Stefan Tolz

Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.

It all started with a small exercise book. Its page were checkered with the courageous testimonies of 300 Central African women, girls and men. They reveal what Congolese mercenaries did to them. On their own initiative, they gathered together their testimonies in this book.

The story of a mysterious soda developed by legendary Georgian juicemaker Mitrofan Lagidze on the order of Stalin in the early 1950's. In the so-called lemonade war Lagidze was instructed to create a soft drink better than Coca-Cola.

Thomas Riedelsheimer’s landmark Rivers and Tides inventively documented artist Andy Goldsworthy as he created his wondrously ephemeral site-specific sculptures, spun from nature. Fifteen years later, Goldsworthy is still appealingly engaged in his philosophical and tactical exploration of the natural world. Leaning Into the Wind is a collaborative sequel—a visual and aural sensation that takes viewers into the hillsides, terrains, and other outdoor spaces where Goldsworthy feels most at home and inspired.

Cities and landscapes bear the desires of the residents. This restless fight for a fulfilled life in which we often stand in our own way. We long for love, recognition, freedom and a sense of home – but just as soon as we arrive somewhere, we long to return or to go somewhere else. It is this longing that drives us through life.

A documentary which explores the connections among sound, rhythm, time, and the body by following percussionist Evelyn Glennie, who is nearly deaf.