2002

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think of that as a trend, actually, and something that faded away again.

Peters: But is film’s centennial justification enough? One could speculate, whether it rather concerns the question of analog or digital technology. While cinematographic equipment of mainstream cinema becomes increasingly overloaded with digital technology, the material qualities of classic cinema are becoming more and more like museum pieces.

Daniels: Or the questions always asked in the field of photography are expanded, and when transposed really do address moving pictures. I’m thinking about the works of Cindy Sherman and Jeff Wall from the 1970s and 1980s. In my opinion, all of this concerns the coming together of two, important dispositions: the cultural form of cinema encountering the form of the exhibition object. Over the last 100 years, there were relatively few points of contact between the two, and they functioned – as they still do today – using different principles: the movie theater has a mass audience and finances itself through the price of admission; art sustains itself through the sale of singular objects. Viewed from the economic side, these do not really come together. It’s odd, though, that artists’ films are sold as unique works that could


actually be shown in movie theaters. And suddenly these two forms find an interest in one another.

Peters: But traditionally speaking, the visual arts prefers the still picture. Sidetracking here a bit, I wanted to ask: What about film is most interesting for photographiy? How does one reflect moving pictures from within the tradition of still pictures? This hardly concerns, in my opinion, the role of cinema in the visual arts, but rather the difference between moving and still pictures. And what does the figure of the actor have to do with this? You, Isabell, never work with movies, as such as with everything belonging to the framework and format of movies.

Heimerdinger: I try more and more to avoid the label of cinema. Of course everything comes from Hollywood – but thematically, I’ve always made a point of developing away from that.

The Testing Setup / Authenticity

Holschbach : Thomas Trummer writes about your work «Waiting, Acting Waiting» (2002) with the actor Wolfram Berger, that, in the part where Berger consciously acts as though he waits, the performance

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