Rediscovering German Futurism, 1920-1929
(Multiple formats, 2009-present)

We can trace a lineage from Futurism's love of the inhuman power of machines, through to fascism, through to our current technophilia. 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. Research on this topic is still in progress.