DVD: "Lutz Dammbeck: Films and Media Collages, 1975 - 1986" (Einmart)
DVD: "Lutz Dammbeck: Films and Media Collages, 1975 - 1986" (Einmart)

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DVD: "Lutz Dammbeck: Films and Media Collages, 1975 - 1986"

Hommage á La Sarraz
Herakles Höhle
Medienc. REALFilm

Filmmuseum Potsdam’s production of the DVD for "EDITION FILMMUSEUM" Munich was made possible through the cooperation with ICESTORM Entertainment GmbH, Federal Film Archive (Berlin), DEFA Foundation, the German Institute for Animation Film (Dresden), Progress Film Distribution, Goethe-Institut, and Lutz Dammbeck Filmproduktion. Kulturstiftung Sachsen kindly supported the project.
Available at Filmmuseum Potsdam for 29.95 Euros
Booklet als PDF

Der Mond / The Moon 1975, 6’; Lebe! / Live! 1987, 10’; Der Schneider von Ulm / The Tailor of Ulm 1979, 14’; Einmart 1981, 15’; Die Entdeckung / The Discovery 1983, 17’; Die Flut / The Flood 1986, 10’; Herzog Ernst / Duke Ernest 1984 - 1993, 44’; Gespräch mit / Conversation with Lutz Dammbeck (Teil 1 / Part 1) 2008, 23’; Filmplakate 1972 - 1986/ Film posters 1972 - 1986
Metamorphosen I / Metamorphosis I 1978 - 79, 7’; Hommage à La Sarraz 1981, 12’; REALFilm 1986, 48’; Herakles Höhle / The Cave of Hercules 1983 - 1990, 45’; Gespräch mit / Conversation with Lutz Dammbeck (Teil 1 / Part 2) 2008, 20’; Vorbereitungen der Mediencollage REALFilm / Preparation for the media collage REALFilm 1986, 4’; Mediencollage Herakles (Ausschnitt) / Media collage Hercules (clip) 1985, 3’; ROM-Bereich mit Texten und Dokumenten / Original documents as ROM features

Schneider von Ulm

Bärbel Dalichow
Why this DVD?
Why Dammbeck? Why does the Film Museum Potsdam wish to release this particular DVD with early
Dammbeck films in the Edition Filmmuseum?
A sunny autumn day in 1981; the International Festival of Documentary Film in Leipzig. There are
whispered rumours that the Leipzig association of fine artists will be showing some ominous "art
films" in a city centre pavilion. Unofficial? Semi-legal? That kind of rumour immediately gets the
more lively of the young festival visitors buzzing, and they soon find out where they need to go.
The presentation in an overfilled, badly-aired room begins with an animated film.
The figure on the screen and the world in which it moves make one think of Surrealism, of Max
Ernst and nightmarish-mythical images by Giorgio de Chirico. Inexplicably, a creature in a depressingly
dark world grows wings and flies. Against nets. To nowhere. The message of EINMART is not
simple, but absolutely clear.
That was my film, our film. Someone had been drawing for an eternity here, and in the process he
had not just vaguely suggested or given a cautiously warning. No, for the film screen he had
pinned down the sentiments of the fundamentally sceptical young people in the narrow, smaller
half of Germany: anxiety, futility, a sense of being lost, the longing of the prisoner… more than
Herakles Höhle, 1983-1990
that. Transcendence. Magical art that pointed
beyond our own existence; a parable not just
for East Germans…
My heart beat faster. What is this? Who produced
it? How was it possible? Films in particular
were subject to constant surveillance at all
levels of their making. So a film could be conceived
at most, but not written down, and certainly
not animated over an infinite number of
days. The most elaborate art form could hardly
have been used here in our country by an obvious
free-thinker, not without being noticed
by some type of controller.
Quite churned up, I walked outside and asked
the first person coming out of the cinema with me - who seemed a like-minded soul - if he knew
who had made this film. "Yes,… - I did!" - he answered in the best Saxon dialect. Bursts of
laughter. We talked animatedly and exchanged addresses.
And from then on, I kept an eye open for Lutz Dammbeck’s actions. Soon I had an idea: a Dammbeck
retrospective in Potsdam. How this idea delighted us! At that time, retrospectives were dedicated
exclusively to the honour of famous, dead people, to world artists. Lutz had only made a few
films, but we were young, full of life and high spirits, ready to explore untried paths.
Lutz Dammbeck painted a four-colour poster for his Potsdam retrospective in April 1984, and had it
printed in Offset on good strong paper. The horizontal format shows Mickey Mouse with a big round
belly, stabbed and covered in blood. After the film presentation, the director spoke to the viewers
in the full museum cafe. Euphoric, with verve, humour and rhetorical playfulness, he spoke about
his art, its sources and affinities. The evening exuded freedom and was a gift to all who participated.
Dammbeck continued to make films within and outside of the DEFA monopoly; e.g. THE CAVE OF
HERCULES, which he began as HERCULES in 1983, and HERZOG ERNST, begun as a scenario entitled
"Gamuret" in 1984, which he could not finish until he was already living in the West. At the end of
1985, I handed in my resignation at the "Film Museum of the GDR". Lutz left the GDR for Hamburg
in 1986. We lost sight of each other. In 1989, our little country collapsed.
We met once again in the 90s, at the presentation of one of his documentary films in Potsdam -
delighted that we still recognised each other, neither of us had given up, and we had both
In 1998, the museum acquired Dammbeck’s working material for his early animation films. If
Dammbeck’s works from the 80s become more readily accessible than before as a result of this DVD,
those interested in art will soon become aware that Dammbeck, as both fine artist and filmmaker,
is working since year on a Gesamtkunstwerk - right up to the present day.