Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.

Pia Rönicke, Rosa's Letter, 2006

I started out reading the private letters of Rosa Luxemburg in between times of production, in coffee shops, while I was waiting to be able to start working or have conversation. The reading of the letters became part of my everyday activities.
Rosas letters have long been historic documents, but originally they where addressed to one person in a specific moment. So what happens when the letters are transported into a different time and read by the unspecified, I asked myself while reading, not quite sure if it was ok. I felt that the reading was uncannily familiar and relevant.

Rosa’s Letters - Telling a Story’ is a scenario, consisting of two films and a model.
2006

Rosa’s Letters - Telling a Story’
Film HDV, couleur, son (german spoken, english subtitles)
Durée : 44 minutes

“Rosa’s Letter - Telling a Story / Recordings”
2006
Film 16 mm couleur, ambiant sound
30 minutes

“Rosa’s Letters - Telling a Story / Model”
2006
Slide Show (80 diapositives) Model (carton, papier, impressions couleur, papier calque)

Making the model for the film, while making the film. Making the film, while working on the model, is a staging of a series of activities that in them selves might seem meaningless, with no particular course or reason, other then creating a scene for the film. You hear a voice in then film. The voice is embodied in a character; an investigator, that contemplates and acts out the scenery of the story. The voice-over is based on fragments from Rosa Luxemburg’s letters. - Letters (1891-1907) to her lover and work partner Leo Jogiches through many years, her lover and friend Konstantin Zetkin (1907-1910). - Letters from her time in prison (1916-1918) in Wronki and Breslau to her friend Sonja Liebknecht and Hans Diefenbach.

Recordings is a document of a journey to some of the places where Rosa stayed and from where she wrote her letters. – A compilation of a series of 16 mm filming and the sound recordings of some the places that once were the scenarios of Rosas movements, and the background for her reflections. The recordings cover a fraction of the journey. The journey carries as much importance as what have been captured. The meaning of the film is unresolved, and the document is a fiction.

The Model is a prop from the film, with its own life movement of slides projected on the window. The images are from a demonstration in Berlin, the 15th of January 2006, the death day of Rosa Luxemburg.