in Zusammenarbeit mit:
gefördert durch:


The Der Standpunkt der Aufnahme project was made possible by funding from the Hauptstadtkulturfonds and the Stiftung Menschenwürde und Arbeitswelt. Additional support was provided by Culturesfrance, Pro Helvetia – Suisse Cultural Fund and the Istituto Italiano di Cultura.

Der Standpunkt der Aufnahme was curated by Tobias Hering in collaboration with
Arsenal – Institut für Film und Videokunst (Institute for Film and Video Art) and the participating artists. Additional, ongoing support in realising the project was provided by Hanna Keller.


The website was designed and set up by Sayumi Yoshida and Stefan Frank. Additional graphical input was provided by imageshift/bildwechsel. In January 2014, the book "Der Standpunkt der Aufnahme - Point of View" will be published by Archive Books, Berlin.

The curator would like to thank all participating artists for their collaboration in putting together the programme. The generosity shown by the cinema management, the archivists and the projectionists in allowing the curator and artists access to the Arsenal film and video archive is very much appreciated.

For their time, shared knowledge and experience and supportive, critical comments, many thanks to: Rachel Anderson, Madeleine Bernstorff, Carsten Does, Claudio Feliziani, Barbara Janisch, Simon Kleinschmidt, Elsa de Seynes, Fatoş Üstek, and all those whose ideas I remember better than their names.  

Special thanks also to Karen Mirza and Brad Butler. Long before the programme could actually be realised, the curator was given the opportunity to present and discuss it during a “Light Reading”/curator’s talk at in London.

The title of the programme was taken from a 1980 text by the Zurich Videoladen Collective: „Der Standpunkt einer Aufnahme ist bereits eine Stellungnahme zur Sache“, which translates as: “Placing the camera means to have already taken a position on the cause.”