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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.

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

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

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

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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Would you like to share your videos online? Or would you like to focus attention on a video work? 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!

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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

Meena Nanji

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

Education

1993
MFA, Film/Video Program. California Institute of the Arts
1990
BFA, Film/Video Program. California Institute of the Arts
1985
FA, Political Science, University of California, Los Angeles.

Filmography

Present
In Progress:
India Inc. Experimental travelogue through India, looking at ‘development’ hype and reality. Director/Producer/Editor/Camera
In Progress:
Testament Documentary about the survivors of British concentration camps in Kenya during the struggle for independence. Producer, Co-directing with Zippy Kimundu

2015
Asha, (9mins) Short narrative film, shot in Nairobi, Kenya, about a woman’s encounter with the police as she has “the wrong name” Director/Producer

2013
Parinama, 8mins, Director, Narrative film produced in Project Involve/Film Independent Lab

2012
Transmissions of Alphaville Redux. 15 mins Co-Director with Tommy Gear
2 channel video exploring issues of surveillance within the USA (updated from 2008 version). Screening at Videonale 14, Bonn 2013
Here and Away, 10 mins. Producer/Director
Short film inspired by Children on a Country Road by Franz Kafka. Funded by The Peter Reed Foundation.. International festival screenings

2008
1000 Years, 2 min. Director
Short film commissioned by Cinétévé France as a part of Visual Telegrammes, a series of 30 films to raise environmental awareness. With the participation of ORANGE CINEMA SERIES. Broadcast on ARTE France.
Transmissions from Alphaville, 15 min. Co-producer/Co-Director with Tommy Gear
2 channel video exploring issues of surveillance within the USA.

2006
View from a Grain of Sand 82 min. Director/Co-Producer
Full-length broadcast documentary about the recent history of Afghan women,
Aired on PBS, USA 2009 – 2010; “24 x 7”, NDTV India in 2008; and PressTV, Iran 2010

2004
Video Installation, 4 channel video for Prism, 18th St. Arts Complex, Santa Monica, CA

2002
Living in Colour, 44 min. Producer/Director
Video documentary about 2nd generation South Asian youth in Los Angeles,

1998
Looking For Another Girl, 3.30 min. Co-Producer/Co-Director

1996
It is a Crime, 5 min Producer/Director
Experimental images set to a poem by Shani Mootoo
Net of Jewels, 40 min Producer/Director
Experimental narrative about three generations of women and their migration from India to Kenya to the USA

1995
Our Dead Behind Us 29 min. Line-Producer
Experimental narrative film for Channel 4 Television, UK, a tribute to the life
and work of Audre Lorde. Director: Sonali Fernando

1992
Voices of the Morning, 13.45 min. Producer/Director
Video exploring the effects of orthodox Islamic law upon a woman subject to these laws
Aired on PBS 1993 and 1994

Grants/awards

2014
Bellagio Residency, Rockefeller Foundation. Residency Dates: October 2014
Reykjavic Film Festival Directing Lab, September 2014

2012-2013
Film Independent, Project Involve Lab Participant, Los Angeles
Peter Reed Foundation Grant
Here and Away
Stellar Selection, (Best Narrative Award) Black Maria Film + Video Festival
Best Experimental Short, Oaxaca FilmFest,
Award of Merit, Lucerne International Film Festival
Nomination for Golden Reel Short Film Award at Los Angeles Asian Pacific Film Festival

2010
Santa Monica Artists Fellowship Award
Asha

2008 View From A Grain of Sand
Mumbai International Film Festival, India, Silver Conch Award

2007
Canada International Film Festival, Best Documentary Award
Seattle South Asian Festival Audience Award, Best Documentary Feature
Nominee: Los Angeles International Asian American Film Festival
Grand Jury Award, Documentary
Nominee: Santa Barbara International Film Festival Social Justice Award

2006
Nominee:?International Documentary Association, Best Documentary Feature 2006 Shortlist
Nominee: San Francisco International Asian American Film Festival?
Best Documentary Feature

2005
Center for Asian American Media [CAAM] Media Completion Grant
Rockefeller Intercultural Film/Video Media Arts Fellowship Award
Durfee Foundation Grant, finishing funds
Women in Film Foundation Grant, finishing funds

2004
CAAM Media Production Grant

2003
National Endowment for the Arts Grant
Pacific Pioneer Fund Grant

2000 Living in Colour
Regional Arts Grant, Cultural Affairs Department, Los Angeles

1998
Residency at American Film Institute California Digital Workshop

1996 It is A Crime
Best Experimental Video, Image Film/Video Festival, Atlanta, Georgia
Director’s Award, Black Maria Film Festival

1995
Lee Annenberg Grant

1995 Net of Jewels
Rockefeller Intercultural Film/Video Fellowship Award

1994
American Film Institute Independent Film/Videomaker Grant
Paul Robeson Fund for Independent Film/Video
NEA Western Regional Media Arts Grant
Voices of the Morning
Best Experimental Video Award, Image Festival, Atlanta Georgia
Cultural Award (WDR), First place, Videonale 6, Bonn, Germany

1993
Juror's Award, Black Maria Film/Video Festival
Residency at the Robert Flaherty Seminar, New York.

1992
5-week Residency in the Media Arts Program at the Banff Centre for the Arts.

1991
Lynn Blumenthal Memorial Fund Grant
NAATA Media Grant

Lectures/panels

2010
Presenter, View from a Grain of Sand at MIT Center for International Studies;
Presenter, UC Santa Barbara, Middle Eastern Studies;
Presenter, California Lutheran University, Women and Gender Studies.

2009
Panelist at Persistent Resistance, New Delhi India
Presenter, View from a Grain of Sand at the UC Santa Barbara Center for Middle East Studies Conference: Centering Central Asia: Gender, State, and Nation

2008
Various Universities presenting View from a Grain of Sand, including, UCLA, USC, Cal State Northridge, Pomona Community College, Glendale Community College, etc.

2006
Juror, Durfee Foundation

2005
Juror, NAATA Open Call Funding for Film/Video
Toronto Documentary Forum, Toronto, Canada, pitching View from a Grain of Sand

2004
Rice University, Symposium on Afghanistan.

2002
Panelist at Yatra Conference on South Asia, at Pacific Asia Museum, Pasadena, California.
Conference panelist at 4th International Women’s Film Festival, Seoul, South Korea. Topic: media, feminist video practice and activism.
Presentation of View from a Grain of Sand, work in progress at “Daring Women” conference, Vancouver, Canada.

2001
Panelist, Amnesty International teach-in on Afghanistan. Moderated by Arianna Huffington
Guest Lecturer, USC, Media theory/documentary class
Guest Lecturer, Cal State Long Beach, Film/Video Studies.
Guest Lecturer, UC Irvine, Art Department, Film/Video production.
Panelist, California Institute of the Arts teach-in on Afghanistan.
Guest artist, Pitzer College, Claremont Colleges, California, teach-in on Afghanistan.
Panelist at Sarai Media Collective in New Delhi, India, seminar on new media technology and independent film/video production.

1998
Guest Lecturer UCLA, South Asian representation seminar.
Guest lecturer UC Santa Barbara, Art and Media Class

1999
Guest Artist Art Institute of Chicago, Graduate studies seminar.
Guest lecturer UC Santa Barbara, Asian American Film/Video Class

1996
Juror, Rockefeller Intercultural Film/Video Awards

1995
Panelist: Pacific Film Archives, Berkeley, CA. Series on Women & Islam, film & video
Guest Artist, Video Art Dept., UC San Diego

1994
Pre-selection panel, experimental and animation sections of AFI IFVP applications
Curator, Film Forum First Sight Seen Program, Dec. 1994

1993
Guest artist, Asian American film/video fundamentals class, UC Santa Barbara.
Guest artist, Video class, UC Irvine.
Panelist: Consol(e)-ing Passions, Women in Film and Television, 3rd Annual Conference, USC. Independent video-makers panel.
Desh Pardesh, Toronto. South Asian Arts Festival. Guest video-maker.

1992
Panelist: Insight Women’s Film/Video Festival, Edmonton, Canada. Women in Independent Media panel.

Distributors

New Day Films
Journeyman Pictures [UK]
Women Make Movies
Video Data Bank
V-Tape [Canada]

Selected screenings

1992-2015
Clermont-Ferrand Film Festival
Raindance Film Festival
Berlin International Film & Video Festival
New York International Film & Video Festival
National Gallery of Art, Washington DC
Cinema Verite Iran International Film Festival
Mumbai International Film Festival, India
Thessaloniki International Documentary Festival, Greece
Institute of Contemporary Arts, London, UK
RedCat Theater, Los Angeles, USA
Ljubljiana Int’l Film Festival, Slovenia
Whitney Museum of American Art, NY
Museum of Modern Art, NY
Women’s International Film Festival, Rehovot, Israel
Women’s International Film Festival,?Seoul, Korea
We the People Film Festival, Seattle South Asian Film Festival, Seattle, WA, USA
Dochouse and Frontline Club Screenings, Ritzy Cinema, London, UK
VC Film Fest, Los Angeles, USA
Arab & Arab-American Film Festival, Third I, New York, USA
IFP Market, New York, USA
San Francisco International Asian American Film Festival
Kathmandu International Film Festival, Nepal
Third I South Asian Film Festival, San Francisco, CA, USA
KARA Film Festival, Pakistan
Rio Mix Festival, Brazil
Desh Pardesh Festival, Toronto
Sakhi for South Asian Women, NY
Women in the Director’s Chair, Chicago
Outfest, Los Angeles
Beyond Destination, Ikon Gallery, England
ICA, London
International Women’s Film Festival, Vancouver
New Visions, Scotland
AVE Festival, Holland
EarthPeace Festival
Court Metrage Festival, Belgium
Visual Communications Festival LA
L.A. Freewaves.

Other

Lead Documentay Mentor, Maisha Film Lab 2- week workshop, Kampala, Uganda 2014
Founding Partner/Lead Trainer/Executive Board Member: GlobalGirl Media, non-profit digital media training organization for girls in underserved communities. Programs in Los Angeles, Oakland & Chicago, USA; Soweto, S. Africa; Rabat, Morocco. 2008 - present
Board Member: Afghan Women’s Mission: 2010 - present
Board Member: Help Women Heal, Boston: 2010 - present
Founding Member: ArtWallah: South Asian Arts Festival based in Los Angeles 1999
Board Member: Artwallah 1999 - 2003
Board Member: L.A Freewaves 1996 - 1999

Meena Nanji
Education 1993 MFA, Film/Video Program. California Institute of the Arts 1990 BFA, Film/Video Program. California Institute of the Arts 1985 FA, Political Science, University of California, Los Angeles. Filmography Present In Progress: India Inc. Experimental travelogue through India, looking at ‘development’ hype and reality. Director/Producer/Editor/Camera In Progress: Testament Documentary about the survivors of British concentration camps in Kenya during the struggle for independence. Producer, Co-directing with Zippy Kimundu 2015 Asha, (9mins) Short narrative film, shot in Nairobi, Kenya, about a woman’s encounter with the police as she has “the wrong name” Director/Producer 2013 Parinama, 8mins, Director, Narrative film produced in Project Involve/Film Independent Lab 2012 Transmissions of Alphaville Redux. 15 mins Co-Director with Tommy Gear 2 channel video exploring issues of surveillance within the USA (updated from 2008 version). Screening at Videonale 14, Bonn 2013 Here and Away, 10 mins. Producer/Director Short film inspired by Children on a Country Road by Franz Kafka. Funded by The Peter Reed Foundation.. International festival screenings 2008 1000 Years, 2 min. Director Short film commissioned by Cinétévé France as a part of Visual Telegrammes, a series of 30 films to raise environmental awareness. With the participation of ORANGE CINEMA SERIES. Broadcast on ARTE France. Transmissions from Alphaville, 15 min. Co-producer/Co-Director with Tommy Gear 2 channel video exploring issues of surveillance within the USA. 2006 View from a Grain of Sand 82 min. Director/Co-Producer Full-length broadcast documentary about the recent history of Afghan women, Aired on PBS, USA 2009 – 2010; “24 x 7”, NDTV India in 2008; and PressTV, Iran 2010 2004 Video Installation, 4 channel video for Prism, 18th St. Arts Complex, Santa Monica, CA 2002 Living in Colour, 44 min. Producer/Director Video documentary about 2nd generation South Asian youth in Los Angeles, 1998 Looking For Another Girl, 3.30 min. Co-Producer/Co-Director 1996 It is a Crime, 5 min Producer/Director Experimental images set to a poem by Shani Mootoo Net of Jewels, 40 min Producer/Director Experimental narrative about three generations of women and their migration from India to Kenya to the USA 1995 Our Dead Behind Us 29 min. Line-Producer Experimental narrative film for Channel 4 Television, UK, a tribute to the life and work of Audre Lorde. Director: Sonali Fernando 1992 Voices of the Morning, 13.45 min. Producer/Director Video exploring the effects of orthodox Islamic law upon a woman subject to these laws Aired on PBS 1993 and 1994 Grants/awards 2014 Bellagio Residency, Rockefeller Foundation. Residency Dates: October 2014 Reykjavic Film Festival Directing Lab, September 2014 2012-2013 Film Independent, Project Involve Lab Participant, Los Angeles Peter Reed Foundation Grant Here and Away Stellar Selection, (Best Narrative Award) Black Maria Film + Video Festival Best Experimental Short, Oaxaca FilmFest, Award of Merit, Lucerne International Film Festival Nomination for Golden Reel Short Film Award at Los Angeles Asian Pacific Film Festival 2010 Santa Monica Artists Fellowship Award Asha 2008 View From A Grain of Sand Mumbai International Film Festival, India, Silver Conch Award 2007 Canada International Film Festival, Best Documentary Award Seattle South Asian Festival Audience Award, Best Documentary Feature Nominee: Los Angeles International Asian American Film Festival Grand Jury Award, Documentary Nominee: Santa Barbara International Film Festival Social Justice Award 2006 Nominee:?International Documentary Association, Best Documentary Feature 2006 Shortlist Nominee: San Francisco International Asian American Film Festival? Best Documentary Feature 2005 Center for Asian American Media [CAAM] Media Completion Grant Rockefeller Intercultural Film/Video Media Arts Fellowship Award Durfee Foundation Grant, finishing funds Women in Film Foundation Grant, finishing funds 2004 CAAM Media Production Grant 2003 National Endowment for the Arts Grant Pacific Pioneer Fund Grant 2000 Living in Colour Regional Arts Grant, Cultural Affairs Department, Los Angeles 1998 Residency at American Film Institute California Digital Workshop 1996 It is A Crime Best Experimental Video, Image Film/Video Festival, Atlanta, Georgia Director’s Award, Black Maria Film Festival 1995 Lee Annenberg Grant 1995 Net of Jewels Rockefeller Intercultural Film/Video Fellowship Award 1994 American Film Institute Independent Film/Videomaker Grant Paul Robeson Fund for Independent Film/Video NEA Western Regional Media Arts Grant Voices of the Morning Best Experimental Video Award, Image Festival, Atlanta Georgia Cultural Award (WDR), First place, Videonale 6, Bonn, Germany 1993 Juror's Award, Black Maria Film/Video Festival Residency at the Robert Flaherty Seminar, New York. 1992 5-week Residency in the Media Arts Program at the Banff Centre for the Arts. 1991 Lynn Blumenthal Memorial Fund Grant NAATA Media Grant Lectures/panels 2010 Presenter, View from a Grain of Sand at MIT Center for International Studies; Presenter, UC Santa Barbara, Middle Eastern Studies; Presenter, California Lutheran University, Women and Gender Studies. 2009 Panelist at Persistent Resistance, New Delhi India Presenter, View from a Grain of Sand at the UC Santa Barbara Center for Middle East Studies Conference: Centering Central Asia: Gender, State, and Nation 2008 Various Universities presenting View from a Grain of Sand, including, UCLA, USC, Cal State Northridge, Pomona Community College, Glendale Community College, etc. 2006 Juror, Durfee Foundation 2005 Juror, NAATA Open Call Funding for Film/Video Toronto Documentary Forum, Toronto, Canada, pitching View from a Grain of Sand 2004 Rice University, Symposium on Afghanistan. 2002 Panelist at Yatra Conference on South Asia, at Pacific Asia Museum, Pasadena, California. Conference panelist at 4th International Women’s Film Festival, Seoul, South Korea. Topic: media, feminist video practice and activism. Presentation of View from a Grain of Sand, work in progress at “Daring Women” conference, Vancouver, Canada. 2001 Panelist, Amnesty International teach-in on Afghanistan. Moderated by Arianna Huffington Guest Lecturer, USC, Media theory/documentary class Guest Lecturer, Cal State Long Beach, Film/Video Studies. Guest Lecturer, UC Irvine, Art Department, Film/Video production. Panelist, California Institute of the Arts teach-in on Afghanistan. Guest artist, Pitzer College, Claremont Colleges, California, teach-in on Afghanistan. Panelist at Sarai Media Collective in New Delhi, India, seminar on new media technology and independent film/video production. 1998 Guest Lecturer UCLA, South Asian representation seminar. Guest lecturer UC Santa Barbara, Art and Media Class 1999 Guest Artist Art Institute of Chicago, Graduate studies seminar. Guest lecturer UC Santa Barbara, Asian American Film/Video Class 1996 Juror, Rockefeller Intercultural Film/Video Awards 1995 Panelist: Pacific Film Archives, Berkeley, CA. Series on Women & Islam, film & video Guest Artist, Video Art Dept., UC San Diego 1994 Pre-selection panel, experimental and animation sections of AFI IFVP applications Curator, Film Forum First Sight Seen Program, Dec. 1994 1993 Guest artist, Asian American film/video fundamentals class, UC Santa Barbara. Guest artist, Video class, UC Irvine. Panelist: Consol(e)-ing Passions, Women in Film and Television, 3rd Annual Conference, USC. Independent video-makers panel. Desh Pardesh, Toronto. South Asian Arts Festival. Guest video-maker. 1992 Panelist: Insight Women’s Film/Video Festival, Edmonton, Canada. Women in Independent Media panel. Distributors New Day Films Journeyman Pictures [UK] Women Make Movies Video Data Bank V-Tape [Canada] Selected screenings 1992-2015 Clermont-Ferrand Film Festival Raindance Film Festival Berlin International Film & Video Festival New York International Film & Video Festival National Gallery of Art, Washington DC Cinema Verite Iran International Film Festival Mumbai International Film Festival, India Thessaloniki International Documentary Festival, Greece Institute of Contemporary Arts, London, UK RedCat Theater, Los Angeles, USA Ljubljiana Int’l Film Festival, Slovenia Whitney Museum of American Art, NY Museum of Modern Art, NY Women’s International Film Festival, Rehovot, Israel Women’s International Film Festival,?Seoul, Korea We the People Film Festival, Seattle South Asian Film Festival, Seattle, WA, USA Dochouse and Frontline Club Screenings, Ritzy Cinema, London, UK VC Film Fest, Los Angeles, USA Arab & Arab-American Film Festival, Third I, New York, USA IFP Market, New York, USA San Francisco International Asian American Film Festival Kathmandu International Film Festival, Nepal Third I South Asian Film Festival, San Francisco, CA, USA KARA Film Festival, Pakistan Rio Mix Festival, Brazil Desh Pardesh Festival, Toronto Sakhi for South Asian Women, NY Women in the Director’s Chair, Chicago Outfest, Los Angeles Beyond Destination, Ikon Gallery, England ICA, London International Women’s Film Festival, Vancouver New Visions, Scotland AVE Festival, Holland EarthPeace Festival Court Metrage Festival, Belgium Visual Communications Festival LA L.A. Freewaves. Other Lead Documentay Mentor, Maisha Film Lab 2- week workshop, Kampala, Uganda 2014 Founding Partner/Lead Trainer/Executive Board Member: GlobalGirl Media, non-profit digital media training organization for girls in underserved communities. Programs in Los Angeles, Oakland & Chicago, USA; Soweto, S. Africa; Rabat, Morocco. 2008 - present Board Member: Afghan Women’s Mission: 2010 - present Board Member: Help Women Heal, Boston: 2010 - present Founding Member: ArtWallah: South Asian Arts Festival based in Los Angeles 1999 Board Member: Artwallah 1999 - 2003 Board Member: L.A Freewaves 1996 - 1999

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