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

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Nasim Weiler: Hello, there are many absolutely wonderful video works on Blinkvideo - here are my three favourites of today, March 26 - a day spent in quarantane in Paris.

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!

Nadja Verena Marcin - OPHELIA
Stadtgalerie in Saarbrücken, Germany. 2019

OPHELIA is an interdisciplinary performance that is presented in the Stadtgalerie Saarbrücken as a live action and subsequently as a video installation. It reflects the human-induced destruction of nature and creates references to art, literature and science. Dressed in "Ophelia's" dress and equipped with a diving device, Nadja Verena Marcin will climb into an aquarium and try under water to read the text "The Werld" by Daniil Kharms about human perception.
Image: © Nadja Verena Marcin

Igor Simić - WELTSCHMERZ 
at Galerie Beckers, Frankfurt

The exhibition WELTSCHMERZ shows new works by Serbian artist Igor Simic, which he created in connection with his iOS game Golf Club: Wasteland. For this game he and his award-winning gaming and film company Demagog Studio developed a whole world — a storyline with characters and various landscapes — in a post-apocalyptic scenario. The eerie atmosphere of the carefully crafted visual scenery is accompanied by slow paced, nostalgic, sometimes almost chilling music that evokes the feeling of longing for something lost.
Image: © Igor Simić

Fuzzy dark spot
Video art from Hamburg

The exhibition FUZZY DARK SPOT curated by the Hamburg-based video artist Wolfgang Oelze, at the Falckenberg Collection brings together 56 video works by over 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups.
image: © Stefan Panhans

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

Featured videos

Annegret Soltau
Schwanger-Sein I, 1977/78

"My pregnancies in 1978 and 1980 became an important theme for me. This personal experience yielded pictures in which I once again used myself as a model, this time myself in the process of being pregnant. The fear that my role as a mother could jeopardize my life as an artist inspired me to create a great many photos and videos. At this point I was preoccupied with the question of how women combine creativity and motherhood.“ (Annegret Soltau)

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 WHITE HOMAGE TO MALEVICH, 2015

A moving digital light drawing illuminates a white wall. A hand painting a black square on the white surface becomes visible. At the same time the light drawing is painting a light square. In the end the light of the digital light square illuminates the finished black oil painting.

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art
/ Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

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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.

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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

Anna Zett

Works


Galleries

for further information contact blinkvideo
Germany

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




Statement

The gap between the virtual and the physical world is a major driving force in my artistic practice. I keep returning to the basic idea, that both freedom and oppression, both trauma and possibility emerge from this gap. In my film making and writing I approach this ambivalence on a subjective as well as a political level. This quest often takes me to the natural sciences and the problem of objectivity. It also takes me to modernized archaic icons such as dinosaurs, heroes, ghosts and animal images of all kinds. The outcome tends to be a narrative or performative work that is engaged both in the tragedy of materiality and the comedy of knowledge.
Their multidisciplinary practice combines analytical perspective and poetic form with a playful, interaction-oriented approach. The work considers processes of sense-making through association and contact, directing attention to physical situations not aligned with logocentric power and technology. As a materialist story teller Anna Zett cares about geophysics, embodied history, group psychology and the non-verbal foundations of language.
They live and work in Berlin.


Biography

Education

2012: M.A. (Magister) Humboldt University Berlin: Cultural Anthropology, Gender Studies, Philosophy
2010-2013 : University of the Arts Berlin: Fine Art, Prof. Hito Steyerl
2009-2010: Middlesex University London: Aesthetics and Art Theory, Moving Image (MA / Erasmus)
2004-2012: Humboldt University Berlin: Gender Studies, Cultural Anthropology, Philosophy


Shows + screenings

2019
Artificial Gut Feeling, Reading & Screening by Anna Zett, Institute for Cultural Inquiry, Berlin
Films by Anna Zett, Julia Stoschek Collection, Düsseldorf,
Vdrome.org, online screening in association with Serpetine Cinema, London
Refraction of Light, SALT Beyoğlu, Istanbul

2018
At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, New York City
Its origins are indeterminate, series curated by Erik Martinson, Whitechapel Gallery London

2017
Data Carriers. Film program curated by Pakui Hardware, Center for Contemprary Art Vilnius
Mene Mene Tekel Parsin. Screening curated by Jesse Darling, Somerset House Studios London Sonic Acts Festival, Amsterdam
Colonial Crime Scenes. Union Docs, New York City
Death Is Green, Dreamlands: Immersive Cinema and Art, Screening Program, Whitney Museum of American Art, New York City

2016
November Film Festival, London
Dgtl Fmnsm/ Cynetart Festival, Festspielhaus Hellerau Dresden
Therapy Session, TENT, Rotterdam
Über die Unmöglichkeit des Seins, Kunsthalle Exnergasse, Wien
This Unwieldy Object: A Modern Research Drama by Anna Zett, Human Resources, Los Angeles
Multiplex, Nuit Blance, Toronto
Bots, Bodies, Beasts, Studium Generale Rietveld Academie, Amsterdam

2015
Screen Matter, Moving image series, Lumiére Cinema, Maastricht
The Earthbound, curated by Niekolaas J. Lekkerkerk, Cannonball Miami
This Unwieldy Object, presented by The New Inquiry, Videology, New York City
MOVES Matinée, Image Movement, Berlin
Contagious Living, screening curated by Dora Budor, Fahrenheit, Los Angeles
Tomorrow‘s Film: Anna Zett, Galerie für zeitgenössische Kunst, Leipzig
Essay Film Dissidents, curated by Kristof Trakal, Echo Park Film Center, Los Angeles
Serpentine Cinema: Films by Rachel Rose and Anna Zett, Hackney Picturehouse, London

2014
Kasseler Dokfest, Documentary Film and Video Festival, Kassel
Extinct.ly/ Extinction Marathon: Visions of the Future, Serpentine and Sackler Gallery, London
We, animals. Meinblau Projektraum, Berlin

2012
NOW: A Copy in Motion. Kunstraum Kreuzberg, Berlin

2011
ANIMAMAMOMODERNE. 24 hour group show curated by Anna Zett and Hanna Bergfors, Kottishop Berlin
Studio. Screening of Artists Moving Image. Galerie Suvi Lettinen, Berlin

2009
Lange Nacht der Wissenschaften/ Science Lates, Humboldt University Berlin

Group Exhibitions 2018 wildes wiederholen. material von unten. District, Berlin Species of Spaces, Karma Ltd., ACUD MACHT NEU, Berlin Riga Photography Biennial 2017 Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen 2016 The Future Was Here, Æther, Sofia Staging Distance, Zeiss-Großplanetarium, Berlin 2015 Spending Quality Time With My Quantified Self, TENT Rotterdam Giving Up the Ghost, Transmission Gallery, Glasgow The Eclipse of the Innocent Eye, Moving Image Department, National Gallery Prague Crystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, Berlin Videonale.15, Festival for Contemporary Video Art, Bonn


Group Exhibitions 

2018
wildes wiederholen. material von unten. District, Berlin
Species of Spaces, Karma Ltd., ACUD MACHT NEU, Berlin
Riga Photography Biennial

2017
Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen

2016
The Future Was Here, Æther, Sofia
Staging Distance, Zeiss-Großplanetarium, Berlin

2015
Spending Quality Time With My Quantified Self, TENT Rotterdam
Giving Up the Ghost, Transmission Gallery, Glasgow
The Eclipse of the Innocent Eye, Moving Image Department, National Gallery Prague
Crystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, Berlin
Videonale.15, Festival for Contemporary Video Art, Bonn


Live Formats

2019
Landscapes and bodies: Gold & Coal, solo performance as part of walk-in virtual reality film by
Kötter/ Israel/ Limberg, Schauspiel Leipzig Residenz
Artificial Gut Feeling, Text-to-voice performance by Anna Zett & Jule Flierl, Book launch of Artificial Gut Feeling, Kunsthaus KuLe Berlin
Spuk von Drinnen. Partizipative Kartenlegung für Singstimme und Gespräch, performance in collaboration with Lina Krüger (Music) Center for Literature/ Burg Hülsoff
Entsorgung: Utopie & Deponie, Concept & moderation of a conversation as part of the festival Palast der Republik, Haus der Berliner Festspiele, Berlin

2018
Minimale Manipulation. Card Lecture Performance, Der Ohrenmensch: Bühne des Hörwissens/ Platform for listening knowledge, HKW Berlin
OU‘ALL, Participatory Installation in collaboration with P_P_K_K (Schönfeld & Scoufaras), Projectspace festival, Ciudad Juarez (Mexico)

2017
Past & Fortune. Card reading in collaboration with Bobby Abate. Artists Space, New York City

2016
Movements on a continuous floor: INCARNATIONS. M.I. /mi1glissé Berlin, curated by Joel Mu

2014-19
Copy & Dance, participatory dance show in collaboration with Tina Pfurr, hosted by Hebbel am Ufer Berlin, also performed at Festival Friche la Belle de May Marseille,
AfricUrbanArts Abidjan, Corps é Gestes Yaoundé, Theatre de la Manufacture Nancy,
Kammerspiele München, Festspielhaus Hellerau, Kaserne Basel and other venues


Publications

2015
Fist to Brain, In: The New Inquiry, www.thenewinquiry.com
The Ghost of Participation. In: PALE Journal, #1, London
2014
Sleeping in Public, In: How to Sleep Faster Issue 5, Tom Clark, Rozsa Farkas (Eds). London: Arcadia Missa Publications
2013
Dinotasia, Dinotopia. Animationen ungreifbarer Tierkörper im Kino des Fortschritts. In: Chimaira AK (Eds.): Tiere_Bilder_Ökonomien. Bielefeld: Transkript
Verwende deine Nerven. In: Sarah Schönfeld – All you can feel. Bielefeld/ Berlin: Kerber
Back to the Now! And back again. In: Now! Extended. Berlin: AKV
2011
Transtier, Intertier. Tiermotive und die Überschreitung von Geschlechtergrenzen in den Filmen Transamerica und XXY. In: Sophia Könnemann, Anne Stähr (Eds): Das Geschlecht der Anderen. Figuren der Alterität: Kriminologie, Psychiatrie, Ethnologie und Zoologie. Bielefeld: Transkript
2009
In particular, infinity. In: Jorinde Voigt - Matrix/ Patric Catani & Chris Imler - Lemniscate. Bielefeld/ Leipzig: Kepler
2007
Verflechtung, Zitation, Variation und Erfindung. In: Jorinde Voigt – Konglomerat. Köln: Galerie Christian Lethert

Performances

2015
After the Eclipse, reading series, Atelierhaus am Flutgraben, Berlin
PALE Journal #1, book launch, SPACE, London
2014
Gespensterfunk. Radio Performance at Tieranatomisches Theater in collaboration with Joshua Wicke and Émission de l'Art Visionnaire
2013
Rundfunkorakel. Performance with the group Remote Control, symposion Offensiv Experimentell, HfbK Hamburg
The Air is Alchemical: Paracettamor. Participatory Performance in collaboration with Ancelle Beauchamp, Voin de Voin, Stephanie Ballantine, at Mindpirates, Berlin.
Performance at the group show True Colors, Kotti Shop, Berlin
Now! (Compressed) book launch, KunstWerke, Berlin
2012
Dada/ Danet. Performance in collaboration with Ancelle Beauchamp et al. at the Performance Night Manisensations. Leap, Berlin

Lectures + panels

2014 Alternative Film/Video Research Forum, Belgrade
Archeologies of Media and Film. Bradford University
2013 Marginal Modernities: On Queer Materiality. Panel with Jesse Darling, Jaako Pallasvuo, Maja Cule. The White Building, London
Tiere_Bilder_Ökonomien. Lecture series, Institute of Cultural Studies. Humboldt University, Berlin
2010 Grenzgänger_innen in den Lateinamerikas, Symposion, HKW/ House of World Cultures, Berlin
2009 Das Geschlecht der Anderen/ The Gender of Others. International conference, University of Humboldt, Berlin.

www.annazet.net

Anna Zett
Education 2012: M.A. (Magister) Humboldt University Berlin: Cultural Anthropology, Gender Studies, Philosophy 2010-2013 : University of the Arts Berlin: Fine Art, Prof. Hito Steyerl 2009-2010: Middlesex University London: Aesthetics and Art Theory, Moving Image (MA / Erasmus)2004-2012: Humboldt University Berlin: Gender Studies, Cultural Anthropology, Philosophy Shows + screenings 2019 Artificial Gut Feeling, Reading & Screening by Anna Zett, Institute for Cultural Inquiry, Berlin Films by Anna Zett, Julia Stoschek Collection, Düsseldorf, Vdrome.org, online screening in association with Serpetine Cinema, London Refraction of Light, SALT Beyoğlu, Istanbul 2018 At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, New York City Its origins are indeterminate, series curated by Erik Martinson, Whitechapel Gallery London 2017 Data Carriers. Film program curated by Pakui Hardware, Center for Contemprary Art Vilnius Mene Mene Tekel Parsin. Screening curated by Jesse Darling, Somerset House Studios London Sonic Acts Festival, Amsterdam Colonial Crime Scenes. Union Docs, New York City Death Is Green, Dreamlands: Immersive Cinema and Art, Screening Program, Whitney Museum of American Art, New York City 2016 November Film Festival, London Dgtl Fmnsm/ Cynetart Festival, Festspielhaus Hellerau Dresden Therapy Session, TENT, Rotterdam Über die Unmöglichkeit des Seins, Kunsthalle Exnergasse, Wien This Unwieldy Object: A Modern Research Drama by Anna Zett, Human Resources, Los Angeles Multiplex, Nuit Blance, Toronto Bots, Bodies, Beasts, Studium Generale Rietveld Academie, Amsterdam 2015 Screen Matter, Moving image series, Lumiére Cinema, Maastricht The Earthbound, curated by Niekolaas J. Lekkerkerk, Cannonball Miami This Unwieldy Object, presented by The New Inquiry, Videology, New York City MOVES Matinée, Image Movement, Berlin Contagious Living, screening curated by Dora Budor, Fahrenheit, Los Angeles Tomorrow‘s Film: Anna Zett, Galerie für zeitgenössische Kunst, Leipzig Essay Film Dissidents, curated by Kristof Trakal, Echo Park Film Center, Los Angeles Serpentine Cinema: Films by Rachel Rose and Anna Zett, Hackney Picturehouse, London 2014 Kasseler Dokfest, Documentary Film and Video Festival, Kassel Extinct.ly/ Extinction Marathon: Visions of the Future, Serpentine and Sackler Gallery, LondonWe, animals. Meinblau Projektraum, Berlin2012NOW: A Copy in Motion. Kunstraum Kreuzberg, Berlin 2011 ANIMAMAMOMODERNE. 24 hour group show curated by Anna Zett and Hanna Bergfors, Kottishop Berlin Studio. Screening of Artists Moving Image. Galerie Suvi Lettinen, Berlin 2009 Lange Nacht der Wissenschaften/ Science Lates, Humboldt University BerlinGroup Exhibitions 2018 wildes wiederholen. material von unten. District, Berlin Species of Spaces, Karma Ltd., ACUD MACHT NEU, Berlin Riga Photography Biennial 2017 Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen 2016 The Future Was Here, Æther, Sofia Staging Distance, Zeiss-Großplanetarium, Berlin 2015 Spending Quality Time With My Quantified Self, TENT Rotterdam Giving Up the Ghost, Transmission Gallery, Glasgow The Eclipse of the Innocent Eye, Moving Image Department, National Gallery Prague Crystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, Berlin Videonale.15, Festival for Contemporary Video Art, Bonn Group Exhibitions 2018 wildes wiederholen. material von unten. District, Berlin Species of Spaces, Karma Ltd., ACUD MACHT NEU, Berlin Riga Photography Biennial 2017 Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen 2016 The Future Was Here, Æther, Sofia Staging Distance, Zeiss-Großplanetarium, Berlin 2015 Spending Quality Time With My Quantified Self, TENT Rotterdam Giving Up the Ghost, Transmission Gallery, Glasgow The Eclipse of the Innocent Eye, Moving Image Department, National Gallery Prague Crystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, Berlin Videonale.15, Festival for Contemporary Video Art, Bonn Live Formats 2019Landscapes and bodies: Gold & Coal, solo performance as part of walk-in virtual reality film by Kötter/ Israel/ Limberg, Schauspiel Leipzig Residenz Artificial Gut Feeling, Text-to-voice performance by Anna Zett & Jule Flierl, Book launch of Artificial Gut Feeling, Kunsthaus KuLe Berlin Spuk von Drinnen. Partizipative Kartenlegung für Singstimme und Gespräch, performance in collaboration with Lina Krüger (Music) Center for Literature/ Burg Hülsoff Entsorgung: Utopie & Deponie, Concept & moderation of a conversation as part of the festival Palast der Republik, Haus der Berliner Festspiele, Berlin 2018 Minimale Manipulation. Card Lecture Performance, Der Ohrenmensch: Bühne des Hörwissens/ Platform for listening knowledge, HKW Berlin OU‘ALL, Participatory Installation in collaboration with P_P_K_K (Schönfeld & Scoufaras), Projectspace festival, Ciudad Juarez (Mexico) 2017 Past & Fortune. Card reading in collaboration with Bobby Abate. Artists Space, New York City 2016 Movements on a continuous floor: INCARNATIONS. M.I. /mi1glissé Berlin, curated by Joel Mu 2014-19 Copy & Dance, participatory dance show in collaboration with Tina Pfurr, hosted by Hebbel am Ufer Berlin, also performed at Festival Friche la Belle de May Marseille, AfricUrbanArts Abidjan, Corps é Gestes Yaoundé, Theatre de la Manufacture Nancy, Kammerspiele München, Festspielhaus Hellerau, Kaserne Basel and other venues Publications 2015 Fist to Brain, In: The New Inquiry, www.thenewinquiry.com The Ghost of Participation. In: PALE Journal, #1, London 2014 Sleeping in Public, In: How to Sleep Faster Issue 5, Tom Clark, Rozsa Farkas (Eds). London: Arcadia Missa Publications 2013 Dinotasia, Dinotopia. Animationen ungreifbarer Tierkörper im Kino des Fortschritts. In: Chimaira AK (Eds.): Tiere_Bilder_Ökonomien. Bielefeld: Transkript Verwende deine Nerven. In: Sarah Schönfeld – All you can feel. Bielefeld/ Berlin: Kerber Back to the Now! And back again. In: Now! Extended. Berlin: AKV 2011 Transtier, Intertier. Tiermotive und die Überschreitung von Geschlechtergrenzen in den Filmen Transamerica und XXY. In: Sophia Könnemann, Anne Stähr (Eds): Das Geschlecht der Anderen. Figuren der Alterität: Kriminologie, Psychiatrie, Ethnologie und Zoologie. Bielefeld: Transkript 2009 In particular, infinity. In: Jorinde Voigt - Matrix/ Patric Catani & Chris Imler - Lemniscate. Bielefeld/ Leipzig: Kepler 2007 Verflechtung, Zitation, Variation und Erfindung. In: Jorinde Voigt – Konglomerat. Köln: Galerie Christian Lethert Performances 2015 After the Eclipse, reading series, Atelierhaus am Flutgraben, Berlin PALE Journal #1, book launch, SPACE, London 2014 Gespensterfunk. Radio Performance at Tieranatomisches Theater in collaboration with Joshua Wicke and Émission de l'Art Visionnaire 2013 Rundfunkorakel. Performance with the group Remote Control, symposion Offensiv Experimentell, HfbK Hamburg The Air is Alchemical: Paracettamor. Participatory Performance in collaboration with Ancelle Beauchamp, Voin de Voin, Stephanie Ballantine, at Mindpirates, Berlin. Performance at the group show True Colors, Kotti Shop, Berlin Now! (Compressed) book launch, KunstWerke, Berlin 2012 Dada/ Danet. Performance in collaboration with Ancelle Beauchamp et al. at the Performance Night Manisensations. Leap, Berlin Lectures + panels 2014 Alternative Film/Video Research Forum, Belgrade Archeologies of Media and Film. Bradford University 2013 Marginal Modernities: On Queer Materiality. Panel with Jesse Darling, Jaako Pallasvuo, Maja Cule. The White Building, London Tiere_Bilder_Ökonomien. Lecture series, Institute of Cultural Studies. Humboldt University, Berlin 2010 Grenzgänger_innen in den Lateinamerikas, Symposion, HKW/ House of World Cultures, Berlin 2009 Das Geschlecht der Anderen/ The Gender of Others. International conference, University of Humboldt, Berlin. www.annazet.net

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