Le dernier art
Die letzte Kunst
The Last Art
El último arte
cinéma hermétique structural
Hermetisch strukturaler Film
Hermetic structural film
Cine hermético estructural
AUT 2012, 16mm, B/W, silent
7980 frames
24 fr/sec
The film unifies two principal visions that appeared in avantgarde cinema: the structural and even metric method of composing film frame by frame, conceptually, by content as well as by rhythm and form, and the mythic vision of the cinematic occult.
But what has never really appeared in the history of film - hail to our “after-historic” times that have seen and know everything! – is a way of constructing and composing cinema itself out of the material of space-time like ARCHITECTURE. Although it would be the most obvious: the modern revolution in architecture and the cultural revolution of motion pictures appeared at the same period of history.
Furthermore the purpose of real architecture has always been to open the human existence to celestial and cosmic structures. Regarding the subject of the film “The Last Art”, the “fools-tower” Vienna, this is the case. It is constructed after hermetic principles of alchemy and cabbala, the great occult sciences, means that it is a kind of number-magical machine which offers the same micro- and macrocosmic structures in always the same “mytho-mathematical” constellations and combinations that seem to appear at every point anew.The editing “score” of the film “The Last Art” finally reflects and amplifies the occult architectural structures applied in the construction of the building and adds further number-magical insights and combinations to the material. The complex editing score we show separately, it is a true meticulous “masterplan”, that will however reveal not much to the spectator unless he is deeper experienced in the occult sciences. The images shown in the movie have been filmed inside the building, at the pathologic museum Vienna that is now residing in the fools-tower, that was originally constructed as the first psychiatric clinic in Europe, a magic attempt through this building to heal the mentally insane by opening the space towards cosmic forces. In medicine one could think of pathology as the “last art” of the medical scientist or physician after the body is already dead and the medic principle of saving human life is gone (after the steps prevention, cure, palliative care). Like cinema is the last art in culture subverting its rules. The sometimes monstrous pathologic exhibits of the body refer to the pathology of mind and the psyche that are part of the manic, heterogenic, transgressive magical-mythical universe of creation. But this universe is anti-religious, for myth and symbols are often mistaken for religion and the narrative in culture, but the poetic cinematic art as it appears to Todeskino is working WITH death as motion and if the occult structures refer to GOD the only principle of art is that there is no god but man, or that there is no god where I AM (even the breaking of the endless SELF-relating processes of the human psyche), and this is not meant as a hybris but contrary as a definite statement towards beauty even in its often prevented, shadowy “evil” aspects as the sole source of truths about NOTHING, not about this or that thing as death in disguise, which would be a mere contemporary play of semiotic poverty. (Like Ernesto Guevara said, “wherever death may find us, it shall be welcome…!)
Cinema is an instrument of visionary thinking in action regardless to the function of the cultural reproduction of movement and the theatrical narrative it occurred to be invented for. It is the last art finally destroying the supplementary forces of creation that try to succeed magic, that are money and advanced technology. It is a “simple” technology aiming at heterogenic transgression where it truly finds itself, far beyond all cultural rules it has been locked in since its birth.
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| the film's basic pattern |
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| the "fools-tower" vienna / Narrenturm Wien |
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| Baphomet |