(The Basis of Make-Up I-III)
D 1974-83/ 1995-2000/ 1986-2004,
The Basis of Make-Up I, Photography and beyond - Part 1
The Basis of Make-Up II, Photography and beyond - Part 4
The Basis of Make-Up III, Photography and beyond - Part 9
The films THE BASIS OF MAKE-UP (I-III) are the centre about which Emigholz' feature films revolve.
THE BASIS OF MAKE-UP I Featured are forty-two of Heinz Emigholz's illustratred notebooks from 1974 to 1983, a notebook of Heinrich Emigholz dated 1941, a sketchbook from the 70s, twenty-four photographs from 100 Hudson Street, 240 President Street, 325 West 11th Street, Kleine Reichenstrasse 2, 36 Sherman Street, 236 Elizabeth Street, 29 John Street and Zippelhaus 6. In addition, there are eighty drawings from the series ›Die Basis des Make-Up‹ as positives and negatives.
THE BASIS OF MAKE-UP II Featured are sixty-nine of Heinz Emigholz's illustrated notebooks from 1983 to 1996, three sketch books from the 80s and 90s, and cinematic studies of his exhibition "Der Untergang der Bismarck" at the Zwinger Gallery, Berlin 1988, a castle moat in Riva, Italy 1997, a casting of Aguste Rodin's "The Gates of Hell" in front of the Kunsthaus in Zürich 1988, an olive grove near Norma in Italy 1995, a magnolia tree in Basle 1996, burnt meat at Cabo de Creus in the Pyrennees 1988, an intersection in Owatonna, Minnesota 1995, and a house underpass in Giesshübelstrasse, Zurich 1996. In addition, there are 184 drawings from the series "Die Basis des Make-Up" as positives and negatives. The writings and visual representations are the property and legacy of a person who appears in the film "The Holy Bunch" as an editor, in "Second Nature" as a fashion designer, and in "Black Harbour" as a charcoal burner.
THE BASIS OF MAKE-UP III The film shows thirty-eight of Heinz Emigholz's notebooks and sketchbooks from 1996 to 2004: cinematic studies of marble inlays on the memorial slabs in the Johannes Cathedral in Valetta, Malta in 2004; of Skull Rock in Joshua Tree Desert in California, which gave the series its title; of Cerro Castellan in Big Bend National Park in Texas; of a rock shop in Quartzsite, Arizona that sells remnants from the glass factory in Henryetta as "gems from Mexico"; scenes from Bartlesville in Oklahoma; a tree covered with shoes on Highway 62 in California in 2002; and, in Gabriele D'Annunzio's Villa Cargnacco in Gardone, Italy in 1997, the mask merchant's room, the reliquary room, the workshop, the globe room, the Apollinian veranda, the room of the Cheli, and the Zambracca.
- I imagine them as an intermezzo between the long films, the data base as an interlude. The paradoxical nature of film is taken to an extreme: giving something that is taken away immediately. (Heinz Emigholz)
In the rapid sequence of shots, however, the pages divide themselves; their entirely undramatic concatenation during the editing process sees them reduced to parts, to particles, which nevertheless open themselves up to one another – immediately and directly – and whose formal idiosyncrasies foment a strangely seductive »game with history«.
(Museum für Gegenwart Magazin, Marc Ries)
Awards and Festivals
- Berlinale 1984, 2001, 2005 / Forum
- Viennale 2002
- New York Film Festival 2002
- Domnick-Filmpreis 1984