A lineage may be traced from Futurism’s love of the inhuman power of machines, through to fascism, through to our current technophilia. According to the artist: “The newly rediscovered films of Eugen Schüfftan, created in the late 1920s, suggest the depth of lingering Futurist currents in Weimar-era Germany. Schüfftan, the cinematographer and special effects artist for Fritz Lang’s Metropolis (1927), developed an advanced technique of optical printing. His radically experimental films depict a curious world of machine-time and machine-space. Rediscovering German Futurism 1920-1929, a project by Kurt Ralske and Miriam Atkin, boldly rewrites history. By presenting new interpretations of the cultural flows of the past, it interrogates our present-day perspectives on technology and power. This inquiry has taken a variety of forms: an exhibition, performances, a book, a series of still images, a collection of films. “
Kurt Ralske 