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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


Something Between Us
KAI 10 | ARTHENA FOUNDATION, Düsseldorf

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020

REFRACTED REALITIES at VIDEONALE.17

In optics, “refraction” refers to the bending of a beam of light, a change in direction which occurs at the moment when it passes from one medium to another. Through refraction, the light wave alters course, changing the way we perceive the objects it illuminates in the process. This optical deviation requires us to repeatedly correct our gaze, comparing the beginning and end points of our perception with reality, and bringing the object we see clearly into focus. In its figurative sense, refraction refers to a critical reflection on the means and channels of visualization, and by extension the possibility of a rearticulation of our view of things – how they are, were, or apparently always have been.
Image: © Sohrab Hura

Fuzzy dark spot
Video art from Hamburg

The exhibition FUZZY DARK SPOT curated by the Hamburg-based video artist Wolfgang Oelze, at the Falckenberg Collection brings together 56 video works by over 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups.
image: © Stefan Panhans

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Nasim Weiler: Hello, there are many absolutely wonderful video works on Blinkvideo - here are my three favourites of today, March 26 - a day spent in quarantane in Paris.

Jeroen Van Den Tempel: I'm fascinated by video's which invite me to watch out of my framework of daily existence, of my perception of time and space. Which remind me of the real nature of reality, which is streaming. All form is temporary. I’m really intrigued when a universal issue is combined with an issue from daily life. Jeroen van den Tempel

Do you have any favorites on blinkvideo ? Or would you like to focus attention on some video works? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows: When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

Featured videos

Federico Adorno
La estancia, 2014

Federico Adorno’s film La estancia was awarded the Grand Prize of the City of Oberhausen at this year’s International Short Film Festival Oberhausen. In its statement the jury said: “Through a succession of subtly constructed tableaux, this powerful film is a profound critique of systematic oppression. Instigated by a massacre amidst a land-rights conflict in Paraguay, this haunting work transcends the local context to voice the struggle for essential freedoms.”Many years ago, while he was working at the Swiss NGO “Helvetas Paraguay”, Adorno travelled long distances into the countryside to film short documentaries with peasants, whom he taught how to use a camera and write short stories, which they then shot together. His last two short films are about land rights and property, and how the extensive ownership of land by just a few landowners gives rise to serious conflicts and problems in rural communities. Isla Alta is about the tensions that surround a community when a wealthy rancher goes missing; La estancia depicts the aftermath of a massacre and is based on true events that happened in Paraguay in 2012.

Tobias Yves Zintel
Breed and Educate, 2018

The Film Breed and Educate is based on a collaborative performance with a class from the Hector-Peterson-Schule Berlin Kreuzberg and the HAU. In numerous task based rehearsals eight pupils between 11 and 13 years explored the possibilties of self-education. Based on various materials from found footage to documentary and staged scenes the film circles around the relationship of controlling and self-empowerment in educational systems. Breed and Educate is circling around the question of how lessons should be organised in times of network and algorthim-based learning. Algorithms and neuronal networks have to master problems only once, after they achieved their goal, results can be duplicated and copied any number of times. Kids on the other hand side have to learn everything step by step, the accumulated knowlede can’t be transfered from on kid to the other by „copy and paste“. An allopoetic system is a trivial system, which can be potentially fully explored, controlled and operated by an observer. With a similar theory in mind, the Prussians started to organise schooling in 1717, to prepare pupils for the Prussian Military Academy. What happens almost 300 years later in a school in Berlin, when the relationship between control and self-empowerment is inverted by postmigrant pupils who breed robots, are educated by them and vice versa? “ In Breed and Educate an automated dionsaur is introduced by a twelfe year old boy: “It’s easily trainable”. While he explains the mode of operation, one sees the parallels: the school wouldn’t have any problems with pupils equipped with a suitable operating system downloaded from the internet. Sounds like an uncanny utopia.” (Katrin Bettina Müller)

Lene Markusen
Grad, 2004

Dieter Kiessling
60 Minutes 360 Degrees GK 2010, 2010

A boy is portrayed with a video camera for an hour on a tennis court.During this time the camera turns through 360 degrees. Meanwhile, the whole space is recorded piece by piece. The boy follows the camera movement slowly thus remaining constantly in the centre of the picture.

Clemens von Wedemeyer
Silberhöhe, 2003

In Halle-Silberhöhe in East Germany, the camera records peri-urban area architecture, prefabricated buildings that are deserted and destined to be demolished. The commentary evokes a film editing technique used by Michelangelo Antonioni in his film, L’Eclisse (1962).

Janet Biggs
Fade to White, 2010

In Fade to White, Biggs delves into the desire to explore remote lands. To create this work, the artist embarked on an expedition in the high Arctic, traveling aboard an ice-class, 2-masted schooner, built in 1910. During the voyage, Biggs filmed Fade to White, focusing on a crew member as he navigated the ship through iceberg filled seas, and paddled a kayak past glacier walls and polar bears. As she photographed the explorer, Biggs tested her own will and endurance. The visual tension of her uncompromising imagery bespeaks their mutual struggle to maintain balance and purpose. Yet, the video also reveals the myth of the solitary white male explorer. Biggs explains, "The desire to hold onto the notion of the 'great white north' as a blank space awaiting interpretation only reinforces the idea of the colonial polar hero. The 'virgin' north has now been mapped, surveyed, and mined, but increased knowledge has not replaced endless fantasies of discovery." Loss and change are implicit in the video's title, Fade to White, which refers to an editing technique used to evoke death or transcendence. Biggs integrated her Arctic imagery with sound and video footage of counter tenor John Kelly, whose age, androgyny, and mournful voice parallel the vanishing Arctic landscape and signal the waning of male dominance.

Rebecca Ann Tess
The Tallest, 2014

The »The Tallest« shows pictures shot on-site of the currently tallest buildings in the world. The high-rises are shown as set pieces of global capitalism, visually disappearing into abstraction. The reduced images are reminding of 3D rendering. The simulated image of these buildings circulates in the media for representational and advertising purposes, becomes a substantial object and the actual spatiality becomes a mockup. The narration is undertaken by a computer voice, it describes the competition for the tallest tower at such divers places as Chicago, Dubai, Hong Kong, Kuala Lumpur, Mecca, Nanjing, New York City, Seoul, Shanghai, Shenzhen, Songdo and Taipei.

Johanna Reich
LIGHT ON BLACK ON WHITEHOMAGE TO MALEVICH, 2015

A moving digital light drawing illuminates a white wall. A hand painting a black square on the white surface becomes visible. At the same time the light drawing is painting a light square. In the end the light of the digital light square illuminates the finished black oil painting.

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

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Anna McCarthy

Works


Biography

Born 1981, British
Currently living and working in Germany

Education

2002-2009 Academy of Fine Arts Munich, Sculpture (Diploma)
2005-2007 Glasgow School of Art, Environmental Art (BA Hons)
2001-2002 Kingston University of Art & Design, London, Foundation Studies

Exhibitions

2015
JAHRESGABEN, Kunstverein Munich
FASSBINDERTAGE, Munich
BIENNIAL OF CONTEMPORARY ART, D-0 ARK Underground, Konjic, Bosnia und Herzegovina
HOUSE FOR THEM ANCESTORS – Musique d'Ameublement, w/ Manu Rzytki, Kunstraum Munich

2014
NEIN – Anna McCarthy, PLATFORM, Munich
WHICH SUPERMARKET ARE YOU? w/ Manuela Gernedel, Morag Keil,, LISZT, Berlin
SHELTERS, SHACKS, AND SHANTIES, Galerie Esther Donatz, Munich
LABORATORY AIM DENSITY + APOCALYPSE LAUW TOUR, Knust/Extrapool Nijmegen , Glasmoog Cologne, Wolfart Rotterdam, Worm Rotterdam, Butcher’s Tears Amsterdam
HOW TO START A REVOLUTION: THE MUSICAL, Maximiliansforum, Munich
HEUTE NACHMITTAG: ALS WIR NOCH AN WAS GLAUBTEN, 1914/2014. Die Neuvermessung Europas, Munich
USE 2 B USB - w/ Rebecca Stephany, RongWrong, Amsterdam

2013
HOW TO START A REVOLUTION – The Musical, Festival of Independents, Haus der Kunst, Munich
II : NA-EN-DE-NA-EN-DE-NA-WI-DA : II, Schaustelle/Pinakothek der Moderne, Munich
DAS ALLERLETZTE PROF. WINKLER STIPENDIUM, Kunstverein Weiden
LIBER LIBRI (Objekt- und Künstlerbücher), Studio Gennai Arte Contemporanea, Pisa

2012
ESCAPIST ADVENTURES, BBK Cologne
DE LOS LETARGOS FELICES (Der Glücklichen Langeweilen), Casa Cino Fabiani, Guayaquil/ Ecuador
LUSTIGE FRAUEN KUNST, Ernst Fine Arts London
BORED REBELS, Glasmoog, Cologne
FLAT NO.1, Niklas Schechinger Fine Arts, Hamburg

2011
FEMINISTS IN SPACE FESTIVAL, Kopenhagen
NY ART BOOK FAIR, Revolution & Its Muses book signing and stand, MOMA PS1, New York
THE WONDERS OF THE INVISIBLE WORLD, Northern Gallery for Contemporary Art, Sunderland
SORRY I CAN'T HEAR YOU. SPEAK UP. Mural, Staging Opinion Festival, Munich
REVOLUTION & ITS MUSES, Book presentation, Extrapool/KNUST, Nijmegen/Niederlande
ICH DACHTE MAN DARF ALLES, Theatre project, Maximiliansforum, Munich

2010
HINTS TO WORKMEN, Northern Gallery for Contemporary Art, Sunderland
FRIENDLY CAPITALISM, Haus Schwarzenberg, Berlin
GEWALT, Kunstverein Wolfsburg
BORED REBEL IN OBERPFAFFENHOFEN, Screening, Underdox Festival, Munich
WIEDERSEHEN IN TRAUTONIEN, Video for play, Schwere Reiter/ Deutsches Museum, Munich
TRACING THE INVISIBLE, Schloss Ringenberg, Hamminkeln
BORED REBEL IN OBERPFAFFENHOFEN, Bielefelder Kunstverein
KISS OF LIFE, Finn Collective, Glasgow International Festival of Visual Art
THE TWO EAGLES/ANG DALAWANG AGILA, The Metro Gallery, Manila
21ST CENTURY – Morag Keil, Manuela Gernedel, screening, Chisenhale Gallery, London

2009
OCTOBER SHOW, Transmission Gallery, Glasgow
GROSSE MALEREI AUSSTELLUNG, Lothringer 13 Städtische Kunsthalle, Munich
UNCONSCIOUS, Steinle Contemporary, Munich
KÜNSTLERFREIZEIT 2009, Kunstraum Innsbruck
CONCRETE GALLERY: RESET YOUR LIFE, Wilkinson Gallery, London
ZUR SCHÖNEN AUSSICHT, Volkstheater, Munich

2008
TRIBUTE TO GUSTAV METZGER, kuratiert von Justin Hoffman für Bayern 2 (Radio)
Destruction in Art, Präsentation, Haus der Kunst, Munich
JAHRESGABEN, Kunstverein Munich
DIGITALANALOG, Carl-Orff-Saal,Gasteig, Munich
PROTEST UND WIDERSTAND IM EIGENSINN DER KUNST, Galerie 5020, Salzburg
GLASGOW: A TRUE & LOVE STORY, Screening, Underdox Festival, Werkstattkino, Munich
WHERE HAVE ALL THE HEROES GONE, Galleribox, Akureyi, Iceland
TRANSITIONAL STATE, Edinburgh Arts Festival, kuratiert von Laura Simpson, Edinburgh
GLASGOW: A TRUE & LOVE STORY, Premiere, Filmmuseum, Munich

2007
LOST & FOUND, Shedhalle, Zürich
SUPERMARKET ART FAIR (Lowsalt Gallery, Glasgow), Stockholm
GALLERIBOX, Akureyi/Iceland
RSA STUDENT EXHIBITION 2006, Royal Scottish Academy, Edinburgh

Awards/grants/residencies

2015
Fellowship and Residency, Villa Aurora, Los Angeles
2014
Commission, 1914/2014 Remeasuring Europe, Arts Council Munich
Award, Grant and Publication, Kunstclub13 Munich
2012
Knust/Extrapool, Art Prison, Residency and Publication, Nijmegen
2009
Leonhard- and Ida Wolf Remembrance Prize, Arts Council Munich
Gil Society, Residency and Exhibition, Akureyri, Iceland

Public Collections

Bayerische Staatsgemäldesammlungen
(Bavarian State Painting Collections)

Publications (selection)

2015
DRINK COLD PISS WARM, 100-page poem and photos, Melville Brand Design
2014
Die friedliche Zeitschrift für internationale Verständigung, Charlie Edition
2013
Poems and Pictures, Self-Published Hand-bound Limited Edition
Angry Time #1 Strike Work by Anja Lückenkemper, Anna Dobrucki
2012
Damenkapelle 10” , self-published, 2013, DAMENKAPELLE LP, echokammer
ART PRISON #2: REVOLUTION & ITS MUSES, Auflage von 330, Knust/Extrapool, Nijmegen/Niederlande
2011
Tracing the Invisible Catalogue, Hg. Nadine Zeidler, Schloss Ringenberg
2010
Unser Magazin, Bored Rebel in Oberpfaffenhofen, Edition 1,Wien/Berlin/Munich
Was tun - Figuren des Protests. Taktiken des Widerstands, Hg. Hildegard Fraueneder & Gianni Stiletto, Muery Salzmann Publishing
2009
How to Start a Revolution, Zeitung, Auflage von 200, Self-published
2008
Tribute to Gustav Metzger (CD), kuratiert von Justin Hoffmann, Intermedium Records, Bayerischer Rundfunk/Hörspiel und Medienkunst
A Contemporary Account of the Sufferings of the Rebels, Buchedition von 200, Self-published
2007
Vorn, 4. Edition, 2007, 74-79, Printkultur GbR A. Feckl & J. Baldauf

Anna McCarthy
Born 1981, British Currently living and working in Germany Education 2002-2009 Academy of Fine Arts Munich, Sculpture (Diploma) 2005-2007 Glasgow School of Art, Environmental Art (BA Hons) 2001-2002 Kingston University of Art & Design, London, Foundation Studies Exhibitions 2015 JAHRESGABEN, Kunstverein Munich FASSBINDERTAGE, Munich BIENNIAL OF CONTEMPORARY ART, D-0 ARK Underground, Konjic, Bosnia und Herzegovina HOUSE FOR THEM ANCESTORS – Musique d'Ameublement, w/ Manu Rzytki, Kunstraum Munich 2014 NEIN – Anna McCarthy, PLATFORM, Munich WHICH SUPERMARKET ARE YOU? w/ Manuela Gernedel, Morag Keil,, LISZT, Berlin SHELTERS, SHACKS, AND SHANTIES, Galerie Esther Donatz, Munich LABORATORY AIM DENSITY + APOCALYPSE LAUW TOUR, Knust/Extrapool Nijmegen , Glasmoog Cologne, Wolfart Rotterdam, Worm Rotterdam, Butcher’s Tears Amsterdam HOW TO START A REVOLUTION: THE MUSICAL, Maximiliansforum, Munich HEUTE NACHMITTAG: ALS WIR NOCH AN WAS GLAUBTEN, 1914/2014. Die Neuvermessung Europas, Munich USE 2 B USB - w/ Rebecca Stephany, RongWrong, Amsterdam 2013 HOW TO START A REVOLUTION – The Musical, Festival of Independents, Haus der Kunst, Munich II : NA-EN-DE-NA-EN-DE-NA-WI-DA : II, Schaustelle/Pinakothek der Moderne, Munich DAS ALLERLETZTE PROF. WINKLER STIPENDIUM, Kunstverein Weiden LIBER LIBRI (Objekt- und Künstlerbücher), Studio Gennai Arte Contemporanea, Pisa 2012 ESCAPIST ADVENTURES, BBK Cologne DE LOS LETARGOS FELICES (Der Glücklichen Langeweilen), Casa Cino Fabiani, Guayaquil/ Ecuador LUSTIGE FRAUEN KUNST, Ernst Fine Arts London BORED REBELS, Glasmoog, Cologne FLAT NO.1, Niklas Schechinger Fine Arts, Hamburg 2011 FEMINISTS IN SPACE FESTIVAL, Kopenhagen NY ART BOOK FAIR, Revolution & Its Muses book signing and stand, MOMA PS1, New York THE WONDERS OF THE INVISIBLE WORLD, Northern Gallery for Contemporary Art, Sunderland SORRY I CAN'T HEAR YOU. SPEAK UP. Mural, Staging Opinion Festival, Munich REVOLUTION & ITS MUSES, Book presentation, Extrapool/KNUST, Nijmegen/Niederlande ICH DACHTE MAN DARF ALLES, Theatre project, Maximiliansforum, Munich 2010 HINTS TO WORKMEN, Northern Gallery for Contemporary Art, Sunderland FRIENDLY CAPITALISM, Haus Schwarzenberg, Berlin GEWALT, Kunstverein Wolfsburg BORED REBEL IN OBERPFAFFENHOFEN, Screening, Underdox Festival, Munich WIEDERSEHEN IN TRAUTONIEN, Video for play, Schwere Reiter/ Deutsches Museum, Munich TRACING THE INVISIBLE, Schloss Ringenberg, Hamminkeln BORED REBEL IN OBERPFAFFENHOFEN, Bielefelder Kunstverein KISS OF LIFE, Finn Collective, Glasgow International Festival of Visual Art THE TWO EAGLES/ANG DALAWANG AGILA, The Metro Gallery, Manila 21ST CENTURY – Morag Keil, Manuela Gernedel, screening, Chisenhale Gallery, London 2009 OCTOBER SHOW, Transmission Gallery, Glasgow GROSSE MALEREI AUSSTELLUNG, Lothringer 13 Städtische Kunsthalle, Munich UNCONSCIOUS, Steinle Contemporary, Munich KÜNSTLERFREIZEIT 2009, Kunstraum Innsbruck CONCRETE GALLERY: RESET YOUR LIFE, Wilkinson Gallery, London ZUR SCHÖNEN AUSSICHT, Volkstheater, Munich 2008 TRIBUTE TO GUSTAV METZGER, kuratiert von Justin Hoffman für Bayern 2 (Radio) Destruction in Art, Präsentation, Haus der Kunst, Munich JAHRESGABEN, Kunstverein Munich DIGITALANALOG, Carl-Orff-Saal,Gasteig, Munich PROTEST UND WIDERSTAND IM EIGENSINN DER KUNST, Galerie 5020, Salzburg GLASGOW: A TRUE & LOVE STORY, Screening, Underdox Festival, Werkstattkino, Munich WHERE HAVE ALL THE HEROES GONE, Galleribox, Akureyi, Iceland TRANSITIONAL STATE, Edinburgh Arts Festival, kuratiert von Laura Simpson, Edinburgh GLASGOW: A TRUE & LOVE STORY, Premiere, Filmmuseum, Munich 2007 LOST & FOUND, Shedhalle, Zürich SUPERMARKET ART FAIR (Lowsalt Gallery, Glasgow), Stockholm GALLERIBOX, Akureyi/Iceland RSA STUDENT EXHIBITION 2006, Royal Scottish Academy, Edinburgh Awards/grants/residencies 2015 Fellowship and Residency, Villa Aurora, Los Angeles 2014 Commission, 1914/2014 Remeasuring Europe, Arts Council Munich Award, Grant and Publication, Kunstclub13 Munich 2012 Knust/Extrapool, Art Prison, Residency and Publication, Nijmegen 2009 Leonhard- and Ida Wolf Remembrance Prize, Arts Council Munich Gil Society, Residency and Exhibition, Akureyri, Iceland Public Collections Bayerische Staatsgemäldesammlungen (Bavarian State Painting Collections) Publications (selection) 2015 DRINK COLD PISS WARM, 100-page poem and photos, Melville Brand Design 2014 Die friedliche Zeitschrift für internationale Verständigung, Charlie Edition 2013 Poems and Pictures, Self-Published Hand-bound Limited Edition Angry Time #1 Strike Work by Anja Lückenkemper, Anna Dobrucki 2012 Damenkapelle 10” , self-published, 2013, DAMENKAPELLE LP, echokammer ART PRISON #2: REVOLUTION & ITS MUSES, Auflage von 330, Knust/Extrapool, Nijmegen/Niederlande 2011 Tracing the Invisible Catalogue, Hg. Nadine Zeidler, Schloss Ringenberg 2010 Unser Magazin, Bored Rebel in Oberpfaffenhofen, Edition 1,Wien/Berlin/Munich Was tun - Figuren des Protests. Taktiken des Widerstands, Hg. Hildegard Fraueneder & Gianni Stiletto, Muery Salzmann Publishing 2009 How to Start a Revolution, Zeitung, Auflage von 200, Self-published 2008 Tribute to Gustav Metzger (CD), kuratiert von Justin Hoffmann, Intermedium Records, Bayerischer Rundfunk/Hörspiel und Medienkunst A Contemporary Account of the Sufferings of the Rebels, Buchedition von 200, Self-published 2007 Vorn, 4. Edition, 2007, 74-79, Printkultur GbR A. Feckl & J. Baldauf

Anna McCarthy
Bored Rebels Going Underground

Artist Anna McCarthy
Year 2011 - 2012
Duration 19:04 min
Edition 5 + 1 AE
Technical info Video
Contact

For further information contact blinkvideo
Phone: +49 172 4024342
E-Mail: info (et) blinkvideo (dot) art

About the video

Imprisoned in what looks like a bunker, the protagonists of Anna McCarthy’s video BORED REBELS GOING UNDERGROUND have been isolated from the outside world that – if the background noise can be trusted – seems to be in a war‐like state. Despite leather jackets and other stereotypical accessories of rebellion, the actionism of the characters is doubtful. The (anti‐)heroes are rather bored and appear like relics from a bygone age even though they are clearly rooted in the present. Their meaningless actions and rituals are conveyed by a blatant use of language and simplified visual aesthetics that are common, for example, in Pop Art. References to the films of Jean‐Luc Godard, especially MADE IN U.S.A. (1966), as well as Luis Buñuel’s THE DISCREET CHARM OF THE BOURGEOISIE (1972) can be found.

As part of the long‐term multimedia project “How to start a Revolution”, BORED REBELS GOING UNDERGROUND is a sequel to Anna McCarthy’s video series “Bored Rebels”. In these works, the artist particularly questions the romanticization of the “rebel notion” rooted in the 60s and 70s by satirically exposing common clichés. The latest piece in this series drifts into evermore abstracter realms, playing with transcendence, layering and repetition in color, form and content.

Galerie Esther Donatz

Anna McCarthy - Bored Rebels Going Underground
Imprisoned in what looks like a bunker, the protagonists of Anna McCarthy’s video BORED REBELS GOING UNDERGROUND have been isolated from the outside world that – if the background noise can be trusted – seems to be in a war‐like state. Despite leather jackets and other stereotypical accessories of rebellion, the actionism of the characters is doubtful. The (anti‐)heroes are rather bored and appear like relics from a bygone age even though they are clearly rooted in the present. Their meaningless actions and rituals are conveyed by a blatant use of language and simplified visual aesthetics that are common, for example, in Pop Art. References to the films of Jean‐Luc Godard, especially MADE IN U.S.A. (1966), as well as Luis Buñuel’s THE DISCREET CHARM OF THE BOURGEOISIE (1972) can be found.As part of the long‐term multimedia project “How to start a Revolution”, BORED REBELS GOING UNDERGROUND is a sequel to Anna McCarthy’s video series “Bored Rebels”. In these works, the artist particularly questions the romanticization of the “rebel notion” rooted in the 60s and 70s by satirically exposing common clichés. The latest piece in this series drifts into evermore abstracter realms, playing with transcendence, layering and repetition in color, form and content.Galerie Esther Donatz

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