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

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


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

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

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

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!).

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

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger
LOVE AFFAIR, 2017

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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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
Sun Sun / Color of Skin “Cuencos y Perros”

Artist Katya Gardea Browne
Year 2010
Duration 3:32 min
Technical info Master mini-DV transferred on DVD, loop) Mini DV Cam / Sound Loop and Sound Ins
Contact

About the video

Filming of a city landscape on a subway ride at the moment of Sun Set, a moment of contemplation and solitude. Repetition and sound is a mimetic register of a fixed, moving image. The SOUND piece is a sequence of cuencos which are carved out of solid blocks of quartz crystal, an act of taking away volume and matter to create a sound vibration; a sound that seemingly breaks the continuity of the cuenco but also allows the textured sound of the quartz to resonate against something in a dialogue of paradoxes. Dogs barking are used as a RUPTURE and noise.


Credits

Artist:
Katya Gardea Browne

Audio:
Simon Levy

Katya Gardea Browne - Sun Sun / Color of Skin “Cuencos y Perros”
Filming of a city landscape on a subway ride at the moment of Sun Set, a moment of contemplation and solitude. Repetition and sound is a mimetic register of a fixed, moving image. The SOUND piece is a sequence of cuencos which are carved out of solid blocks of quartz crystal, an act of taking away volume and matter to create a sound vibration; a sound that seemingly breaks the continuity of the cuenco but also allows the textured sound of the quartz to resonate against something in a dialogue of paradoxes. Dogs barking are used as a RUPTURE and noise.

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