The Redesign of Satanism, 2006
The Redesign of Satanism is a film about the transformation of an ideological system. Tobis Yves Zintel gives Satanism a new, contemporary mien, with new images, new rituals, new words, and new music. In other words, he subjects Satanism to a complete overhaul.
Visual metaphors representing transformation and new beginnings open the film. Three bonsai trees burst into flames and burn. On the ashes, a yellow ice cream on a stick melts; as the thawed ice cream disappears, the title of the film can be read on the stick. As a motif, and especially as a process, transformation determines the entire film.
Texts from the early seventeenth century to the 1970s form the starting point for the screenplay. Die Chymische Hochzeit (The chemical wedding), by the German Rosicrucian Johan Valentin Andrae; the Book of Law, by Aleister Crowley; “The Robbers,” by Friedrich Schiller; quotations from Charles Baudelaire and Jean Paul Sartre; a song by Charles Manson, and the script of an ad for Chanel No. 19: the texts come from totally different cultural contexts. Zintel, however, dis-covers in them surprising descriptions of hell and the world of the devil.
His selection of individual passages creates links to egoism, the search for meaning, the love of self, sexuality, seduction and fear, the transgression of social taboos, shape shifting, and process-es of transformation. Satanism here is no longer defined as a theory behind an occult practice, but instead, it probes deeply into current questions of human co-existence and identity.
The film itself is set up as a mysterious worship service full of hidden messages. Zintel has had some of the texts translated and permutated by a computer. The words, their sequence and gram-mar change; the context becomes puzzling. Words are spoken by computerized voices. In the film, voices of the actors are replaced by the alienating, computer-generated sound. Certain sen-tences and passages of text are repeated over and over, so that they take on the characteristics of a prayer or a conspiracy. Zintel uses the actors as shells of bodies, through which the text emerges. If the cryptic language in historical texts is defined through the influence of a supernatural power, here, it is revealed as a mechanical process, empty of meaning.
Zintel creates highly unusual and memorable images to accompany the texts. The actors hang from a parachute in a tree, lie in the middle of a artificially illuminated forest clearing, or are shown in close-ups, in front of abstract backgrounds wie dem Innenleben of a parchment parasol, revolving hypnotically.
The text scenes alternate with sequences showing young men engaged in aggressive and absurd actions, which loosely refer to existing rituals or religious traditions. They beat packages of con-sumer goods with baseball bats, stumble aimlessly through the darkness, wearing masks; they climb up and fall down from free-standing ladders, or try to free themselves from parachute cords. These new rituals form an image of being stuck in senseless activity. The music underscor-ing the scenes takes on an increasingly threatening, urgent dimension.
Along with the alienating language, music plays a large role in the film. Zintel worked with mu-sicians and DJs to produce the music for the film. He employs the techniques of contemporary music culture: quick editing, and the rhythmic combination of image, language, and music are reminiscent of the video clip. Rhythmic sampling and loops of individual film stills emphasize the film’s ritualistic character.
Zintel lays down tracks of super-fast time loops of backward dialogue, which cannot be heard by the human ear. These are hidden messages underneath the film: the artist’s comments about his film, as well as comments on the state of human existence, “Give us some meaning. Give us a reason,” or “To be nothing, nothing at all, that is either hell or heaven.” In his redesign, Zintel defines Satansim as a state of crisis. Aleister Crowley’s attractive commandment, “There is no law, beyond do what thou wilt,” has indeed become the case. People are caught in an endless loop of egocentricity, in a world they do not understand, where they do not know what to do with their freedom from (divine) authority.

Maria Schindelegger
Courtesy Barbara Gross Gallery, Munich

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My video works from 2006 - 2015. Enjoy.

TOBIAS YVES ZINTEL - [email protected], [email protected]

Biographie / Biography

1975 Geboren in Passau
Born in Passau, Bavaria
Lebt und arbeitet in Berlin & Köln
Lives and…

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My video works from 2006 - 2015. Enjoy.

TOBIAS YVES ZINTEL - [email protected], [email protected]

Biographie / Biography

1975 Geboren in Passau
Born in Passau, Bavaria
Lebt und arbeitet in Berlin & Köln
Lives and works in Berlin & Cologne

2002-2007 Studium an der Akademie der Bildenden Künste
München bei Joseph Kosuth.
Studied at the
Academy Of Fine Arts in Munich in the class of Joseph Kosuth.

Einzelausstellungen/Solo Exhibitions

2013 Mental Radio, Season Projects, London, United Kingdom
Symbolic Exchange, Braennen, Berlin, Germany

2012 Mental Radio, Barbara Gross Gallery, Munich, Germany
Mental Radio, Moves #44, Image Movement, Berlin, Germany

2011 God loves fags, Mo David North Gallery, Glen Wild, New
York, USA

2010 Acid and ice cream, video roam curated by Paul Young,
Honor Fraser Gallery, Los Angeles, USA
Open Space, The Fountainhead, Art Cologne, Cologne, Germany

2008 Confession of Aggression, Doing Identity Bastard,
Kammerspiele München - Neues Haus, Munich, Germany

2007 Entertaining Satan, Barbara Gross Galerie,
Munich, Germany

2006 Fear Fear Fear, Münchner Kammerspiele, Munich, Germany


2013 Videonale.14 on Tour, Central House of Artists, Moskow Bienale, Moskow; Russia
Stromfestival, Kunsthaus Rhenania, Cologne, Germany
Videonale.14, Kunstmuseum Bonn, Bonn, Germany

2012 The Genetic Drive, collaboration with Paul Knight,
Glasgow International Festival of Visual Art, Glasgow, Scotland.
Age of Consent, Doris McCarthy Gallery, Toroto, Canada.
Action Unites - Words Divide, Jump and Run Festival, Hau3, Hebbel am Ufer, Berlin, Germany.

2011 Sospechas: Martin Hast & Tobias Yves Zintel,
Espacio Vacio, Guayaquil, Ecuador.
Impulse, Groupeshow, Aando Fine Art, Berlin, Germany .
Luxus Loft, Friedenstrasse 16, Berlin, Germany.

2010 Breed and Educate, X-Schulen Festival Hebbel am Ufer,
Barbara Gross Gallery, Eröffnung in neuen räumen, mit Alicia Framis, Beate Gütschow, Carlos Garaicoa, Katharina Grosse, Kiki Smith, Jana Sterbak u.a., Munich, Germany

2009 Performance, Interesting productions, The Office, Berlin, Germany
Hauptschule der Freiheit, project of münchner kammerspiele, Munich, Germany

2008 Interesting Productions #3,
The Fortress of Night and Day, ZKMax, Munich, Germany
Interesting productions #2,
Städtische Galerie im Lenbachhaus, Munich, Germany

2008 Confession of Aggression, Doing Identity Festival,
Kammerspiele München - Neues Haus, Munich, Germany

2006 Interesting Productions #2,
Städtische Kunsthalle Lothringer 13, Munich (cat.),
Bonnie Prince German, Galerie Low Salt, Glasgow, GB
Drei minuten Nationalsozialismus, Bunnyhill II,
Münchner Kammerspiele, Munich, Germany

2005 5 Days Off - Festival, Paradiso, Amsterdam,
The Netherlands
Favoriten - Junge Kunst in München, Kunstbau Lenbachhaus, Munich, Germany.
Club-transmediale, Maria am Ostbahnhof, Berlin, Germany
Ghostakademie, Rathahausgalerie, Munich, Germany

2004 Battle Battle Battle, Bunnyhill I, Kammerspiele München, Munich, Germany
reject, international filmfestival rotterdam, netherlands

2003 La vitesse du Voyge, Die Klasse Joseph Kosuth &
Joseph Kosuth, Stiftung Starke, Berlin, Germany


2013 „Mental Radio“, Rencontres internationales,
Haus der Kulturen der Welt, Berlin, Germany

2012 "Mental Radio", Moves #44, Image Movement, Berlin,
"Earthly Powers", Bukarest Filmfestival, Bukarest, Rumania.
"Earthly Powers", Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany.

2011 "Earthly Powers, 36min" Centre Pompidou, Rencontres
Internationales, Paris, France
And the Demon said" Club Transmediale, Glogauair,
Festival, Berlin.
2010 „Acid and Ice Cream“, Cinema Loop, Arco Madrid 2010, Madrid, Spain
„Hell Hotel“, Galleria Sinne, Helsikni, Finnland.
„Hell Hotel“, Galleria Rajtaide, Tampare, Finnland.
„The Demon said...“ Home Sweet Home, Performance Festival, Werkstatt der Kulturen, Berlin.
„Traumberuf Realität“, Rencontres Internationales,
Filmoteca Espanola, Madrid, Spain.
„Traumberuf Realität“, Rencontres Internationales,
Haus der Kulturen der Welt, Berlin.

2009 „Traumberuf Realität“, Rencontres Internationales, Jeu de Paume, Paris, France.
„Hell Hotel“, Rencontres Internationales, Haus der Kulturen der welt,Berlin, Germany.
„Hell Hotel“, Galleria 3H-K, Maaherrankatu 32 Pori, Finnland.
„Hell Hotel“, Makan, Amman, Jordan.
„The Redesign of Satanism“, Source Codes, Image Movement, Berlin, Germany.
„Hell Hotel“, Rencontres Internationales, Reina Sofia
National Museum, Madrid, Spain.

2008 „Hell Hotel“, Rencontres Internationales, Centre Pompidou, Paris, France.

2006 „Interesting Productions #1“, Bühne des Lebens,
Rethorik des Gefühls, Städtische Galerie im
Lenbachhaus, Munich, Germany.
Interesting Productions #1, Das Leben, eine Gebrauchsanweisiung, Haus der Kunst, Munich, Germany.
Drei Minuten..., bei Petula im Park, Petuelpark, Munich, Germany.

Oper/Opera Theater/Theatre

2013 Arrivals, Film and Performance, Neumarkt Theater, Zürich, Switzerland
Rocco and his Brothers , video installation, Neumarkt Theater, Zürich, Switzerland
Das Gegenteil von Tod, Co-Director with Peter Kastenmüller, Maxim Gorki Theater, Berlin, Germany
Der Ring - Next Generation, Stage Design & Filminstallation, Deutsche Oper Berlin, Berlin,

2012 Action Unites - Words Divide, video-based performance,
HAU 3, Berlin, Germany.

2011 Das siebente Siegel, video installation, Theater Basel, Switzerland.
A hole in my Heart, video installation,
Theater Neumarkt, Zurich, Switzerland.
East of Eden, video installation, Theater Basel, Switzerland.

2010 Neverland, video installation, Schauspielhaus
Hannover, Hannover, Germany.
Breed and Educate, video based Performance, Hebbel
am Ufer, Berlin, Germany.
Herakles, video installation, Theater Basel,
Basel, Switzerland.
Weekend, video installation, Neumarkt Theater Zürich, Zurich, Switzerland.

2009 Hauptschule der Freiheit, performance and film, Kammerspiele München, Munich, Germany.
Schwarz, Rot, Gold, video installation, Schauspiel Frankfurt, Frankfurt, Germany.

2008 Confession of Aggression, director, video-based
perfromance, Kammerspiele München, Munich, Germany.

2007 Pool - No Water, video installation, Schauspielhaus Frankfurt, Frankfurt, Germany.
Die Familie Schroffenstein, video installation, Kammerspiele München, Munich Germany.
Falstaff, video installation, Schauspiel Frankfurt, Frankfurt, Germany.

2006 Schwarz, video installation, Thalia Theater Hamburg, Hamburg, Germany.
Drei Minuten Nationalsozialismus, director, video-based performance, Kammerspiele München,
Munich, Germany.
Die Räuber, video installation, Volkstheater Wien, Vienna, Austria.

2005 Abalon, videoinstallation, Schauspiel Frankfurt, Frankfurt, Germany.
Plattform, videoinstallation, Schauspiel Frankfurt, Frankfurt, Germany.

2004 Battle Battle Battle, director, video-based performance,
Kammerspiele München, Munich, Germany.

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