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

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

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Yves Netzhammer

Works

Die Gegenwart sucht ihren Mund in der Spiegelung der Suppe, 2014
formal conscience, 2013
Peripheries of bodies, 2012
Dialogical Abrasion, 2011
Das Reservat der Nachteile, 2010
Dialogical Abrasion, 2010
Adressen unmöglicher Orte, 2009
Adresses of impossible places, 2009
The alleged wind loads, 2009
Furniture of Proportions, 2008
Furniture of proportions, 2008
The subjectivization of repetition, project A, 2007
The subjectivization of repetition, project A, 2007
The subjectivization of repetition, project A, 2007
The subjectivization of repetition, project B, 2007
The subjectivization of repetition, project B, 2007
Nesting Places for Touching, 2006
The imprecise bodies, 2006
The arrangement of two opposites . . ., 2005
The arrangement of two opposites . . ., 2005
Wall drawing with four video stories, 2005
Sweet wind in ones face, 2004
Alles Sichtbare gleicht sich, 2003
Am Horizont können wir unsere Sinne ablesen, 2003
Das Gefühl präziser Haltlosigkeit . . ., 2003
Die Faltenlinie einer Gestalt, . . ., 2003
Die Möglichkeit nicht mehr haben . . ., 2003
Die Zeit bis eine Form entsteht, . . ., 2003
May all creatures have a good time, 2003
Produktionsgeräusche, . ., 2003
The world is bigger in summer, 2003
Wir gehören unseren Organen . . ., 2003
Alte Narben um frische Verletzungen, 2002
The reversed armory, 2002
Training zur Verschnellerung . . ., 2001
Grosse Spiegel werden verloren . . ., 2000
Übungen machen Meister, . . ., 2000
Junge Äste ahmen alte Geweihe nach . . ., 1999
Wenn man etwas gegen seine Eigenschaften benützt . . ., 1999

Galleries

Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de




Biography

Born 1970 in Schaffhausen, Switzerland
Raised in Diessenhofen and Schaffhausen
Lives and works in Zurich
www.netzhammer.com

Solo exhibitions (Selection)

2015
„The School of Kyiv“, Kiew Biennale, Kiew
„Tage ohne Stunden“, Galerie Christinger de Mayo
„Der Gefangene Floh“, Kunst und Bau, EWZ, Zürich

2014 „Die Sprache spielt Zeit“ Kunst und Bau, Affoltern am Albis
„Zeitimporte“ Kunst und Bau, Siedlung Grünmatt, Zürich
„Partitur der Blicke“, Raiffeisenbank Diessenhofen

2013
„Alte Verstecke in neuen Räumen“, the view, Salenstein
„Tableau“ Plakatprojekt Stadtraum Zürich

2012
„Gerichte, Gesichte, Gewichte“, Galerie Christinger De Mayo, Zürich
„Seoulsquare“, Seoul, Südkorea

2011
Filmfestival Venedig: World premiere „Dialogical Abrasion“
Eres Stiftung, München, Deutschland
Tanzprojekt (Dance-project) mit Anna Huber, Internationale Tanztage, Dampfzentrale, Bern,
Kunstmuseum Luzern (im Rahmen des Fumetto-Festivals)
Minsheng Art Museum, Shanghai
„Schattendicken“, Paracelsus-Quelle St. Moritz, Art Masters St. Moritz

2010
„Open Score“ mit Su-Mei Tse, 16. Juli, beaumontpublic, Luxenburg, LUX
„Das Reservat der Nachteile“, Kunstmuseum Bern, Bern, CH

2009
Palazzo Strozzi, Strozzina, Florence, IT
Kunsthalle Winterthur, CH

2008
"Room for Thought", SFMOMA, San Francisco, USA

2007
Biennale Venedig, Schweizer Pavillion / Venice Biennial, Swiss Pavillion, IT
"Vision Audition", Karlskirche, Kassel (supporting programme Documenta 2007), GER

2006
"Gefährdete Liebschaften. Illustrierte Liebesgedichte aus Indien / Endangered Amours. Illustrated love poems from India" Museum Rietberg, Zürich / Zurich / CH
"Yves Netzhammer Personale ", arge Kunst Galerie, Bozen / Bozens, CH

2005
"Die Anordnungsweise zweier Gegenteile bei der Erzeugung ihres Berührungsmaximums / The Arrangement of two Opposites while their maximum Contact is under Generation", Kunsthalle Bremen, GER
"White Cube", Umeå, SE

2004
Gandy Gallery, Prag, CZ
"Video- und Bildarbeiten" Museum Chasa Jaura, Valchava, CH

2003
"Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes" / "The surprising displacement of the predetermined breaking point of a branch grown under optimal conditions", Helmhaus Museum, Zürich/ Zurich, CH
"Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge",
Teil 1 / Part 1: Foundation Wilhelm Lehmbruck Museum, Duisburg, GER
Teil 2 / Part 2: Kaiser Wilhelm Museum, Krefeld, GER
"The surprising displacement of the predetermined breaking point of a branch grown under optimal conditions", Württembergischer Kunstverein, Stuttgart, GER

2001
"Übungen machen Meister, die sich nicht an ihre Anfänge erinnern",
Galerie Sima, Nürnberg / Nuremberg, GER

2000
"Statements IV", KW Kunstwerke, Berlin, GER
"Aber Freunde, die Muskeln tauschen? / But friends who exchange muscles?"
Installation with Zuzana Ponicanova and Tim Zulauf, Kunstraum Aarau, CH

1999
"Wenn man etwas gegen seine Eigenschaften benützt, muss man dafür einen anderen Namen finden", Manor - Art Prize, Museum zu Allerheiligen, Schaffhausen, CH
"Die begehbare Falle", Vebikus (with Zuzana Ponicanova), Schaffhausen, CH

1998
"Was man frisst, wird zum Inhalt", Galerie Stähli, Zürich / Zurich, CH

Group shows (selection)

2015
B3, Biennale des bewegten Bildes, Frankfurt
„Inhabitations“, Aargauer Kunsthaus
„VideoArte“, Castelmur, Bergell
Volta NY, New York

2014
„Gastspiel“ Museum Rietberg, Zürich
„Artissima“, Solopräsentation, Turin, Italien
„Skulpturenausstellung“, epfl, école politechnique Lausanne
„Bex&Arts“, Skulpturenpark, Bex
„Gegenwelten“, Schloss Ambras Innsbruck
„Apocalypse Now“, mpk, Kaiserslautern

2013
„The red queen“, MONA, Tasmania
„Moving Sculptures“ Lembruck Museum, Duisburg
„Smell of animal“, K11, Shanghai
"Vermessene Dinge" , Eres Stiftung. München
"Vororte der Körper", 48. Solothurner Filmtage, Solothurn
"Behaglich ist anderswo", Kunst(zeug)haus Rapperswil

2012
"Zeitgespenster“, Museum Morsbroich, Leverkusen, Deutschland
“töten”, Kunstpalais, Erlangen, Deutschland
„Click or Clash”, Galleria Bianconi, Milano
"Magie der Dinge" Museum für Gestaltung, Zürich
100 Jahre Schweizer Grafik, Museum für Gestaltung Zürich
A Touch of Live, Galerie Anita Beckers Frankfurt

2011
“Anonoyme Skulpturen” Galerie im Taxispalais, Innsbruck, A
Voici un dessin Suisse”, Teil 2, Aargauer Kunsthaus, Aarau
“Café des reves”, Eine Videoausstellung, Helmhaus Zürich

2010
Liverpool Biennale, Liverpool, UK
Twilights - Ruhrlights, Ruhr 2010, GER
„Dont look back“, Kunstmuseum Bern, CH
“Voici un dessin Suisse” Musee Rath, Genf / CH
"Milieux Sonores" mit / with Bernd Schurer, Grey Area Foundation of the Arts,
San Francisco, USA
“Simply video”, Kunstmuseum Stuttgart, GER

2009
"CELLA - Strukturen der Ausgrenzung und Disziplinierung", Complesso Monumentale di San Michele a Ripa, Rome / Rom, IT
"Aesthetics of Terror", Akademie der Künste, Berlin, GER
Moscow Biennale (Film aus 52. Biennale Venedig Projekt), Moskau / Moscow, RU

2008
"Time Square", beaumontpublic, Luxemburg, LU
"Multitasking", Wanderausstellung / travelling exhibition: NGBK, Berlin; Stedelijk Museum´s-Hertogenbosch; Overbeck-Gesellschaft, Lübeck, GER and NL
"Digitale Raumkunst", Stiftung Wilhelm Lehmbruck Museum Duisburg, GER
"SYTHETIC TIMES. China International New Media Arts Exhibition", National Art Museum of China, Beijing, CN

2007
"art_clips.ch.at.de“, ZKM, Karlsruhe, GER
"Was ist Plastik? 100 Jahre - 100 Köpfe“, Wilhelm Lehmbruck Museum, Duisburg, GER
"Moving – New Media Art", CB Collection, Tokyo, JP
"Swiss Made", Kunstmuseum Wolfsburg, GER
"Surrealités – Aspekte des Surrealen in der zeitgenössischen Kunst", CentrePasquArt, Biel, CH
"Vordemberge-Gildewart Stipendiaten 1997-2007", Museum Wiesbaden / Nassauischer Kunstverein, Wiesbaden, GER
"Emotion Field", Palazzo Strozzi, Florenz, IT

2006
"Flüchtiger Horizont", Kunstmuseum Solothurn, CH
"Vom Pferd erzählen", Kunsthalle Göppingen, GER
"Zwischen Körper und Objekt", MARTa Herford, GER
"Satellite of Love", Witte de With, Rotterdam and TENT Rotterdam, NL
"Das Jahrhundert moderner Skulptur in Duisburg", GER
Wilhelm-Lehmbruck-Museum, Duisburg, GER

2005
International Biennale of Contemporary Art 2005, National Gallery Prague, Prague, CZ

2004
"Game Art. Kunst, Bildschirmspiel und Wirklichkeit",
Europäisches Zentrum für Kunst-und Industriekultur, Völklinger Hütte, GER
"Wo Berge sich erheben", Palazzo Liestal, Basel, CH
"Die Wiedergeburt der Statuette", Europäische Triennale der Kleinplastik,
Murska Sobota, SLO
"Animaux", Kulturzentrum Pfäffikon, CH

2003
"glassafab. 9/empathy", 1. Prag Biennale, Prag / Prague, CZ
"Mursollaici", Centre Culturel Suisse, Paris, FR
"Lautloses irren, ways of worldmaking, too...",
Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin, GER

2002
"Camouflage", Mu.dac., Lausanne, CH

2001
"Body as bite: Technokörper", Neues Kunstmuseum Luzern / Lucerne, CH
"Video ergo sum", Kunsthalle Göppingen, GER
"Analog-Dialog", Kunstmuseum Solothurn, CH

2000
BIG Torino 2000, International Biennial of young Creativity, Turin / Torino, IT
"Der anagrammatische Körper 2" / "The anagramatical body 2", ZKM Karlsruhe, GER
"Version 2000", Centre pour l´image contemporaine, Saint-Gervais, Genf / Geneve, CH
"Beyond Borders", Coninx Museum, Zürich / Zurich, CH

1999
"Curator`s Digest", Helmhaus, Zürich / Zurich, CH
"Digital Sunshine", Three Statements, Kunsthalle Brandts, Odense, DK
"Video Virtuale, Foto Fictionale", Museum Ludwig, Köln / Cologne, GER
"Der anagrammatische Körper 1" / "The anagramatical body 1", Steirischer Herbst, Graz, A

Works in public collections (selection)

Kunstsammlungen des Bundes
Sammlung Ketterer-Ertle, Bern
Kunstmuseum Bern
ERES Stiftung München
Kunsthalle Bremen
Collezione La Gaia, Busca
Stiftung Wilhelm Lehmbruck Museum, Duisburg
Museum für Kommunikation, Frankfurt
Kunstmuseum Heidenheim
Museum of Old and New Art (Mona), Hobard, Tasmanien / Tasmania
FRAC Marseille
West Collection, Paoli, Pennsylvania
Peter und Elisabeth Bosshard, Rapperswil
Museum zu Allerheiligen, Schaffhausen
CB Collection, Tokyo
Mori Collection, Tokyo
Kunsthaus Zürich, Zurich

Yves Netzhammer
Born 1970 in Schaffhausen, Switzerland Raised in Diessenhofen and Schaffhausen Lives and works in Zurichwww.netzhammer.com Solo exhibitions (Selection) 2015 „The School of Kyiv“, Kiew Biennale, Kiew „Tage ohne Stunden“, Galerie Christinger de Mayo „Der Gefangene Floh“, Kunst und Bau, EWZ, Zürich 2014 „Die Sprache spielt Zeit“ Kunst und Bau, Affoltern am Albis „Zeitimporte“ Kunst und Bau, Siedlung Grünmatt, Zürich „Partitur der Blicke“, Raiffeisenbank Diessenhofen 2013 „Alte Verstecke in neuen Räumen“, the view, Salenstein „Tableau“ Plakatprojekt Stadtraum Zürich 2012 „Gerichte, Gesichte, Gewichte“, Galerie Christinger De Mayo, Zürich „Seoulsquare“, Seoul, Südkorea 2011 Filmfestival Venedig: World premiere „Dialogical Abrasion“ Eres Stiftung, München, Deutschland Tanzprojekt (Dance-project) mit Anna Huber, Internationale Tanztage, Dampfzentrale, Bern, Kunstmuseum Luzern (im Rahmen des Fumetto-Festivals) Minsheng Art Museum, Shanghai „Schattendicken“, Paracelsus-Quelle St. Moritz, Art Masters St. Moritz 2010 „Open Score“ mit Su-Mei Tse, 16. Juli, beaumontpublic, Luxenburg, LUX „Das Reservat der Nachteile“, Kunstmuseum Bern, Bern, CH 2009 Palazzo Strozzi, Strozzina, Florence, IT Kunsthalle Winterthur, CH 2008 Room for Thought, SFMOMA, San Francisco, USA 2007 Biennale Venedig, Schweizer Pavillion / Venice Biennial, Swiss Pavillion, IT Vision Audition, Karlskirche, Kassel (supporting programme Documenta 2007), GER 2006 Gefährdete Liebschaften. Illustrierte Liebesgedichte aus Indien / Endangered Amours. Illustrated love poems from India Museum Rietberg, Zürich / Zurich / CH Yves Netzhammer Personale , arge Kunst Galerie, Bozen / Bozens, CH 2005 Die Anordnungsweise zweier Gegenteile bei der Erzeugung ihres Berührungsmaximums / The Arrangement of two Opposites while their maximum Contact is under Generation, Kunsthalle Bremen, GER White Cube, Umeå, SE 2004 Gandy Gallery, Prag, CZ Video- und Bildarbeiten Museum Chasa Jaura, Valchava, CH 2003 Die überraschende Verschiebung der Sollbruchstelle eines in optimalen Verhältnissen aufgewachsenen Astes / The surprising displacement of the predetermined breaking point of a branch grown under optimal conditions, Helmhaus Museum, Zürich/ Zurich, CH Das Gefühl präziser Haltlosigkeit beim Festhalten der Dinge, Teil 1 / Part 1: Foundation Wilhelm Lehmbruck Museum, Duisburg, GER Teil 2 / Part 2: Kaiser Wilhelm Museum, Krefeld, GER The surprising displacement of the predetermined breaking point of a branch grown under optimal conditions, Württembergischer Kunstverein, Stuttgart, GER 2001 Übungen machen Meister, die sich nicht an ihre Anfänge erinnern, Galerie Sima, Nürnberg / Nuremberg, GER 2000 Statements IV, KW Kunstwerke, Berlin, GER Aber Freunde, die Muskeln tauschen? / But friends who exchange muscles? Installation with Zuzana Ponicanova and Tim Zulauf, Kunstraum Aarau, CH 1999 Wenn man etwas gegen seine Eigenschaften benützt, muss man dafür einen anderen Namen finden, Manor - Art Prize, Museum zu Allerheiligen, Schaffhausen, CH Die begehbare Falle, Vebikus (with Zuzana Ponicanova), Schaffhausen, CH 1998 Was man frisst, wird zum Inhalt, Galerie Stähli, Zürich / Zurich, CH Group shows (selection) 2015 B3, Biennale des bewegten Bildes, Frankfurt „Inhabitations“, Aargauer Kunsthaus „VideoArte“, Castelmur, Bergell Volta NY, New York 2014 „Gastspiel“ Museum Rietberg, Zürich „Artissima“, Solopräsentation, Turin, Italien „Skulpturenausstellung“, epfl, école politechnique Lausanne „Bex&Arts“, Skulpturenpark, Bex „Gegenwelten“, Schloss Ambras Innsbruck „Apocalypse Now“, mpk, Kaiserslautern 2013 „The red queen“, MONA, Tasmania „Moving Sculptures“ Lembruck Museum, Duisburg „Smell of animal“, K11, Shanghai Vermessene Dinge , Eres Stiftung. München Vororte der Körper, 48. Solothurner Filmtage, Solothurn Behaglich ist anderswo, Kunst(zeug)haus Rapperswil 2012 Zeitgespenster“, Museum Morsbroich, Leverkusen, Deutschland “töten”, Kunstpalais, Erlangen, Deutschland „Click or Clash”, Galleria Bianconi, Milano Magie der Dinge Museum für Gestaltung, Zürich 100 Jahre Schweizer Grafik, Museum für Gestaltung Zürich A Touch of Live, Galerie Anita Beckers Frankfurt 2011 “Anonoyme Skulpturen” Galerie im Taxispalais, Innsbruck, A Voici un dessin Suisse”, Teil 2, Aargauer Kunsthaus, Aarau “Café des reves”, Eine Videoausstellung, Helmhaus Zürich 2010 Liverpool Biennale, Liverpool, UK Twilights - Ruhrlights, Ruhr 2010, GER „Dont look back“, Kunstmuseum Bern, CH “Voici un dessin Suisse” Musee Rath, Genf / CH Milieux Sonores mit / with Bernd Schurer, Grey Area Foundation of the Arts, San Francisco, USA “Simply video”, Kunstmuseum Stuttgart, GER 2009 CELLA - Strukturen der Ausgrenzung und Disziplinierung, Complesso Monumentale di San Michele a Ripa, Rome / Rom, IT Aesthetics of Terror, Akademie der Künste, Berlin, GER Moscow Biennale (Film aus 52. Biennale Venedig Projekt), Moskau / Moscow, RU 2008 Time Square, beaumontpublic, Luxemburg, LU Multitasking, Wanderausstellung / travelling exhibition: NGBK, Berlin; Stedelijk Museum´s-Hertogenbosch; Overbeck-Gesellschaft, Lübeck, GER and NL Digitale Raumkunst, Stiftung Wilhelm Lehmbruck Museum Duisburg, GER SYTHETIC TIMES. China International New Media Arts Exhibition, National Art Museum of China, Beijing, CN 2007 art_clips.ch.at.de“, ZKM, Karlsruhe, GER Was ist Plastik? 100 Jahre - 100 Köpfe“, Wilhelm Lehmbruck Museum, Duisburg, GER Moving – New Media Art, CB Collection, Tokyo, JP Swiss Made, Kunstmuseum Wolfsburg, GER Surrealités – Aspekte des Surrealen in der zeitgenössischen Kunst, CentrePasquArt, Biel, CH Vordemberge-Gildewart Stipendiaten 1997-2007, Museum Wiesbaden / Nassauischer Kunstverein, Wiesbaden, GER Emotion Field, Palazzo Strozzi, Florenz, IT 2006 Flüchtiger Horizont, Kunstmuseum Solothurn, CH Vom Pferd erzählen, Kunsthalle Göppingen, GER Zwischen Körper und Objekt, MARTa Herford, GER Satellite of Love, Witte de With, Rotterdam and TENT Rotterdam, NL Das Jahrhundert moderner Skulptur in Duisburg, GER Wilhelm-Lehmbruck-Museum, Duisburg, GER 2005 International Biennale of Contemporary Art 2005, National Gallery Prague, Prague, CZ 2004 Game Art. Kunst, Bildschirmspiel und Wirklichkeit, Europäisches Zentrum für Kunst-und Industriekultur, Völklinger Hütte, GER Wo Berge sich erheben, Palazzo Liestal, Basel, CH Die Wiedergeburt der Statuette, Europäische Triennale der Kleinplastik, Murska Sobota, SLO Animaux, Kulturzentrum Pfäffikon, CH 2003 glassafab. 9/empathy, 1. Prag Biennale, Prag / Prague, CZ Mursollaici, Centre Culturel Suisse, Paris, FR Lautloses irren, ways of worldmaking, too..., Postbahnhof am Ostbahnhof, Podewil Kulturzentrum, Berlin, GER 2002 Camouflage, Mu.dac., Lausanne, CH 2001 Body as bite: Technokörper, Neues Kunstmuseum Luzern / Lucerne, CH Video ergo sum, Kunsthalle Göppingen, GER Analog-Dialog, Kunstmuseum Solothurn, CH 2000 BIG Torino 2000, International Biennial of young Creativity, Turin / Torino, IT Der anagrammatische Körper 2 / The anagramatical body 2, ZKM Karlsruhe, GER Version 2000, Centre pour l´image contemporaine, Saint-Gervais, Genf / Geneve, CH Beyond Borders, Coninx Museum, Zürich / Zurich, CH 1999 Curator`s Digest, Helmhaus, Zürich / Zurich, CH Digital Sunshine, Three Statements, Kunsthalle Brandts, Odense, DK Video Virtuale, Foto Fictionale, Museum Ludwig, Köln / Cologne, GER Der anagrammatische Körper 1 / The anagramatical body 1, Steirischer Herbst, Graz, A Works in public collections (selection) Kunstsammlungen des Bundes Sammlung Ketterer-Ertle, Bern Kunstmuseum Bern ERES Stiftung München Kunsthalle Bremen Collezione La Gaia, Busca Stiftung Wilhelm Lehmbruck Museum, Duisburg Museum für Kommunikation, Frankfurt Kunstmuseum Heidenheim Museum of Old and New Art (Mona), Hobard, Tasmanien / Tasmania FRAC Marseille West Collection, Paoli, Pennsylvania Peter und Elisabeth Bosshard, Rapperswil Museum zu Allerheiligen, Schaffhausen CB Collection, Tokyo Mori Collection, Tokyo Kunsthaus Zürich, Zurich

Yves Netzhammer
Die Gegenwart sucht ihren Mund in der Spiegelung der Suppe

Artist Yves Netzhammer
Year 2014
Duration 15:36 min
Technical info Installation, wood, textile, 26 x 24 x 3.5 m
Contact
Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de

About the video

Yves Netzhammer 's opus, the preposterously titled "The present examines its mouth in the reflection of the soup" 2015, is a futuristic wunder camerer, a cabinet of curiosities displayed in museum style vitrines arranged to fill a darkened gallery space. Numerous actual vintage objet d'art ethnographic finds, porcelains, and all manner of commonplace and museum like treasures, are intermingled with moving image projections of the artist's signature stylized figure animations.The mini dramas enacted by his pinkish, industrial style figures, include exercises, sexual interactions, morphing and all manner of physical exchange. The subtle, constantly moving scenarios appear on the walls, the ceiling and within the vitrines where they inhabit the objects, sometimes projected directly on or into them, sometimes projected on the various exquisite small screens customized for this ingenious encyclopedia. Captivating, compelling, enigmatic, all who enter feel their senses are expanded into Netzhammer's intriguing universe. (statement jury B3 Biennale)

Yves Netzhammer - Die Gegenwart sucht ihren Mund in der Spiegelung der Suppe
Yves Netzhammer 's opus, the preposterously titled The present examines its mouth in the reflection of the soup 2015, is a futuristic wunder camerer, a cabinet of curiosities displayed in museum style vitrines arranged to fill a darkened gallery space. Numerous actual vintage objet d'art ethnographic finds, porcelains, and all manner of commonplace and museum like treasures, are intermingled with moving image projections of the artist's signature stylized figure animations.The mini dramas enacted by his pinkish, industrial style figures, include exercises, sexual interactions, morphing and all manner of physical exchange. The subtle, constantly moving scenarios appear on the walls, the ceiling and within the vitrines where they inhabit the objects, sometimes projected directly on or into them, sometimes projected on the various exquisite small screens customized for this ingenious encyclopedia. Captivating, compelling, enigmatic, all who enter feel their senses are expanded into Netzhammer's intriguing universe. (statement jury B3 Biennale)

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