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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

Daniel Beerstecher

Works


Galleries

Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de




Biography

1979 born in Schwäbisch Hall / DE
lives and works in Stuttgart / DE and Rio de Janeiro / BRA

Education

2003 Starts studying at the Staatliche Akademie der Bildenden Künste Stuttgart with Prof. Werner Pokorny (elementary class sculpture) / DE
2004-2005 with Prof. Udo Koch (master class sculpture)
2005-2009 with Prof. Christian Jankowski (master class sculpture, installation, performance and video) 2005 to 2007 as a tutor
2007 Studies at the Tokyo National University of Fine Arts and Music, Tokio / JP
2009 Diplom Freie Kunst at the Staatliche Akademie der Bildenden Künste Stuttgart / DE
2009 Working residence at Schloss Wiepersdorf / DE (Sept.- Dec.)
2009-2010 Academy scholarship 2009/2010 at the Staatliche Akademie der Bildenden Künste Stuttgart / DE
2010 Working residence at Herrenhaus Edenkoben / DE
2012 Postgraduate Studies at the Universidade Sao Paulo / Escola de Comunicações e Artes Programa de Pós-graduação em Meios e Processos Audiovisuais / BRA

Solo exhibitions

2019
Libération 4.0, Institut français Stuttgart / DE

2017
Rio de Janeiro, Samstags Galerie, Stuttgart / DE

2016
Wie ich meinem Vogel die Welt erkläre, ZustandsZone, Hamburg / DE

2015
Land-Sailor, Kunsthalle Göppingen / DE (Kat.)
Land-Sailor, Kunstverein Wilhelmshöhe, Ettlingen / DE (Kat.)
Deslocamentos, Prêmio Funarte de Arte Contemporânea 2014, Galeria Funarte, São Paulo (Brazil) Cat
Land-Sailor, Kunsthalle Göppingen Cat
Land-Sailor, Kunstverein Wilhelmshöhe, Ettlingen Cat
Viagem através, Fundação Joaquim Nabuco, Recife (Brazil)

2014
Salão Buraco, Largo das Artes, Rio de Janeiro (Brazil)

2011
Die kleine Werkschau, Karin Abt Straubinger-Stiftung, Stuttgart-Möhringen

2010
Künstlerhaus Bethanien, Berlin
Sand am Meer, Weingrüll, Karlsruhe
Daniel Beerstecher, Herrenhaus Edenkoben, Edenkoben

2008
Bitte nicht stören! EXP. 4, Interventionsraum, Stuttgart

2007
Beerstecher, eigen.art – Raum für Kunst, Stuttgart

Group exhibitions (selection)

2018
I’m a Believer, Galerie Anita Beckers, Frankfurt / DE

2017
Jubiläumsausstellung, 20 Jahre Kunst im Herrenhaus Edenkoben, Herrenhaus Edenkoben, Edenkoben / DE
The Fountain Mémoire, Atelierhaus e.V., Hannover / DE
The Fountain Mémoire, Projektraum Akku, Stuttgart / DE

2016
Depois do Futuro, EAV Parque Lage, Rio de Janeiro / BRA
Till it’s gone, ikonoTV “Art Speaks Out”, Istanbul Modern, Istanbul / TR
Stadt, Land, Fluss, GEDOK-Galerie, Stuttgart / DE
Ikono TV: Art is On, Adiacenze, Bologna / IT

2015
B3 Biennale des bewegten Bildes, Frankfurt / DE (Cat.)
Verbo, Galeria Vermelho, São Paulo (Brazil)
Abre Alas, A Gentil Carioca, Rio de Janeiro (Brazil) ( Cat)

2014
500 Years of Future..., 2. Montevideo Biennale, Montevideo (Uruguay) (Cat)
Da_Wir, Exhibition in public space, Ellwangen

2013
Skulptur ist, wenn ..., Kunsthalle Göppingen (Cat)
Transeuntes, Casa da Ladeira, Rio de Janeiro (Brazil)
Skulptur ist, wenn ..., Kunstverein Wilhelmshöhe, Ettlingen (Cat)

2012
Kollwitzstrasse 52, MIS (Museu da Imagem e do Som), São Paulo (Brazil)
60 Jahre Land Baden-Württemberg/ 60 Kunstwerke für Baden-Württemberg, Städtisches Kunstmuseum Singen (Cat)
Galeria Virgilio, São Paulo (Brazil)

2010
Public Sphere, Alternative Space LOOP, Seoul (South Korea)
The Garden as a Mirror, Künstlerhaus Bethanien, Berlin
Fotosommer / Fokus 0711, Württembergischer Kunstverein, Stuttgart (Cat)
Ansehen!, Galerie im Volkspark, Halle (an der Saale) (Cat)
O jardim como espelho, Goethe-Institut, Lissabon (Portugal)
Fototage Trier, Viehmarktthermen, Trier

2009
Kunststudentinnen und Kunststudenten stellen aus, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (Cat)
Summer Reading, Invisibles-Exports, New York (USA)
Diplomausstellung, Galerie Kunstbezirk im Gustav-Siegle-Haus, Stuttgart
Stipendiaten stellen aus, Schloss Wiepersdorf
Übermorgenkünstler, Heidelberger Kunstverein, Heidelberg

2007
Hard Beat Meeting, Tokyo National University of Fine Arts and Music, Tokyo (Japan)
Fotosommer / Fokus 0711, Town Hall, Stuttgart (Cat)

2006
Neuropolis, Europäisches Theater- und Medienfestival, Berlin
Coming out of the Maultasche, Maccarone, New York (USA)
Frames per second, Central station, Stuttgart

2005
Between, Staatliche Akademie der Bildenden Künste Stuttgart (Cat)
Between, Hong-Ik University, Seoul (South Korea) (Cat)
Skulptur zur Beseitigung des Professors, Kunstmuseum Stuttgart

Scholarships

2018
Studio scholarship of the City of Stuttgart / DE
2017
Working scholarship for the Cité Interantionale des Arts Paris / FR
2014
Artistic Residence at Recife (Fundação Joaquim Nabuc) / BRA
2013
Filmförderung der Medien- und Filmgesellschaft (MFG) / DE
2011
Postgraduiertenstipendium der Studienstiftung des deutschen Volkes für Brasilien / DE, BRA
2010
Arbeitsstipendium im Herrenhaus Edenkoben / DE
2010
Filmförderung der Medien- und Filmgesellschaft / DE
2009–2010
Academy scholarship of the Staatliche Akademie der Bildenden Künste Stuttgart / DE
2009
Working scholarship at Schloß Wiepersdorf / DE
2007
Baden-Württemberg-Stipendium of the Landesstiftung Baden-Württemberg for a study residence in Tokyo / JP
2006–2010
Scholarship of the Studienstiftung des deutschen Volkes

Awards

2014
Prêmio Funarte de Arte Contemporânea / BRA
2009
Ring Frei | 19. Bundeswettbewerb "Kunststudentinnen und Kunststudenten stellen aus" of the Bundesministeriums für Bildung und Forschung / DE
2005
Skulpturen am Radweg, Zweckverband RIO (Regionaler Industriepark Osterburken) / DE

Daniel Beerstecher
1979 born in Schwäbisch Hall / DE lives and works in Stuttgart / DE and Rio de Janeiro / BRAEducation 2003 Starts studying at the Staatliche Akademie der Bildenden Künste Stuttgart with Prof. Werner Pokorny (elementary class sculpture) / DE 2004-2005 with Prof. Udo Koch (master class sculpture) 2005-2009 with Prof. Christian Jankowski (master class sculpture, installation, performance and video) 2005 to 2007 as a tutor 2007 Studies at the Tokyo National University of Fine Arts and Music, Tokio / JP 2009 Diplom Freie Kunst at the Staatliche Akademie der Bildenden Künste Stuttgart / DE2009 Working residence at Schloss Wiepersdorf / DE (Sept.- Dec.)2009-2010 Academy scholarship 2009/2010 at the Staatliche Akademie der Bildenden Künste Stuttgart / DE 2010 Working residence at Herrenhaus Edenkoben / DE 2012 Postgraduate Studies at the Universidade Sao Paulo / Escola de Comunicações e Artes Programa de Pós-graduação em Meios e Processos Audiovisuais / BRA Solo exhibitions 2019 Libération 4.0, Institut français Stuttgart / DE 2017 Rio de Janeiro, Samstags Galerie, Stuttgart / DE 2016 Wie ich meinem Vogel die Welt erkläre, ZustandsZone, Hamburg / DE2015Land-Sailor, Kunsthalle Göppingen / DE (Kat.) Land-Sailor, Kunstverein Wilhelmshöhe, Ettlingen / DE (Kat.)Deslocamentos, Prêmio Funarte de Arte Contemporânea 2014, Galeria Funarte, São Paulo (Brazil) Cat Land-Sailor, Kunsthalle Göppingen Cat Land-Sailor, Kunstverein Wilhelmshöhe, Ettlingen Cat Viagem através, Fundação Joaquim Nabuco, Recife (Brazil) 2014 Salão Buraco, Largo das Artes, Rio de Janeiro (Brazil) 2011 Die kleine Werkschau, Karin Abt Straubinger-Stiftung, Stuttgart-Möhringen 2010 Künstlerhaus Bethanien, Berlin Sand am Meer, Weingrüll, Karlsruhe Daniel Beerstecher, Herrenhaus Edenkoben, Edenkoben 2008 Bitte nicht stören! EXP. 4, Interventionsraum, Stuttgart 2007 Beerstecher, eigen.art – Raum für Kunst, Stuttgart Group exhibitions (selection) 2018 I’m a Believer, Galerie Anita Beckers, Frankfurt / DE2017Jubiläumsausstellung, 20 Jahre Kunst im Herrenhaus Edenkoben, Herrenhaus Edenkoben, Edenkoben / DEThe Fountain Mémoire, Atelierhaus e.V., Hannover / DE The Fountain Mémoire, Projektraum Akku, Stuttgart / DE 2016 Depois do Futuro, EAV Parque Lage, Rio de Janeiro / BRA Till it’s gone, ikonoTV “Art Speaks Out”, Istanbul Modern, Istanbul / TR Stadt, Land, Fluss, GEDOK-Galerie, Stuttgart / DE Ikono TV: Art is On, Adiacenze, Bologna / IT2015 B3 Biennale des bewegten Bildes, Frankfurt / DE (Cat.)Verbo, Galeria Vermelho, São Paulo (Brazil) Abre Alas, A Gentil Carioca, Rio de Janeiro (Brazil) ( Cat) 2014 500 Years of Future..., 2. Montevideo Biennale, Montevideo (Uruguay) (Cat) Da_Wir, Exhibition in public space, Ellwangen 2013 Skulptur ist, wenn ..., Kunsthalle Göppingen (Cat) Transeuntes, Casa da Ladeira, Rio de Janeiro (Brazil) Skulptur ist, wenn ..., Kunstverein Wilhelmshöhe, Ettlingen (Cat) 2012 Kollwitzstrasse 52, MIS (Museu da Imagem e do Som), São Paulo (Brazil) 60 Jahre Land Baden-Württemberg/ 60 Kunstwerke für Baden-Württemberg, Städtisches Kunstmuseum Singen (Cat) Galeria Virgilio, São Paulo (Brazil) 2010 Public Sphere, Alternative Space LOOP, Seoul (South Korea) The Garden as a Mirror, Künstlerhaus Bethanien, Berlin Fotosommer / Fokus 0711, Württembergischer Kunstverein, Stuttgart (Cat) Ansehen!, Galerie im Volkspark, Halle (an der Saale) (Cat) O jardim como espelho, Goethe-Institut, Lissabon (Portugal) Fototage Trier, Viehmarktthermen, Trier 2009 Kunststudentinnen und Kunststudenten stellen aus, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (Cat) Summer Reading, Invisibles-Exports, New York (USA) Diplomausstellung, Galerie Kunstbezirk im Gustav-Siegle-Haus, Stuttgart Stipendiaten stellen aus, Schloss Wiepersdorf Übermorgenkünstler, Heidelberger Kunstverein, Heidelberg 2007 Hard Beat Meeting, Tokyo National University of Fine Arts and Music, Tokyo (Japan) Fotosommer / Fokus 0711, Town Hall, Stuttgart (Cat) 2006 Neuropolis, Europäisches Theater- und Medienfestival, Berlin Coming out of the Maultasche, Maccarone, New York (USA) Frames per second, Central station, Stuttgart 2005 Between, Staatliche Akademie der Bildenden Künste Stuttgart (Cat) Between, Hong-Ik University, Seoul (South Korea) (Cat) Skulptur zur Beseitigung des Professors, Kunstmuseum StuttgartScholarships2018 Studio scholarship of the City of Stuttgart / DE2017 Working scholarship for the Cité Interantionale des Arts Paris / FR2014 Artistic Residence at Recife (Fundação Joaquim Nabuc) / BRA 2013 Filmförderung der Medien- und Filmgesellschaft (MFG) / DE2011 Postgraduiertenstipendium der Studienstiftung des deutschen Volkes für Brasilien / DE, BRA 2010Arbeitsstipendium im Herrenhaus Edenkoben / DE2010 Filmförderung der Medien- und Filmgesellschaft / DE2009–2010 Academy scholarship of the Staatliche Akademie der Bildenden Künste Stuttgart / DE2009 Working scholarship at Schloß Wiepersdorf / DE 2007 Baden-Württemberg-Stipendium of the Landesstiftung Baden-Württemberg for a study residence in Tokyo / JP 2006–2010 Scholarship of the Studienstiftung des deutschen VolkesAwards2014 Prêmio Funarte de Arte Contemporânea / BRA 2009 Ring Frei | 19. Bundeswettbewerb Kunststudentinnen und Kunststudenten stellen aus of the Bundesministeriums für Bildung und Forschung / DE 2005 Skulpturen am Radweg, Zweckverband RIO (Regionaler Industriepark Osterburken) / DE

Daniel Beerstecher
CARA PÁLIDA (Pale face)

Artist Daniel Beerstecher
Year 2016
Duration 13:00 min
Edition 5 + 1AP
Technical info mov.-file
Contact
Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de

About the video

Painted and dress up as the native Guarani Indians I walk 100km from the 2200m high mountains of the Parque Nacional da Serra dos Órgãos to the beach of Ipanema. I pass remote mountain scenery, the jungles, bustling suburbs, highways, until I finally arrive in the midst of the Carnival of Rio de Janeiro. My path takes me as Pale face (Cara Pálita) from nature to civilization and into the midst of the social structures of Brazil, which manifest themselves also in the „blocos“, the carnival rides.


Credits

camera: Bruno Schultze
actioncam: Daniel Beerstecher
editing: Daniel Beerstecher
sound design: Boris Laible  

Daniel Beerstecher - CARA PÁLIDA (Pale face)
Painted and dress up as the native Guarani Indians I walk 100km from the 2200m high mountains of the Parque Nacional da Serra dos Órgãos to the beach of Ipanema. I pass remote mountain scenery, the jungles, bustling suburbs, highways, until I finally arrive in the midst of the Carnival of Rio de Janeiro. My path takes me as Pale face (Cara Pálita) from nature to civilization and into the midst of the social structures of Brazil, which manifest themselves also in the „blocos“, the carnival rides.

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