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

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

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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

János Sugár

Works


Galleries

for further information contact blinkvideo
Germany

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




Biography

born 1958 in Budapest

Education

1980-1986 Studied in the Department of Sculpture at the Hungarian Academy of Fine Arts in Budapest.

Selected solo shows

2014
(monuments), Kisterem, Budapest
Subversive Designers, PopUp, Osijek

2013
Holy Shit, Müszi, Budapest

2012
Fire in the Museum, Museum Kiscell, Budapest

2011
The Situation, Videospace, Budapest

2009
Power Is Invisible Until You Provoke It, B5, Targu Mures, Romania
Fortinbras in Year Zero, Vintage Gallery, Budapest

2007
Kairos vs Expeditus, Ladaproject, Berlin
mute, Videospace, Budapest

2006
OE, Studio Gallery, Budapest

2005
Typewriter of the Illiterate, Annely Juda Fine Arts, London

2003
Check Your Six, Knoll Gallery, Budapest

2002
Convergent Series, Café Europe, Centro di Arte Contemporanea, Rome
Attention Recycling, Galerija Balen, Slavonskij Brod, Croatia

2000
General Reminder, Art Media Center, TV Gallery, Moscow, with Yuri Leiderman

1999
Calligraphy Powerplant, Galleria Spicchi dell`Est, Rome
Context Trap, Artpool, Budapest

Selected group shows

2015
Siliconvalse, Brno House of Arts, Brno
OFF-Biennale, Budapest
Artists in Residence, Krinzinger Projekte, Vienna
Art Has No Alternative, tranzit.sk, Bratislava
Identity and The Self, RAMfoundation, Rotterdam

2014
Report on the Construction of a Spaceship Module, New Museum, New York
Gramatik of Fear, Bucharest International Biennial for Contemporary Art
LUDWIG 25. The contemporary collection, Ludwig Museum, Budapest

2013
2nd Edition of the Biennial Project D-0 ARK Underground, Konjic, Croatia

2012
Video Vortex, Museum of Contemporary Art, Zagreb, Croatia

2011
The Lucifer Effect, DOX Center for Contemporary Art, Prague

2010
Re-Designing the East, WKV Stuttgart, Germany

2009
3rd Quadrilateral Biennial, Museum Of Modern And Contemporary Art, Rijeka, Croatia

2008
All that Cinema, Selection from the video collection of the Ludwig Museum, Budapest

2007
Projections, Kunsthalle, Budapest

2006
Lost and Found, Kunsthalle, Baden-Baden

2005
The Essence of Life - The Essence of Art, Tretyakov Gallery, Moscow
Traffic Exit Biennial II., Exit Art, New York

2003
Gravitation, International Public Art Exhibition, Ludwig Museum, Budapest

2002
Without Emergency Exit, Centro Multimedia of Mexico DF,

2001
Werk 01, Bildhauersymposion, Heidenheim, Germany

2000
L'Autre Moitié de l'Europe, Jeu de Paume, Paris

1999
Aspects/Positions, 50 Years Art From Middle Europe, 20er Haus, Vienna, Austria

1996
Manifesta 1, Rotterdam, Netherlands
The Butterfly Effect, International Media Art Exhibition, Kunsthalle, Budapest,

1995
Ostranenie, Dessau, Germany

1992
Documenta IX, Kassel, Germany

1991
Trigon, 8x2 aus 7, Neue Galerie am Landesmuseum Joanneum, Graz, Austria

Films and videos

2014
Persian Walk Explanatory Version, 13 min
2010
Subversive Designers, video, 2 min.
2009
The Situation, video, 2 min.
2007
Holy Shit, video, 2 min.
2005
Mute, ongoing project, eight video loops, various length
Homesick, video, 2:20 min.
2003
Check Your Six, video, 16 min.
2001
Typewriter of the Illiterate, video, 8 min.
1998
Do You Know My Method?, BW, 35mm film transferred to video, 10 min, BBS production
1996
Ariadne Unemployed, video, 13 min.
1993
Ambigous Window, BW + colour 16 mm, 17 min, (final print: 1996), BBS production
1992
Camera in Trouble, color, 16 mm, 70 min, BBS production
1987
Tweedle (with L. Révész) BW, 16 mm, 5 min. BBS production
1985
Persian Walk, color, 16 mm, 50 min.(final print: 1989), BBS production
1983
This Type of Intention is on the Border of Credibility,16 mm, 7min. final print: 1989 BBS

Selected performances

2007 The Erased Goran Djordjevic Drawing 1985, Frankfurter Kunstverein, Frankfurt
2002 One Way Design, Transart Communication, Nové Zámky, Slovak Rep.
2000 Big Yes - Big No, Art Media Center, TV Gallery, Moscow
1998 Big Yes - Big No, Stephen Gang Gallery, New York
1996 Ariadne Unemployed, Gallery KK im Fisch, Braunschweig, Germany
1995 The Shortest Labyrinth, Perforium, Intl. Perf. Art Meeting, Budapest
1992 Strecke durch Zeit, Künstlerhaus Bethanien, Berlin, Germany

János Sugár
born 1958 in Budapest Education 1980-1986 Studied in the Department of Sculpture at the Hungarian Academy of Fine Arts in Budapest. Selected solo shows 2014 (monuments), Kisterem, Budapest Subversive Designers, PopUp, Osijek 2013 Holy Shit, Müszi, Budapest 2012 Fire in the Museum, Museum Kiscell, Budapest 2011 The Situation, Videospace, Budapest 2009 Power Is Invisible Until You Provoke It, B5, Targu Mures, Romania Fortinbras in Year Zero, Vintage Gallery, Budapest 2007 Kairos vs Expeditus, Ladaproject, Berlin mute, Videospace, Budapest 2006 OE, Studio Gallery, Budapest 2005 Typewriter of the Illiterate, Annely Juda Fine Arts, London 2003 Check Your Six, Knoll Gallery, Budapest 2002 Convergent Series, Café Europe, Centro di Arte Contemporanea, Rome Attention Recycling, Galerija Balen, Slavonskij Brod, Croatia 2000 General Reminder, Art Media Center, TV Gallery, Moscow, with Yuri Leiderman 1999 Calligraphy Powerplant, Galleria Spicchi dell`Est, Rome Context Trap, Artpool, Budapest Selected group shows 2015 Siliconvalse, Brno House of Arts, Brno OFF-Biennale, Budapest Artists in Residence, Krinzinger Projekte, Vienna Art Has No Alternative, tranzit.sk, Bratislava Identity and The Self, RAMfoundation, Rotterdam 2014 Report on the Construction of a Spaceship Module, New Museum, New York Gramatik of Fear, Bucharest International Biennial for Contemporary Art LUDWIG 25. The contemporary collection, Ludwig Museum, Budapest 2013 2nd Edition of the Biennial Project D-0 ARK Underground, Konjic, Croatia 2012 Video Vortex, Museum of Contemporary Art, Zagreb, Croatia 2011 The Lucifer Effect, DOX Center for Contemporary Art, Prague 2010 Re-Designing the East, WKV Stuttgart, Germany 2009 3rd Quadrilateral Biennial, Museum Of Modern And Contemporary Art, Rijeka, Croatia 2008 All that Cinema, Selection from the video collection of the Ludwig Museum, Budapest 2007 Projections, Kunsthalle, Budapest 2006 Lost and Found, Kunsthalle, Baden-Baden 2005 The Essence of Life - The Essence of Art, Tretyakov Gallery, Moscow Traffic Exit Biennial II., Exit Art, New York 2003 Gravitation, International Public Art Exhibition, Ludwig Museum, Budapest 2002 Without Emergency Exit, Centro Multimedia of Mexico DF, 2001 Werk 01, Bildhauersymposion, Heidenheim, Germany 2000 L'Autre Moitié de l'Europe, Jeu de Paume, Paris 1999 Aspects/Positions, 50 Years Art From Middle Europe, 20er Haus, Vienna, Austria 1996 Manifesta 1, Rotterdam, Netherlands The Butterfly Effect, International Media Art Exhibition, Kunsthalle, Budapest, 1995 Ostranenie, Dessau, Germany 1992 Documenta IX, Kassel, Germany 1991 Trigon, 8x2 aus 7, Neue Galerie am Landesmuseum Joanneum, Graz, Austria Films and videos 2014 Persian Walk Explanatory Version, 13 min 2010 Subversive Designers, video, 2 min. 2009 The Situation, video, 2 min. 2007 Holy Shit, video, 2 min. 2005 Mute, ongoing project, eight video loops, various length Homesick, video, 2:20 min. 2003 Check Your Six, video, 16 min. 2001 Typewriter of the Illiterate, video, 8 min. 1998 Do You Know My Method?, BW, 35mm film transferred to video, 10 min, BBS production 1996 Ariadne Unemployed, video, 13 min. 1993 Ambigous Window, BW + colour 16 mm, 17 min, (final print: 1996), BBS production 1992 Camera in Trouble, color, 16 mm, 70 min, BBS production 1987 Tweedle (with L. Révész) BW, 16 mm, 5 min. BBS production 1985 Persian Walk, color, 16 mm, 50 min.(final print: 1989), BBS production 1983 This Type of Intention is on the Border of Credibility,16 mm, 7min. final print: 1989 BBS Selected performances 2007 The Erased Goran Djordjevic Drawing 1985, Frankfurter Kunstverein, Frankfurt 2002 One Way Design, Transart Communication, Nové Zámky, Slovak Rep. 2000 Big Yes - Big No, Art Media Center, TV Gallery, Moscow 1998 Big Yes - Big No, Stephen Gang Gallery, New York 1996 Ariadne Unemployed, Gallery KK im Fisch, Braunschweig, Germany 1995 The Shortest Labyrinth, Perforium, Intl. Perf. Art Meeting, Budapest 1992 Strecke durch Zeit, Künstlerhaus Bethanien, Berlin, Germany

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