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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.

Turning Points / extensional works

Under the title Turning Points, the Kunsthalle Gießen presents selected works from the Collection von Kelterborn, whose focus lies in politically charged and socially critical works by internationally renowned artists. Against the background of digitalisation and globalisation, the works shown reflect our present day as it is marked by numerous upheavals. In this regard there is a strong focus is on video art.

On blinkvideo we show extensional works like the documentary films of Teboho Edkins and background videos as the City Film West Berlin of The Tödliche Doris.
image: © Teboho Edkins

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

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

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.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

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!

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

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.

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Katya Gardea Browne

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Statement

On the Aesthetic Borderline Between Film, Body, Landscape and Politics in Katya Gardea Browne’s Video Piece “Tijuana Girl Crossing”

by Regine Rapp





In her large corpus of works Katya Gardea Browne has repeatedly addressedpolitical and social themes with special attention togender. In an impressive range of works including film and video, installations and photography the Mexican-­-American artist has taken on geopolitical themes while maintaining an impressive formal aesthetic strength.

An excellent example of this is her artistic video workTijuana Girl Crossing from 2009. Gardea Browne has so precisely utilized the formal elements of film, such as color, sound, camera angle and editing, with the result that this video work condenses a wide range of issues into a complex artistic web. In particular the film presents concepts of various types of boundaries – especially body, landscape and geopolitical borders – all the while questioning the relationship and biopolitics between humans and national boundaries.

The narrative, which is constantly being interrupted by abstract film sequences in bright yellow or green, follows a young woman as she goes on trails, through fields and crawls through fences along the Mexico-­- California border. Her motion varies from walking to hiking, and at times she seems to be attemptingto flee. The woman repeatedly appears to be searching for the camera, something that in turn casts us, the viewers, in the role of observers or voyeurs, scrutinizing her actions.

The camera tends to keep a distance, only occasionally zooming closer to the protagonist – giving one the impression that it is a surveillance camera. This view is not just one of neutral observation, but of monitoring; something that is strengthened by the dominant shade of green in the video, a tone often rendered by surveillance cameras.

The woman's body mostly occurs in fragmentary appearances, and its movement acts in opposition to the barren, treeless landscape. As in other works, in this video Gardea Browne also brings the female body into contact with architecture – in this case the special architecture of the border zone, which becomes a geopolitical stage. In the context of space theory Michel de Certeau immediatelycomes to mind, distinguishing between space (espace) and place (lieu). Space describes a place that is used for a certain action, as a grid of movable elements.1 According to de Certeau, space is an activated place. Whereas place can be a geometric figure, is silent, and refers to a condition (state); space is rather associated, according to de Certeau, with movement, the spoken word, or the way (the path). Comparing this oppositional pair of spatial parameters to Gardea Browne’s video piece, the female protagonist transfers place into a political space through her physical presence and constant walking along the border, which without her individual human occupation would have been merely an abstractplace.

Let us reflect more about the aspect of walking and wonderingalong the border area in Gardea Browne’s video piece: What would otherwise be a series of intimate moments, in which the human form meditatively wanders through nature, is here nullified rather effectively by the artificiality of the border context. According to Marc Augé’s space theory, it could be defined as a non-­-site (non-­-lieu), which defines a transitory place with a loss of anthropological experience.2 One notices a certain loneliness in the wandering habits (gestures) of the woman. Surprisingly enough, Augé also uses the term lonelinessin his description of so-­-called non-­-sites, evoked by a lack of personal identification with the site itself. The woman's wandering about in Tijuana Girl Crossing emphasizes a type of an inner and outer disorientation which comes very close toAuge’s definition of non-­-sites in submodernity, wherein non-­-sites are often connected to rules, laws, or in short, codified programs.3

Beyond the realm of thevisual, the layered soundtrack plays an essential role. Various strands of sound meander throughout the entire video: most recognizable is the noise of a running 8mm camera (a magnificent cinematic self-­-reference!); while at times one hears futuristic, often hallucinogenic compilations evoked by radio-­-frequency tones with digitally processed gongs. As an auditory counterpart we catch alternating sequencesof police or border control broadcasts, connoting surveillance.

Meanwhile the film editing is always well balanced: longer, calmer sequences are replaced by shorter, quicker sequences, usually containing jump cuts. Finally the use of fast-­-forwarding makes the protagonist's strides seem absurd, bringing a strange slapstick note to a hike along the border.

Another strong formal decision by the artist is the two-­-part video image structure, which forms a diptych. Sometimes Gardea Browne places the protagonist on the left half, sometimes on the right half of the image, in the process regularly extending the (apparent) narrative with abstract and brightly colored voids. Very often, we encounter the principle of reflection: actual and mirrored footage are presented simultaneously on the two parallel surfaces of the diptych. This mirrored duplication of the footage is like a game of cinematic linearity; forward motion appears to be slowed down by the mirrored reverse. The use of the diptych underlines the formal borders of the celluloid, as well as the geopolitical situation of the border zone.

The use of soft focus also plays a role in Tijuana Girl Crossing: a constant switching from sharp to blurry conveys distance on the level of content, constantly breaking down the narrative and finally bringing the viewer to a point of loss of control over the image, which in turn leads to uncertainty in the viewer’s position of observation.

Finally, the phenomenon of the loop plays an important role in the video Tijuana Girl Crossing, which is about five minutes in length, but which has been created through different structures of repetition, something which functions hypnotically when projected in the exhibition space. The loop's constant repetition makes finding a beginning or end to the work impossible. In the end, we viewers completely succumb to the (above mentioned) hallucinogenic undertow and are no longer able todifferentiate the boundaries between fiction and reality, which are constituted by the manifold connections between body, border and politics.


Regine Rapp

Berlin, September 2013





1 Michel de Certeau: L’intervention de quotidien, in: Michel de Certau: L’art de faire, Paris 1990, p. 218.
2 Marc Augé: Nicht-Orte. München 2010, p. 83 (first published in French as Non-Lieu. Introduction á une anthropologie de la surmodernité, Paris 1992).
3 Ibid., p. 98.


Biography

Born 1971 in Mexico
Alternate’s between Berlin and Mexico City

Studies

MFA, Yale University, New Haven, CT.
Film Studies at Yale University, New Haven, CT.
BFA, School of Visual Arts SVA, NY.
La Esmeralda, CNA, Mexico.


Selected group shows

2016
Natures Culture, Photography Exhibition, Alfred Ehrhardt Foundation, Curators R. Rapp and Christian de Lutz

2015
Substanziller Einfluss / Substantial Influence, Bayer Foundation, Curator Ludwig Seyfarth, Germany

2014
Frecuencias Residentes, Video and Installation, Rodrigo Campuzano, Mexico
Ruinen der Gerenwart / Ruins of the Present, Ludwig Seyfarth, Steinbrener/Dempf & Huber, Vienna Austria
Macro Biologies 1, The Biosphere, Art Laboratory Berlin, Germany

2010
Paisaje Después del Temblor, Curator Teodoro D. Lagunes, Galería Luis Adelantado, Mexico City
Off Fence, Michelle Chong and Ian Henderson, Art Laboratorie Berlin, April 2010

2009
Emplazamientos, Guillermo Santamarina, Canada
Peeping Tom, The Chain – Selected Artist, Berlin-Paris
Truestories.truesuccess & Sincerity is the New Radical, Curator Alanna Lockward, Freies Museum, Berlin
Curatorial Project & Hair Auction, collaboration w/ Alanna Lockward, Freies Museum, Berlin

2008
Tree on Lake TEXCOCO, Site Specific & Landscape Intervention, PUIMEX, Museo de la Ciudad de México

2007
Kunsthalle Berlin-Lichtenberg, Dorothee Albrecht & Ludwig Seyfarth, Berlin
Ocean Heart Project, Site - Lake TEXCOCO, Peter Phend, London UK
Cartographies, Video Installation, Institute of Culture, Margarita, Venezuela
Polvo Azúl / Blue Dust, Espacio Central, Curator Frederik Janka, Santa Barbara California
Tijuana Girl Crossing, Feminism & Video Abstraction, Curator Frederik Janka, El Particular & Nina Menocal, Mexico

2006
Still Water Rising, Mirror Sculpture & Video Installation, Estacionarte / Jumex MACO Art Fair, Mexico

2005
Other Dimensions on Abstraction, Roberts & Tilton, Gallery One Twenty Eight, Bowery, New York
It’s Not Rocket Science, California Biennale, San Francisco & Oakland
Texas Street Pavilion, Peter Kirkeby Gallery, w/ Kay Harvey and Gregory Edwards, San Francisco

2002-2004
MUCA Gallery, Artists Prints Editions, New Zeeland

2003
Duct & Cover, SAFI Santa Fe Art Institute, Diane Karp, New Mexico
9/11 Rescue, New York Artist Studios, SAFI Santa Fe Art Institute, New Mexico

2002
Drawings and Water Colors Exhibition, Alianza Francesa, Oaxaca México

2001
DUMBO Arts Center, Wakas Wajahat & Joy Glidden, Brooklyn, New York

Selected solo shows

2012
Structure Paintings & Installation, Salón Centro / Centro Histórico, Mexico City

2011
Exhibition MANADA Architectural Boundaries, Sculpture & Photography, Mexico City
Paisajes y Abstracción, Galería Nadie es Perfecto, Casa Antigua / Oaxaca, Mexico

2010
Museo de Mujeres Artistas Mexicanas, Virtual Exhibition, Cuator Karla Jasso
Color of Skin, Video Screenings, Salón Centro / Centro Histórico, Mexico City

2009
SWEET SUGAR, Museo Experimental de El ECO, UNAM, Mexico City

2008
Tree Intervention Lake TEXCOCO, Museo de la Ciudad de México, PUIMEX, Mexico City

2007
Artist Feature, Architecture for Art, Curator Liane Nouri, New York

2006
Peripheral Landscapes - Bordering, Der Ester Stock Mariane Wagner, Berlin Germany
Green Scape-Blind Spot, Video and Sculpture Installation, UCSJ Celda Contemporánea, Mexico

2004-2005
Hidalgo Project, Structures & Landscape, Moving Sculpture and Fire Works, Oaxaca Mexico

2003
Animas Negras, IAGO Graphic Arts Institute, Francisco Toledo, Oaxaca Mexico
Círculos en Tierra Firme, Printmaking Project, SAFI Santa Fe Art Institute, New Mexico

2002
Watercolors and Drawings, Alianza Francesa, Oaxaca Mexico

2000
Muna, Wall Drawing, Dumbo Arts Center, Curated by Wakas Wajahat, Brooklyn, New York

Auctions and private collections

2008 Part of the JUMEX Collection, Mexico City since
2012 Mexico Vivo, Museo de Arte Moderno, Mexico City
1998–2000 British Center for the Arts, Aids Auction, Yale University
2003 Video Archive Francisco Toledo, Oaxaca Mexico since
2002-2004 MUCA Gallery International Artists Archive and Printmaking, New Zealand
2000 Luis de Llano Macedo, Fundación Televisa Mexico since

Katya Gardea Browne
Born 1971 in Mexico Alternate’s between Berlin and Mexico City Studies MFA, Yale University, New Haven, CT. Film Studies at Yale University, New Haven, CT. BFA, School of Visual Arts SVA, NY. La Esmeralda, CNA, Mexico. Selected group shows 2016 Natures Culture, Photography Exhibition, Alfred Ehrhardt Foundation, Curators R. Rapp and Christian de Lutz 2015 Substanziller Einfluss / Substantial Influence, Bayer Foundation, Curator Ludwig Seyfarth, Germany 2014 Frecuencias Residentes, Video and Installation, Rodrigo Campuzano, Mexico Ruinen der Gerenwart / Ruins of the Present, Ludwig Seyfarth, Steinbrener/Dempf & Huber, Vienna Austria Macro Biologies 1, The Biosphere, Art Laboratory Berlin, Germany 2010 Paisaje Después del Temblor, Curator Teodoro D. Lagunes, Galería Luis Adelantado, Mexico City Off Fence, Michelle Chong and Ian Henderson, Art Laboratorie Berlin, April 2010 2009 Emplazamientos, Guillermo Santamarina, Canada Peeping Tom, The Chain – Selected Artist, Berlin-Paris Truestories.truesuccess & Sincerity is the New Radical, Curator Alanna Lockward, Freies Museum, Berlin Curatorial Project & Hair Auction, collaboration w/ Alanna Lockward, Freies Museum, Berlin 2008 Tree on Lake TEXCOCO, Site Specific & Landscape Intervention, PUIMEX, Museo de la Ciudad de México 2007 Kunsthalle Berlin-Lichtenberg, Dorothee Albrecht & Ludwig Seyfarth, Berlin Ocean Heart Project, Site - Lake TEXCOCO, Peter Phend, London UK Cartographies, Video Installation, Institute of Culture, Margarita, Venezuela Polvo Azúl / Blue Dust, Espacio Central, Curator Frederik Janka, Santa Barbara California Tijuana Girl Crossing, Feminism & Video Abstraction, Curator Frederik Janka, El Particular & Nina Menocal, Mexico 2006 Still Water Rising, Mirror Sculpture & Video Installation, Estacionarte / Jumex MACO Art Fair, Mexico 2005 Other Dimensions on Abstraction, Roberts & Tilton, Gallery One Twenty Eight, Bowery, New York It’s Not Rocket Science, California Biennale, San Francisco & Oakland Texas Street Pavilion, Peter Kirkeby Gallery, w/ Kay Harvey and Gregory Edwards, San Francisco 2002-2004 MUCA Gallery, Artists Prints Editions, New Zeeland 2003 Duct & Cover, SAFI Santa Fe Art Institute, Diane Karp, New Mexico 9/11 Rescue, New York Artist Studios, SAFI Santa Fe Art Institute, New Mexico 2002 Drawings and Water Colors Exhibition, Alianza Francesa, Oaxaca México 2001 DUMBO Arts Center, Wakas Wajahat & Joy Glidden, Brooklyn, New York Selected solo shows 2012 Structure Paintings & Installation, Salón Centro / Centro Histórico, Mexico City 2011 Exhibition MANADA Architectural Boundaries, Sculpture & Photography, Mexico City Paisajes y Abstracción, Galería Nadie es Perfecto, Casa Antigua / Oaxaca, Mexico 2010 Museo de Mujeres Artistas Mexicanas, Virtual Exhibition, Cuator Karla Jasso Color of Skin, Video Screenings, Salón Centro / Centro Histórico, Mexico City 2009 SWEET SUGAR, Museo Experimental de El ECO, UNAM, Mexico City 2008 Tree Intervention Lake TEXCOCO, Museo de la Ciudad de México, PUIMEX, Mexico City 2007 Artist Feature, Architecture for Art, Curator Liane Nouri, New York 2006 Peripheral Landscapes - Bordering, Der Ester Stock Mariane Wagner, Berlin Germany Green Scape-Blind Spot, Video and Sculpture Installation, UCSJ Celda Contemporánea, Mexico 2004-2005 Hidalgo Project, Structures & Landscape, Moving Sculpture and Fire Works, Oaxaca Mexico 2003 Animas Negras, IAGO Graphic Arts Institute, Francisco Toledo, Oaxaca Mexico Círculos en Tierra Firme, Printmaking Project, SAFI Santa Fe Art Institute, New Mexico 2002 Watercolors and Drawings, Alianza Francesa, Oaxaca Mexico 2000 Muna, Wall Drawing, Dumbo Arts Center, Curated by Wakas Wajahat, Brooklyn, New York Auctions and private collections 2008 Part of the JUMEX Collection, Mexico City since 2012 Mexico Vivo, Museo de Arte Moderno, Mexico City 1998–2000 British Center for the Arts, Aids Auction, Yale University 2003 Video Archive Francisco Toledo, Oaxaca Mexico since 2002-2004 MUCA Gallery International Artists Archive and Printmaking, New Zealand 2000 Luis de Llano Macedo, Fundación Televisa Mexico since

Katya Gardea Browne
MÁIZ

Artist Katya Gardea Browne
Year 2014
Duration 15:58 min
Edition 6 + 1 AE
Technical info HD Video, Mini DV & Time Lapse Photography
Contact

About the video

The video Maîz, refers to the fundamental importance of maize in Mexico, “In her photographic and film work, Katya Gardea Browne explores different ecosystems in her Mexican homeland. Her video film Maíz is devoted to the country’s most important staple food. In fascinating pictures, the classical forms of maize cultivation in different parts of Mexico are presented. At the same time, the film documents the way the livelihoods of small farmers are under threat, not least through genetic engineering. .”
Ludwig Seyfarth, Sustainable Influence, Bayer 2015.


Credits

Katya Gardea Browne, Mexico / CR

Editing:
Molekula Studio, Jens Kull & Katya Gardea Browne

Katya Gardea Browne - MÁIZ
The video Maîz, refers to the fundamental importance of maize in Mexico, “In her photographic and film work, Katya Gardea Browne explores different ecosystems in her Mexican homeland. Her video film Maíz is devoted to the country’s most important staple food. In fascinating pictures, the classical forms of maize cultivation in different parts of Mexico are presented. At the same time, the film documents the way the livelihoods of small farmers are under threat, not least through genetic engineering. .”Ludwig Seyfarth, Sustainable Influence, Bayer 2015.

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