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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.

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

Adad Hannah

Works


Galleries

Pierre-François Ouellette art contemporain
Pierre-François Ouellette
372 Ste-Catherine West #216
H3B 1A2 Montréal, Québec
Canada

Phone: (514) 395 - 6032
E-Mail: pfo@pfoac.com




Statement

Adad Hannah is interested in the way the photographic moment is performed for a camera and his works often take the form of video-recorded tableaux vivants. Through his videos and photographs he explores the nexus of photography, video, sculpture, and performance and how the human body occupies this space.


Biography

Born in New York in 1971
spent his childhood in Israel and England
moved to Vancouver in the early 1980’s
He lives and works between Montreal and Vancouver

Education

2013 PhD, Concordia University, Montreal, Canada
2004 Master of Fine Arts, Concordia University, Montreal, Canada
1998 Bachelor of Fine Arts, Emily Carr Institute of Art & Design, Vancouver, Canada

Selected solo exhibitions

2015
Hannah/Arcand: Burghers of Vancouver, Canadian Cutural Centre, Paris. Curator: Catherine Bedard.
Burghers of Vancouver in Rodin: Metamorphoses, MBAM, Montreal. Curator: Nathalie Bondil.

2014
The Critique of Statical Reason, Victoria Art, Bucharest, Romania. Curator: Marius Tana.
Adad Hannah Recent Works, Equinox Gallery, Vancouver, Canada.
Three Generations, Koffler Centre of the Arts, Toronto, Canada. Curator: Mona Phillip.
Unfixed, Two Rivers Art Gallery, Prince George, Canada. Curator: George Harris

2013
Single Channel, Des Moines Art Center, Iowa, USA. Curator: Laura Burkehalter.
Blackwater Ophelia, Judith & Norman ALIX Art Gallery, Sarnia, Canada. Curator: Lisa Daniels.

2012
Visitors, The Ottawa Art Gallery, Ottawa, Canada. Curator: Ola Wlusek.
Instantes, Centro Multimedia, Mexico City, Mexico. Curator: de Blois & Vergara-Vargas.
Mirroring the Brodsky, I. I. Brodsky Apartment Museum, Saint Petersburg, Russia.
Intimate Encounters, San Antonio Museum of Art, San Antonio, USA. Curator: David Rubin.

2011
The Russians, Pierre-François Ouellette art contemporain, Montreal, Canada.
Reversing and 18 Minutes, LEEUM Museum, Seoul, South Korea. Curator: Kyunghwa Koo.

2010
Adad Hannah: Cuba Still (Remake), Rodman Hall Art Centre, Saint Catherines, Canada.
Masterpieces in Motion, Aldrich Museum, Ridgefield, USA. Curator: Mónica Ramírez-Montagut.
Peinture de genre figure de Still, Le Musée d’art contemporain des Laurentides, Saint-Jérôme, Canada.

2009
The Raft of the Medusa, Pierre-François Ouellette art contemporain, Montreal, Canada.
All Is Vanity (Mirrorless Version), BMO Project Room, Toronto, Canada. Curator: Dawn Cain.

2008
Adad Hannah: Reflections, Pierre-François Ouellette art contemporain, Montreal, Canada.

2007
Videos and Not Videos, Monash University, Melbourne, Australia.
Internal Logic: Camping, Vancouver Art Gallery, Vancouver, Canada.

2006
Adad Hannah: Stills, Ikon Gallery, Birmingham, United Kingdom. Curator: Jonathan Watkins.

Selected group exhibitions

2015
Packaged, venue to be confirmed, Toronto, Canada. Curated by Lois Schklar and Andrea Lacalamita.

2014
Marc Audette and Adad Hannah, Pierre-François Ouellette art contemporain, Toronto, Canada.
Wai Bao OUTsource, AMNUA Nanjing, China. Curator: Doug Louis.
Sympathetic Magic, Mendel Art Gallery, Saskatoon, Canada. Curator: Troy Gronsdahl.

2013
Lost in Space, Linden Centre for Contemporary Arts, Melbourne, Australia. Curator: Matthew Perkins.
Quotation, Confederation Centre Art Gallery, Charlottetown, PEI, Canada. Curator: Pan Wendt.
Mise-en-Scène, Leeum Samsung Museum of Art, Seoul, South Korea. Curator: Kyunghwa Koo.
Switched Over, Victoria Art, Bucharest, Romania. Curator: Marius Tana.

2012
Primer Acto, Museo Tamayo, Mexico City, Mexico. Curator: Andrea Torreblanca.
The Artificial Full Moon, Wroclaw Contemporary Museum, Wroclaw, Poland.
Watch This Space, Art Gallery of Ontario, Toronto, Canada.
Machines, Centre des Arts Enghien-les-Bains, Paris, France. Curator: Alan Theibault.
Seeking Beyond The Surface, University of Essex, Essex, United Kingdom.

2011
Safari, Musée des beaux arts de Montréal, Montreal, Canada. Collaborator: Denys Arcand.
The Savage Transparence, Young Projects, Los Angeles, USA. Curator: Paul Young.
Prague Biennial 5, Microna, Prague, Czech Republic. Curator: Marius Tana & Horea Avram.
Silencia Para Cinco, Museo des Bellas Artes, Santiago, Chile. Curator: Christian Viveros-Faune.
5th International Video Art Biennial, Isreal Centre for Digital Art, Holon, Isreal. Curator: Chen Tamir.
Videoderive dell’arte 3, Museo Civico Villa dei Cedri, Bellinzona, Switzerland.
Canadian Biennial, National Gallery of Canada, Ottawa, Canada. Curator: Josée Drouin-Brisebois.

2010
Sobey Quebec Artists, Musée d’art contemporain de Montréal, Montreal, Canada.
18 Minutes, LEEUM, Samsung Museum of Art, Seoul, South Korea. Curator: Kyunghwa Koo.
Liverpool Biennial, Contemporary Urban Centre, Liverpool, United Kingdom.
Adad Hannah: Cuba Still (Remake), Yukon Arts Centre, Whitehorse, Canada.
The Mirror Effect, Australian Centre for Photography, Sydney, Australia. Curator: Malcolm Smith.

2009
Connecting to Collections 2: Destinations, Gallery Lambton, Sarnia, Canada. Curator: Lisa Daniels.
A Starting Point, Zendai MoMA, Shanghai, China. Curator: Shen Qibin & Biljana Ciric.
Here, Now, or Nowhere, Art Gallery of Grande Prairie, Grande Prairie, Canada. Curator: Micah Lexier.
The Mobile Archive, The Israeli Center for Digital Art, Touring Exhibition.

2008
Single Channel, Galerie Thomas Shulte, Berlin, Germany. Curator: Christopher Eamon.
10th Anniversary Exhibition, Ssamzie Space, Seoul, South Korea.
The Québec Triennial, Musée d’art contemporain de Montréal, Montreal, Canada.
Art Multiples, Ke Center for Contemporary Art, Shanghai, China. Curator: Biljana Ciric.
Intrude, Shanghai Zendai Museum of Modern Art, Shanghai, China. Curator: Biljana Ciric.
Stutter and Twitch, Barnicke Gallery, Toronto, Canada. Curator: Chen Tamir.
Let Me Be Your Mirror, MacKenzie Art Gallery, Regina, Canada. Curator: Timothy Long.

Selected grants & awards

2013
Prix Les Arts et la Ville, Ville de Montréal, Blocks for the Musée
CSLA/AAPC Award of Excellence, Blocks for the Musée
Canada Council for the Arts, Travel Grant

2011
Quebec Arts Council, Research & Creation Grant
Conseil des Arts et des Lettres, Travel Grant

2010
Conseil des Arts et des Lettres, Travel Grant

2009
Conseil des Arts et des Lettres, Research & Creation Grant
Canada Council for the Arts, Victor Martyn Lynch-Staunton Award for Mid-Career Artist

2008
Conseil des Arts et des Lettres, Research & Creation Grant
Canada Council for the Arts, Research & Creation Grant

2007
Conseil des Arts et des Lettres

2006
Canadian Embassy in Seoul
Canadian Embassy in Madrid
Conseil des Arts et des Lettres

2005
Canada Council for the Arts

2004
Best Installation/New Media Award, Images Festival for Folk & Still at Gallery TPW
Bogdanka Poznanovic Award, 8th Videomedeja International Video Festival, Novi Sad, Serbia
Canada Council for the Arts
Conseil des Arts et des Lettres

2003
WRO 03 10th International Media Arts Biennale, Second Place

Public & private collections

National Gallery of Canada, Ottawa, Canada
Musée d’art contemporain de Montréal, Montreal, Canada
Montreal Museum of Fine Arts, Montreal, Canada
Museo Tamayo, Mexico City, Mexico
Musée d’art de Joliette, Joliette, Quebec, Canada
LEEUM Museum, Seoul, South Korea
Art Gallery of Ontario, Toronto, Canada
Musée National des Beaux-Arts du Québec, Quebec City, Canada
Ke Center for Centemporary Art, Shanghai, China
Winnipeg Art Gallery, Winnipeg, Canada
SSamzie Collection, Seoul, South Korea
Zacheta Lower Silesian Society for the Fine Arts, Wroclaw, Poland
Cirque du Soliel, Montreal, Canada
Surrey Art Gallery, Surrey, Canada
Judith & Norman ALIX Art Gallery, Sarnia, Ontario, Canada
Musée d’art contemporain des Laurentides, Saint-Jérôme, Canada
Monash University, Melbourne, Australia
Mordes Collection, Miami, United States
Sir Elton John, London, United Kingdom
The Mobile Archive, The Israeli Center for Digital Art, Holon, Isreal
The Canada Council Art Bank, Ottawa, Canada

Adad Hannah
Born in New York in 1971spent his childhood in Israel and Englandmoved to Vancouver in the early 1980’sHe lives and works between Montreal and VancouverEducation2013 PhD, Concordia University, Montreal, Canada2004 Master of Fine Arts, Concordia University, Montreal, Canada1998 Bachelor of Fine Arts, Emily Carr Institute of Art & Design, Vancouver, CanadaSelected solo exhibitions2015Hannah/Arcand: Burghers of Vancouver, Canadian Cutural Centre, Paris. Curator: Catherine Bedard.Burghers of Vancouver in Rodin: Metamorphoses, MBAM, Montreal. Curator: Nathalie Bondil.2014The Critique of Statical Reason, Victoria Art, Bucharest, Romania. Curator: Marius Tana.Adad Hannah Recent Works, Equinox Gallery, Vancouver, Canada.Three Generations, Koffler Centre of the Arts, Toronto, Canada. Curator: Mona Phillip.Unfixed, Two Rivers Art Gallery, Prince George, Canada. Curator: George Harris2013Single Channel, Des Moines Art Center, Iowa, USA. Curator: Laura Burkehalter.Blackwater Ophelia, Judith & Norman ALIX Art Gallery, Sarnia, Canada. Curator: Lisa Daniels.2012Visitors, The Ottawa Art Gallery, Ottawa, Canada. Curator: Ola Wlusek.Instantes, Centro Multimedia, Mexico City, Mexico. Curator: de Blois & Vergara-Vargas.Mirroring the Brodsky, I. I. Brodsky Apartment Museum, Saint Petersburg, Russia.Intimate Encounters, San Antonio Museum of Art, San Antonio, USA. Curator: David Rubin.2011The Russians, Pierre-François Ouellette art contemporain, Montreal, Canada.Reversing and 18 Minutes, LEEUM Museum, Seoul, South Korea. Curator: Kyunghwa Koo.2010Adad Hannah: Cuba Still (Remake), Rodman Hall Art Centre, Saint Catherines, Canada.Masterpieces in Motion, Aldrich Museum, Ridgefield, USA. Curator: Mónica Ramírez-Montagut.Peinture de genre figure de Still, Le Musée d’art contemporain des Laurentides, Saint-Jérôme, Canada.2009The Raft of the Medusa, Pierre-François Ouellette art contemporain, Montreal, Canada.All Is Vanity (Mirrorless Version), BMO Project Room, Toronto, Canada. Curator: Dawn Cain.2008Adad Hannah: Reflections, Pierre-François Ouellette art contemporain, Montreal, Canada.2007Videos and Not Videos, Monash University, Melbourne, Australia.Internal Logic: Camping, Vancouver Art Gallery, Vancouver, Canada.2006Adad Hannah: Stills, Ikon Gallery, Birmingham, United Kingdom. Curator: Jonathan Watkins.Selected group exhibitions2015Packaged, venue to be confirmed, Toronto, Canada. Curated by Lois Schklar and Andrea Lacalamita.2014Marc Audette and Adad Hannah, Pierre-François Ouellette art contemporain, Toronto, Canada.Wai Bao OUTsource, AMNUA Nanjing, China. Curator: Doug Louis.Sympathetic Magic, Mendel Art Gallery, Saskatoon, Canada. Curator: Troy Gronsdahl.2013Lost in Space, Linden Centre for Contemporary Arts, Melbourne, Australia. Curator: Matthew Perkins.Quotation, Confederation Centre Art Gallery, Charlottetown, PEI, Canada. Curator: Pan Wendt.Mise-en-Scène, Leeum Samsung Museum of Art, Seoul, South Korea. Curator: Kyunghwa Koo.Switched Over, Victoria Art, Bucharest, Romania. Curator: Marius Tana.2012Primer Acto, Museo Tamayo, Mexico City, Mexico. Curator: Andrea Torreblanca.The Artificial Full Moon, Wroclaw Contemporary Museum, Wroclaw, Poland.Watch This Space, Art Gallery of Ontario, Toronto, Canada.Machines, Centre des Arts Enghien-les-Bains, Paris, France. Curator: Alan Theibault.Seeking Beyond The Surface, University of Essex, Essex, United Kingdom.2011Safari, Musée des beaux arts de Montréal, Montreal, Canada. Collaborator: Denys Arcand.The Savage Transparence, Young Projects, Los Angeles, USA. Curator: Paul Young.Prague Biennial 5, Microna, Prague, Czech Republic. Curator: Marius Tana & Horea Avram.Silencia Para Cinco, Museo des Bellas Artes, Santiago, Chile. Curator: Christian Viveros-Faune.5th International Video Art Biennial, Isreal Centre for Digital Art, Holon, Isreal. Curator: Chen Tamir.Videoderive dell’arte 3, Museo Civico Villa dei Cedri, Bellinzona, Switzerland.Canadian Biennial, National Gallery of Canada, Ottawa, Canada. Curator: Josée Drouin-Brisebois.2010Sobey Quebec Artists, Musée d’art contemporain de Montréal, Montreal, Canada.18 Minutes, LEEUM, Samsung Museum of Art, Seoul, South Korea. Curator: Kyunghwa Koo.Liverpool Biennial, Contemporary Urban Centre, Liverpool, United Kingdom.Adad Hannah: Cuba Still (Remake), Yukon Arts Centre, Whitehorse, Canada.The Mirror Effect, Australian Centre for Photography, Sydney, Australia. Curator: Malcolm Smith.2009Connecting to Collections 2: Destinations, Gallery Lambton, Sarnia, Canada. Curator: Lisa Daniels.A Starting Point, Zendai MoMA, Shanghai, China. Curator: Shen Qibin & Biljana Ciric.Here, Now, or Nowhere, Art Gallery of Grande Prairie, Grande Prairie, Canada. Curator: Micah Lexier.The Mobile Archive, The Israeli Center for Digital Art, Touring Exhibition.2008Single Channel, Galerie Thomas Shulte, Berlin, Germany. Curator: Christopher Eamon.10th Anniversary Exhibition, Ssamzie Space, Seoul, South Korea.The Québec Triennial, Musée d’art contemporain de Montréal, Montreal, Canada.Art Multiples, Ke Center for Contemporary Art, Shanghai, China. Curator: Biljana Ciric.Intrude, Shanghai Zendai Museum of Modern Art, Shanghai, China. Curator: Biljana Ciric.Stutter and Twitch, Barnicke Gallery, Toronto, Canada. Curator: Chen Tamir.Let Me Be Your Mirror, MacKenzie Art Gallery, Regina, Canada. Curator: Timothy Long.Selected grants & awards2013Prix Les Arts et la Ville, Ville de Montréal, Blocks for the MuséeCSLA/AAPC Award of Excellence, Blocks for the MuséeCanada Council for the Arts, Travel Grant2011Quebec Arts Council, Research & Creation GrantConseil des Arts et des Lettres, Travel Grant2010Conseil des Arts et des Lettres, Travel Grant2009Conseil des Arts et des Lettres, Research & Creation GrantCanada Council for the Arts, Victor Martyn Lynch-Staunton Award for Mid-Career Artist2008Conseil des Arts et des Lettres, Research & Creation GrantCanada Council for the Arts, Research & Creation Grant2007Conseil des Arts et des Lettres2006Canadian Embassy in SeoulCanadian Embassy in MadridConseil des Arts et des Lettres2005Canada Council for the Arts2004Best Installation/New Media Award, Images Festival for Folk & Still at Gallery TPWBogdanka Poznanovic Award, 8th Videomedeja International Video Festival, Novi Sad, SerbiaCanada Council for the ArtsConseil des Arts et des Lettres2003WRO 03 10th International Media Arts Biennale, Second PlacePublic & private collectionsNational Gallery of Canada, Ottawa, CanadaMusée d’art contemporain de Montréal, Montreal, CanadaMontreal Museum of Fine Arts, Montreal, CanadaMuseo Tamayo, Mexico City, MexicoMusée d’art de Joliette, Joliette, Quebec, CanadaLEEUM Museum, Seoul, South KoreaArt Gallery of Ontario, Toronto, CanadaMusée National des Beaux-Arts du Québec, Quebec City, CanadaKe Center for Centemporary Art, Shanghai, ChinaWinnipeg Art Gallery, Winnipeg, CanadaSSamzie Collection, Seoul, South KoreaZacheta Lower Silesian Society for the Fine Arts, Wroclaw, PolandCirque du Soliel, Montreal, CanadaSurrey Art Gallery, Surrey, CanadaJudith & Norman ALIX Art Gallery, Sarnia, Ontario, CanadaMusée d’art contemporain des Laurentides, Saint-Jérôme, CanadaMonash University, Melbourne, AustraliaMordes Collection, Miami, United StatesSir Elton John, London, United KingdomThe Mobile Archive, The Israeli Center for Digital Art, Holon, IsrealThe Canada Council Art Bank, Ottawa, Canada

Adad Hannah
Blackwater Ophelia

Artist Adad Hannah
Year 2013
Duration 1:00 min
Edition 7
Technical info HD Video
Contact
Pierre-François Ouellette art contemporain
Pierre-François Ouellette
372 Ste-Catherine West #216
H3B 1A2 Montréal, Québec
Canada

Phone: (514) 395 - 6032
E-Mail: pfo@pfoac.com

About the video

Inspired by the 1852 painting Ophelia by John Everett Millais, and by a visit Hannah made to the Aamjiwnaang first-nations community in Lambton County, in 2010. Blackwater Ophelia reflects the harsh impact of the oil industry on the preserved First Nations land.

Ophelia is one of the most frequently illustrated of Shakespeare's heroines and one of the least discussed in Shakespearean critical texts. It is the mythology of Ophelia that has captured and sustained the interest of artists, for over 400 years. Her physical body is held for a saturated and poignant moment by the buoyancy of the still dark water.

When asked why he chose this particular subject Hannah commented:

"I have liked this painting for a long time; it is so lush and melancholic. It also depicts nature, but nature as seen in the middle of the nineteenth century, a nature laying itself out for the photographic—which is really a nature constructed by and for photography. To restage this scene for recording in video, in a painstaking manner using silk flowers and a built set draws attention to the artifice of photographic images, while still seducing with the same techniques Millais used 150 years ago. This double reading/double presence is interesting for me, and hopefully for viewers as well."

Adad Hannah - Blackwater Ophelia
Inspired by the 1852 painting Ophelia by John Everett Millais, and by a visit Hannah made to the Aamjiwnaang first-nations community in Lambton County, in 2010. Blackwater Ophelia reflects the harsh impact of the oil industry on the preserved First Nations land.Ophelia is one of the most frequently illustrated of Shakespeare's heroines and one of the least discussed in Shakespearean critical texts. It is the mythology of Ophelia that has captured and sustained the interest of artists, for over 400 years. Her physical body is held for a saturated and poignant moment by the buoyancy of the still dark water.When asked why he chose this particular subject Hannah commented:I have liked this painting for a long time; it is so lush and melancholic. It also depicts nature, but nature as seen in the middle of the nineteenth century, a nature laying itself out for the photographic—which is really a nature constructed by and for photography. To restage this scene for recording in video, in a painstaking manner using silk flowers and a built set draws attention to the artifice of photographic images, while still seducing with the same techniques Millais used 150 years ago. This double reading/double presence is interesting for me, and hopefully for viewers as well.

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