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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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Nate Harrison

Works


Galleries

for further information contact blinkvideo
Germany

Phone: +49 40 22748986
E-Mail: info@blinkvideo.de

Videonale e.V. im Kunstmuseum Bonn
Tasja Langenbach
Friedrich-Ebert-Allee 2
53113 Bonn
Germany

Phone: +49-(0)228-692818
E-Mail: langenbach@videonale.org




Biography

Born 1972, Eugene, Oregon
Lives in Brooklyn, New York

Education

2014 PhD Art and Media History, Theory and Criticism, University of California, San Diego
dissertation: Appropriation Art and U.S. Intellectual Property Law Since 1976
2005 MFA, California Institute of the Arts
1994 BFA, University of Michigan

Residencies and extracurricular activities

2011 Whitney Museum of American Art Independent Study Program (Critical Studies track)
2010 VLA Art & Law Residency Program, New York
2008 Seminar in Experimental Critical Theory V, University of California, Irvine

Publications

2015
“Practicing Contradictions,” in Daniel McClean, ed., Timelines: Artistic Authorship and Legacy (Ridinghouse, forthcoming)
“Response to A Knight’s Heritage: Three Episodes in the Work of Karl Haendel,” Art Journal Open (forthcoming)
“What Is Transformative?,” The Enemy Reader, Volume II, Number II
“How to Sue Richard Prince and Win,” American Suburb X
2014
“Reflections on the Amen Break: A Continued History, An Unsettled Ethics,” in Navas, Gallagher and Burrough, eds., The Routledge Companion to Remix Studies (Routledge)
“Review: Copyfraud and Other Abuses of Intellectual Property Law, by Jason Mazzone,” Visual Resources: An International Journal of Documentation, Volume 30, Issue 1
2013
“Immanence of Intervention, Revival of Critique,” Untitled Magazine, Pacific Northwest College of Art
“In Fair Use, Freedom Does Not Equal Progress,” Antenna Blog, Department of Communication Arts, University of Wisconsin-Madison
2012
“Appropriation Art, Subjectivism, Crisis: The Battle for Fair Uses,” in Chris and Gerstner, eds., Media Authorship (Routledge)
“The Yes Men: Parody in Aesthetics and Protest,” in MATERIAL #3 (Material Press, Los Angeles)
“The Pictures Generation, the Copyright Act of 1976, and the Reassertion of Authorship in Postmodernity,” art&education.net
2010
“Fared Use: A Political Economy of the Digitally Empowered Subject,” in The Sound of Downloading Makes Me

Selected exhibitions, screenings and performances

2013
MOVING_IMAGE, a contemporary ABC, Gaîté Lyrique, Paris, France
Le tamis et le Sable 1/3: Mélodies en sous-sol, La Maison Populaire, Montreuil, France

2012
VIDEOFEST2K12, Baja California, Mexico
Images Against Darkness: Video Art from the Archive of IMAI, KIT - Kunst im Tunnel, Düsseldorf, Germany
Twice - Told Tales, O'Born Contemporary, Toronto, Canada
Videonale: Dialogue in Contemporary Video Art, National Taiwan Museum of Fine Arts

2011
28th Kassel Documentary Film and Video Festival, Kunsthalle Fridericianum, Kassel, Germany
Mass Distractions & Cultural Decay, Mason Gross Galleries, Rutgers University, New Jersey
Videonale at GoMA, Gallery of Modern Art, Glasgow, Scotland
Timecoloured Place, Oonagh Young Gallery, Dublin, Ireland
Black Sound White Cube, Kunstquartier Bethanien/Studio 1, Berlin, Germany
Rencontres Internationales Paris/Madrid/Berlin, Haus der Kulturen der Welt, Berlin, Germany
Louie Louie, Cneai de Paris, Paris, France
Rencontres Internationales Paris/Berlin/Madrid, Filmoteca Española, Madrid, Spain
Videonale at Video Re:View Festival, BWA Contemporary Art Gallery, Katowice, Poland
Videonale 13, Kunstmuseum Bonn, Bonn, Germany
A Purpose On Image, Beton 7, Athens, Greece
LIVRET II, Galerie Art:Concept, Paris, France
I Like The Art World And The Art World Likes Me, EFA Project Space, New York

2010
21st Century Outlook, FRAC Ile de France/Le Plateau, Paris, France
Rencontres Internationales Paris/Berlin/Madrid at Centre Pompidou, Paris, France
Hard to Sell, Good to Have, Palais Sturany, Vienna, Austria
CopyClash, ROT(T)TERDAM project space, Rotterdam, The Netherlands
VLA Art & Law Residency Exhibition, Maccarone, New York
Home and Garden, The Museum of Jurrasic Technology, Los Angeles
Dub Shop, Kleio Priojects, New York
The Amen Break, Galerie Thomas Flor, Düsseldorf, Germany

2009
Mostra Kino Beat, Usina do Gasômetro, Porto Alegre, Brazil
After All, Everything Is Different In The End, Higher Institute for Fine Arts, Ghent, Belgium
Roughler TV at Portobello Film Festival, The Tabernacle, London

2008
California Biennial, Orange County Museum of Art, Newport Beach, California (as ESL)
Floteson: Sonic Sources, Courses and Rearrangements, KHM Gallery, Malmö, Sweden
HollyWould, Freewaves 11th Festival of New Media Arts, Los Angeles
Rencontres Internationales Paris/Berlin/Madrid 2008, Haus der Kulturen der Welt, Berlin, Germany
Anna Kournivkova Deleted by Memeright Trusted System, Hartware MedienKunstVerein, Dortmund, Germany
Gevonden/Found/Trouvé, Voorkamer VZW, Lier, Belgium
Rencontres Internationales Paris/Berlin/Madrid 2008, Auditorio del Ministerio de Cultura, Madrid, Spain
Medium Cool, 10th Annual Video Marathon, Art in General, New York

2007
6 Sessions (with Axel Stockburger), Secession, Vienna, Austria
Victory Virtual, Galerie Sara Guedj, Paris, France
Rencontres Internationales Paris/Berlin/Madrid 2007, Cinema l'Entrepôt, Paris, France
Rhythm From Wreckage, DIVA Center, Eugene, Oregon
Copy Your Idols!, Periferiak07 / Arteleku Audiolab, University of the Basque Country, Bilbao, Spain
Rainer Ganahl, Mario Garcia Torres, Nate Harrison, Hugo Hopping and John Menick have agreed to participate in
an exhibition organized by __________ at Sandroni Rey, April 14 through May 19, 2007, Sandroni Rey, Los Angeles
Rokolectiv Festival, National Museum of Contemporary Art, Bucharest, Romania
Our Distance From Things, TELIC Arts Exchange, Los Angeles
Building Space, Club Transmediale, Berlin, Germany

2006
Eat the Market, Los Angeles County Museum of Art, Los Angeles (as ESL)
Royal Alumni, Enjoy Public Art Gallery, Wellington, New Zealand
Music on Screen - Musikmaschinen und Videomusik, Galerie Olaf Stüber, Berlin, Germany
Project 101, Paris, France
Picturing Free Knowledge, TESLA Media Arts Laboratory, Berlin, Germany
Drei Geschäfte: Mode, Musik & Bücher, Kunstverein in Hamburg, Hamburg, Germany
EASTInternational 06, Norwich Gallery, Norwich, United Kingdom
Bring the War Home, Elizabeth Dee Gallery, New York / QED, Los Angeles
RIP IT! - Reappropriate Popular Culture, International Video and Music Festival, 103 Club, Berlin, Germany
Object Lessons, Gigantic Art Space, New York
Spark Festival, Frederick R. Weisman Art Museum, Minneapolis, Minnesota

2005
Fluctuating Images, Stuttgart, Germany
Hands On, Armory Center for the Arts, Pasadena, California
no heroics please, REDCAT, Los Angeles
TELIC Arts Exchange, Los Angeles
Sweet Substitute, Virginia Commonwealth University, Richmond, Virgina
Festa di Cane Bastardo, Kunstraum Innsbruck, Austria

2004
STATION, Los Angeles County Museum of Art
Festa di Cane Bastardo, Timbrespace, Los Angeles
Digitally Propelled Ideas, CalPoly, Pomona, California

2003
A:D:A:P:T Festival, Denver Museum of Contemporary Art, Denver, Colorado
BIAS Sound Collective, Taiwan
Audio Nimbus, KUCI, Irvine, California

2002
Halcyon, Brooklyn, New York
Soundcheck, Whitney Museum of American Art, New York
Tribeca Film Festival, New York

2001
Rhizome/SoundLab Open Mouse, FUN, New York
Bitstreams, Whitney Museum of American Art, New York
The Genomic Revolution, American Museum of Natural History, New York (sound design for exhibit)

2000
SIN Festival, Walker Stage, New York
Invisible Cities, Knitting Factory, New York
SoundLab/Jam Session III, DUMBO, Brooklyn, New York

1999
Artist and Computer, Collective Unconscious, New York
Invisible Cities, Brownies, New York

Awards, honors and grants

2013
The Hannah Arendt Prize in Critical Theory and Creative Research, Pacific Northwest College of Art
2011
SMFA Faculty Travel Grant
VIDEONALE Prize KfW 2011, Kunstmuseum Bonn
2007
Russell Grant, Russell Foundation
Audi Art Award, "Progress Imperative," DC Art Fair, Düsseldorf, Germany (as ESL)

Nate Harrison
Born 1972, Eugene, Oregon Lives in Brooklyn, New York Education 2014 PhD Art and Media History, Theory and Criticism, University of California, San Diego dissertation: Appropriation Art and U.S. Intellectual Property Law Since 1976 2005 MFA, California Institute of the Arts 1994 BFA, University of Michigan Residencies and extracurricular activities 2011 Whitney Museum of American Art Independent Study Program (Critical Studies track) 2010 VLA Art & Law Residency Program, New York 2008 Seminar in Experimental Critical Theory V, University of California, Irvine Publications 2015 “Practicing Contradictions,” in Daniel McClean, ed., Timelines: Artistic Authorship and Legacy (Ridinghouse, forthcoming) “Response to A Knight’s Heritage: Three Episodes in the Work of Karl Haendel,” Art Journal Open (forthcoming) “What Is Transformative?,” The Enemy Reader, Volume II, Number II “How to Sue Richard Prince and Win,” American Suburb X 2014 “Reflections on the Amen Break: A Continued History, An Unsettled Ethics,” in Navas, Gallagher and Burrough, eds., The Routledge Companion to Remix Studies (Routledge) “Review: Copyfraud and Other Abuses of Intellectual Property Law, by Jason Mazzone,” Visual Resources: An International Journal of Documentation, Volume 30, Issue 1 2013 “Immanence of Intervention, Revival of Critique,” Untitled Magazine, Pacific Northwest College of Art “In Fair Use, Freedom Does Not Equal Progress,” Antenna Blog, Department of Communication Arts, University of Wisconsin-Madison 2012 “Appropriation Art, Subjectivism, Crisis: The Battle for Fair Uses,” in Chris and Gerstner, eds., Media Authorship (Routledge) “The Yes Men: Parody in Aesthetics and Protest,” in MATERIAL #3 (Material Press, Los Angeles) “The Pictures Generation, the Copyright Act of 1976, and the Reassertion of Authorship in Postmodernity,” art&education.net 2010 “Fared Use: A Political Economy of the Digitally Empowered Subject,” in The Sound of Downloading Makes Me Selected exhibitions, screenings and performances 2013 MOVING_IMAGE, a contemporary ABC, Gaîté Lyrique, Paris, France Le tamis et le Sable 1/3: Mélodies en sous-sol, La Maison Populaire, Montreuil, France 2012 VIDEOFEST2K12, Baja California, Mexico Images Against Darkness: Video Art from the Archive of IMAI, KIT - Kunst im Tunnel, Düsseldorf, Germany Twice - Told Tales, O'Born Contemporary, Toronto, Canada Videonale: Dialogue in Contemporary Video Art, National Taiwan Museum of Fine Arts 2011 28th Kassel Documentary Film and Video Festival, Kunsthalle Fridericianum, Kassel, Germany Mass Distractions & Cultural Decay, Mason Gross Galleries, Rutgers University, New Jersey Videonale at GoMA, Gallery of Modern Art, Glasgow, Scotland Timecoloured Place, Oonagh Young Gallery, Dublin, Ireland Black Sound White Cube, Kunstquartier Bethanien/Studio 1, Berlin, Germany Rencontres Internationales Paris/Madrid/Berlin, Haus der Kulturen der Welt, Berlin, Germany Louie Louie, Cneai de Paris, Paris, France Rencontres Internationales Paris/Berlin/Madrid, Filmoteca Española, Madrid, Spain Videonale at Video Re:View Festival, BWA Contemporary Art Gallery, Katowice, Poland Videonale 13, Kunstmuseum Bonn, Bonn, Germany A Purpose On Image, Beton 7, Athens, Greece LIVRET II, Galerie Art:Concept, Paris, France I Like The Art World And The Art World Likes Me, EFA Project Space, New York 2010 21st Century Outlook, FRAC Ile de France/Le Plateau, Paris, France Rencontres Internationales Paris/Berlin/Madrid at Centre Pompidou, Paris, France Hard to Sell, Good to Have, Palais Sturany, Vienna, Austria CopyClash, ROT(T)TERDAM project space, Rotterdam, The Netherlands VLA Art & Law Residency Exhibition, Maccarone, New York Home and Garden, The Museum of Jurrasic Technology, Los Angeles Dub Shop, Kleio Priojects, New York The Amen Break, Galerie Thomas Flor, Düsseldorf, Germany 2009 Mostra Kino Beat, Usina do Gasômetro, Porto Alegre, Brazil After All, Everything Is Different In The End, Higher Institute for Fine Arts, Ghent, Belgium Roughler TV at Portobello Film Festival, The Tabernacle, London 2008 California Biennial, Orange County Museum of Art, Newport Beach, California (as ESL) Floteson: Sonic Sources, Courses and Rearrangements, KHM Gallery, Malmö, Sweden HollyWould, Freewaves 11th Festival of New Media Arts, Los Angeles Rencontres Internationales Paris/Berlin/Madrid 2008, Haus der Kulturen der Welt, Berlin, Germany Anna Kournivkova Deleted by Memeright Trusted System, Hartware MedienKunstVerein, Dortmund, Germany Gevonden/Found/Trouvé, Voorkamer VZW, Lier, Belgium Rencontres Internationales Paris/Berlin/Madrid 2008, Auditorio del Ministerio de Cultura, Madrid, Spain Medium Cool, 10th Annual Video Marathon, Art in General, New York 2007 6 Sessions (with Axel Stockburger), Secession, Vienna, Austria Victory Virtual, Galerie Sara Guedj, Paris, France Rencontres Internationales Paris/Berlin/Madrid 2007, Cinema l'Entrepôt, Paris, France Rhythm From Wreckage, DIVA Center, Eugene, Oregon Copy Your Idols!, Periferiak07 / Arteleku Audiolab, University of the Basque Country, Bilbao, Spain Rainer Ganahl, Mario Garcia Torres, Nate Harrison, Hugo Hopping and John Menick have agreed to participate in an exhibition organized by __________ at Sandroni Rey, April 14 through May 19, 2007, Sandroni Rey, Los Angeles Rokolectiv Festival, National Museum of Contemporary Art, Bucharest, Romania Our Distance From Things, TELIC Arts Exchange, Los Angeles Building Space, Club Transmediale, Berlin, Germany 2006 Eat the Market, Los Angeles County Museum of Art, Los Angeles (as ESL) Royal Alumni, Enjoy Public Art Gallery, Wellington, New Zealand Music on Screen - Musikmaschinen und Videomusik, Galerie Olaf Stüber, Berlin, Germany Project 101, Paris, France Picturing Free Knowledge, TESLA Media Arts Laboratory, Berlin, Germany Drei Geschäfte: Mode, Musik & Bücher, Kunstverein in Hamburg, Hamburg, Germany EASTInternational 06, Norwich Gallery, Norwich, United Kingdom Bring the War Home, Elizabeth Dee Gallery, New York / QED, Los Angeles RIP IT! - Reappropriate Popular Culture, International Video and Music Festival, 103 Club, Berlin, Germany Object Lessons, Gigantic Art Space, New York Spark Festival, Frederick R. Weisman Art Museum, Minneapolis, Minnesota 2005 Fluctuating Images, Stuttgart, Germany Hands On, Armory Center for the Arts, Pasadena, California no heroics please, REDCAT, Los Angeles TELIC Arts Exchange, Los Angeles Sweet Substitute, Virginia Commonwealth University, Richmond, Virgina Festa di Cane Bastardo, Kunstraum Innsbruck, Austria 2004 STATION, Los Angeles County Museum of Art Festa di Cane Bastardo, Timbrespace, Los Angeles Digitally Propelled Ideas, CalPoly, Pomona, California 2003 A:D:A:P:T Festival, Denver Museum of Contemporary Art, Denver, Colorado BIAS Sound Collective, Taiwan Audio Nimbus, KUCI, Irvine, California 2002 Halcyon, Brooklyn, New York Soundcheck, Whitney Museum of American Art, New York Tribeca Film Festival, New York 2001 Rhizome/SoundLab Open Mouse, FUN, New York Bitstreams, Whitney Museum of American Art, New York The Genomic Revolution, American Museum of Natural History, New York (sound design for exhibit) 2000 SIN Festival, Walker Stage, New York Invisible Cities, Knitting Factory, New York SoundLab/Jam Session III, DUMBO, Brooklyn, New York 1999 Artist and Computer, Collective Unconscious, New York Invisible Cities, Brownies, New York Awards, honors and grants 2013 The Hannah Arendt Prize in Critical Theory and Creative Research, Pacific Northwest College of Art 2011 SMFA Faculty Travel Grant VIDEONALE Prize KfW 2011, Kunstmuseum Bonn 2007 Russell Grant, Russell Foundation Audi Art Award, Progress Imperative, DC Art Fair, Düsseldorf, Germany (as ESL)

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