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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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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

An van. Dienderen

Works


Galleries

for further information contact blinkvideo
Germany

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




Statement

Filmmaker An van. Dienderen works at the intersection between documentary, anthropology and visual arts. While exploring various documentary strategies and the anthropological relation between self and other, she also investigates the medium of film in a self-reflective way. She investigates the opposition of fact and fiction, imagination and observation, representation and experience, using the importance of the image in our multicultural society as a point of departure. Her work shows the absurd, poetic, and often touching stories that these oppositions can hold in everyday life. (Source Contour7)


She graduated in audiovisual arts (Sint-Lukas, Brussels), obtained a PhD in Comparative Cultural Sciences (Ghent University), and was a visiting scholar at UC Berkeley. She made several documentaries screened worldwide, awarded with (inter)national prizes. Films include Visitors of the Night (’98), Site (’00), Tu ne verras pas Verapaz (’02), The Ephemerist (’05) Patrasche, a Dog of Flanders – Made in Japan (’08), Cherry Blossoms (’12), Letter Home (’15) and Lili (’15). She regularly publishes on visual/performative anthropology, is a lecturer and artistic researcher at the School of Arts Ghent, and initiated the international art workspace SoundImageCulture and productioncompany Elektrischer schnellseher. Her work has been shown on the Margaret Mead Film and Video festival (New York), FID Marseille, DocFest Sheffield, Belluard Festival (Fribourg), DMZ Korea International documentary festival, International Short film Festival Oberhausen, FIDOCS, Festival Internacional de Documentales de Santiago, International Filmfestival Rotterdam, etc and is represented by argos; media and art center Brussels.


Biography

Education

2000–2004 University of Ghent: Doctor in Comparative Cultural Sciences – 2004.
Titel: Production Processes as a Site of Critique. Ethnographic Research
into the Mediated Interactions during Documentary (Film)Production.
Doctoral Committee: Prof. R. Pinxten (Ghent University), Prof. E.
Sweetser (UC Berkeley), Prof. S. Hughes (SOAS University of London),
Prof. M. De Mey (Ghent University) and Dirk Dewit (independent new
media curator) Funded by Ghent
1999-2000 UC Berkeley: visiting scholar invited by prof. Trinh Minh-Ha at the
Rhetoric department (Film studies)
1995-'97 University of Ghent: Master Degree in Comparative Cultural Sciences
Qualified with Great Distinction
Fall semester ’99 UC Berkeley: Santander-scholarship: visiting scholar at the Rhetoric
Department UC Berkeley Qualified with Greatest Distinction
1991-1995 School of Arts Sint-Lukas in Brussels: Master Degree in Visual Arts,
Specialisation Documentary Film
Qualified with Distinction
1989-'91 Catholic University of Louvain: Candidate Courses in History of Art
Qualified with Distinction

Art projects

2015 “Lili”
Shortfilm (16mm) coproduced by Contour 7, argos, VAF (Flemish film fund), School of arts
Screenings: Contour 7, Biënnale Mechelen; BFI Festival London 2015; IFFR Rotterdam 2016;
25FPS Festival Zagreb (C); Message to man Festival - St.Petersburg (R); FID Marseille - Festival
International du Cinéma (Fr); European Media Arts Festival - Osnabrueck (D); SCCA Center for
Contemporary Art, Ljubljana (C); Het Bos (Antwerp); Museum of Contemporary Art, Athens (G);
Stuttgarter Filmwinter — Festival for Expanded Media (G); Videonale Bonn (G)
Nomination best short film award BFI London 2015

“Letter Home”
Shortfilm coproduced by Beursschouwburg, Argos and School of arts
Screenings: Beursschouwburg; Forum Image Festival Tokyo, Fukuoka, Kyoto, Nagoya and
Yokohama 2016; Message to man Festival - St.Petersburg (R).

“Kastom Kopiraet”
Scenario documentary with Hugo DeBlock, funded by VAF (Flemish film fund)

2013 “Scattering of the Fragile. Cherry Blossoms”
Artists book. van Dienderen A. en L. Spilliaert, (ara)MER, Gent.

2012 “Cherry Blossoms”
Video-installation and short film, funded by VAF (Flemish film fund)
Special Prize of the Jury at the International Short Film Competition "Monsieur Guillaume" at
FIDOCS Chile 2013

Screenings:

Festival des Films de Femmes, Le Créteil, Paris 2013
“The politics and Poetics of Documentary Film”, research symposium Helsinki, 2013
International Short film Festival Oberhausen, 2013
KVS, Tok Toc Knock festival Brussel, 2013
Festival back up, Weimar 2013
FIDOCS, Festival Internacional de Documentales de Santiago, 2013
FID Marseille, 2013
Elles tournent, Brussel, 2013
DMZ Korean international documentary Festival, 2013
Kasseler docfest, 2013
International Filmfestival Rotterdam, 2013
Leiden international Film Festival 2013
‘Grenzen/loos’ expo in Emergent Veurne 22/12/2013- 09/03/2014
Cinematek Brussels 2014
Association for Cultural Studies (ACS), Bloemfontein, South-Africa, 2015

2010 “A Dog of Flanders, een nooit geziene kijk op Vlaanderen”
Collection Exposition
30/04 > 29/08/2010 Koningin Fabiolazaal Antwerpen, funded by the province Antwerp
4/10 > 30/11/2010 Town hall Sint-Katelijne-Waver

2009 “Scattering of the fragile cherry blossoms”
Series of Photographs
Exposition in t:mebook 2009, curators Dirk Braeckman and Els Dietvorst. MER
publisher.

“Scattering of the fragile cherry blossoms”
Postcards – series of three
10 > 11/10/2009 Exposition in Nieuwe vide, Arts Center Haarlem (The Netherlands)
along the cityfestival ‘When Guests become Host’ (curator Danielle Van Zuijlen)
7/10 > 17/11/2010 : Camera Japan Rotterdam (curator Dirk Zschunke).

2008 “Patrasche, A Dog of Flanders, Made in Japan”
Documentary, 85’ ism Didier Volckaert, funded by VAF (Flemish film fund), Production company
Elektrischer Schnellseher
Shortlist Grierson Innovation Award, DocFest Sheffield 2008

Screenings (selection)

2010 Tokyo Tama University
Canvas, TV screening (National Broadcasting company Flanders)

2009 Taiwan International Ethnographic Film Festival, Taipei
Days of ethnographic Cinema, Moscow
Bristol, Conference of Association of Social Anthropologists (ASA)
Kyoto University
Ethnocineca Vienna
Cinemo Novo Festival, Brugges
Nieuwe Vide, Haarlem (The Netherlands) in the arts center with the theme When guests
become hosts, curator Danielle Van Zuylen
Open Doek Filmfestival Turnhout (B)

2008 DocFest Sheffield UK
Camera Japan festival NL Dordrecht & Rotterdam (Lantaren-Venster)
Ouida conference, Kingston College London
Delhi International Ethnographic film festival
Z33 Hasselt – zebracinema (B)
UGC Antwerp (B)
O.L.V.-kathedraal Antwerp (B)
Beursschouwburg Brussels, DocHouseprogramma (B)

2007 “Dog of Flanders 127.670.000 Japanese Fans Can’t Be Wrong“
Teaser expo, Mixed Media
04/10 > 02/11/2007 Beursschouwburg Brussel

2004 “The ephemerist. Pocket Librarian of the Veldstraat” – 34 min. Betacam
Nominatie Prijs beste Belgische documentaire 2005 en 2006 van de Vlaamse en Waalse
Gemeenschap & Erevermelding Prijs Cultureel erfgoed 2006 Provincie Oost-Vlaanderen
Commissioned by Gent Cultuurstad

Screenings (selection)

2011 11/2010 > 09/2011: Gent Expo with the film ‘The ephemerist’ in OCMW woonzorgcentra
with STAM museum heritage, OCMW Gent, Universiteit Gent

2009 AVS TV screening

2005 Kentucky (US): University of West-Kentucky
UC Berkeley

2004 Veldstraat project Gent Cultuurcel (B)
Film museum Brussels

2002 «Tu ne verras pas Verapaz»
Documentary, 56’ directed with Didier Volckaert. Produced by Elektrischer Schnellseher, Funded
by KunstenFestivaldesArts, Koning Boudewijnstichting, City of Ghent, province East-Flanders,
vzw de hondsjaren and Flemish Film Fund
Price Best Belgian documentary 2002 and 2003 by the Flemish and Walloon Community

Screenings (selection)

2012 Atlas, Antwerp during the art project Vlamingrant

2010 Brussels, Maison de L ‘Amérique Latine
London Conference: Dilemma and Decision: Ethnographic Filmmaking in the Making.
International Centre for Contemporary Cultural Research, Royal Anthropological
Institute, Host: Institute for the Study of Muslim Civilisations

2009 28/06 – 30/08/09: Ronse (B) during the art project Vlamingrant

2003 SOAS, School of Oriental and African Studies, University London
Guatemala city: Festival de Cine Europeo;
London: Royal Anglo-Belgian Club;

2002 KunstenFESTIVALdesArts, Brussels
Argosfestival, Brussels
Margaret Mead Film and Video festival New York
Pacific Film Archive Berkeley
Viewpoint Documentair Filmfestival Gent
Timefestival Gent
Brussels Festival of the free image; Utrecht, Nederlands film festival, Benelux screening,..

2000 « Site, Portrait topographique de José Besprosvany » Betacam SP 10’
Produced by Kunstenfestivaldesarts & Brussel2000

Screenings

2011 Netwerk, Center for Contemporary Arts Aalst (B) in the expo Poetics of Observation, SIC
Vooruit, Performing arts center Gent (B) at the conference Minorities and artistic
practice of the majority org. Amateo, Compendium authors and Forum amateurkunsten

2008 Extrapool Nijmegen (TN)

2000 KunstenFESTIVALdesArts Brussels
Actor’s Studio’s Brussels
TV screening op Canvas
Viewpoint Documentair Filmfestival Gent
Cinema Nova

1998 “Visitors of the Night”
Documentary, 34' directed with Didier Volckaert, produced by Sophimages, desire productions
and TouMouv asbl. Distribution Women Make Movies, New York.
GNT Channel television Prize for Language Renewal- Brazilië (1999)
Margaret Mead Film en video festival Award 1999

Screenings

2016 Contemporary art center Vilnius, Exposition Morality reflex curated by Heidi Ballet 2/9 -
19/10/2016

2011 Netwerk, center for contemporary arts Aalst (B) in the expo Poetics of Observation, SIC
(10/09 – 20/11/2011)

2008 ‘Elles tournent!’ Festival Brussels
B-docs, Luik (B)
Extrapool Nijmegen (TN)

2007 Canada, Documentary reframed, Paved Arts, Saskatoon (curator Maureen Latta)

2001 Cinema Nova Brussels

2000 S.M.A.K. Museum of Contemporary Art Gent
Rio de Janeiro Brasilia
Albion College (US)
Marlboro College (US)
Donell Public Library NY

1999 Margaret Mead festival, New York
Pacific Film Archive Berkeley
Belluard Festival Fribourg Switzerland
Filmplateau, Gent
Beursschouwburg, Brussels
Viewpoint, Gent
Limelight, Kortrijk (B)

1995 “Coïtus” 16mm, b/w, 12’

Screenings

1997 Amsterdam

1996 Filmfestival Den Haag
Filmfestival Utrecht
Brussel Filmfestival

1995 Filmfestival van Gent

1993 “Yzer” U-matic low, kleur, 3'
Publieksprijs Canada, Montréal 6°Evenement interuniversitaire de Création vidéo '95

Screenings:

1995 Film Festival Gent '95.

1994 Berlin, Arsenal; Film festival Brussels

Curator film programs and expositions

• Curator KASKADE with Elias Grootaers and Rob Vanderbeeken: Nicolas Philibert,
Susanne Helke and Sarah Vanagt (2008-2009)
• Coordinator of the International and Interdisciplinary Symposium: Making Sense in the
City, organized by CICI, Ghent University.
• Curator of Dochouse at Beursschouwburg Brussels (2006 – 2009)
• Curator of “Zone 2005, the documentary platform” organized by MuHKA (Antwerp),
Limelight (Kortrijk) and Film-Plateau, Ghent.
• Curator of the Film program commissioned by Gerard Mortier of the Rührtriënnale for
the theater piece “The children of Herakles” by Peter Sellars September 2002.
• Curator of exhibitions, screenings and lectures for the series ‘Operation One-eye’ a six
months program of experimental films on the occasion of the opening of Museum of
Contemporary Art S.M.A.K in Ghent: May till December ’99.
• Co-Programmatrice Viewpoint Documentary Film Festival Gent, in '96, '97 en '98

Prices, nominations, grants and funding

- Nomination best short film award BFI London 2015
- Special Prize of the Jury at the International Short Film Competition "Monsieur Guillaume" at
FIDOCS Chile 2013
- Shortlist Grierson Innovation Award 2008
- Nomination Price best Belgian documentary 2005 and 2006
- Price best Belgian documentary 2002 and 2003
- GNT Channel television Prize for Language Renewal - Brazilië 1999
- Margaret Mead Film en video festival Award New York 1999
- Price of the public Canada, Montréal, 6°Evenement interuniversitaire de Création vidéo 1995
- Santander grant as exchange student / visiting scholar fall semester 1999 at UC Berkeley
- Bijzonder Onderzoeks Fonds Universiteit Gent: doctoral position: 2000-2004
- EU grant for a lecture at EASA (European Association of Social Anthropologists) Vienna 2004
- FWO grants for conferences in UC Berkeley 05 and EASA Bristol 06
- Faculty funding for conferences in Manchester 07 (Beyond Text?)
- Funding by VAF (Flemish film fund); SACD-SCAM; City Ghent Art; Province East-Flanders;
Noordstarfonds;

An van. Dienderen
Education 2000–2004 University of Ghent: Doctor in Comparative Cultural Sciences – 2004. Titel: Production Processes as a Site of Critique. Ethnographic Research into the Mediated Interactions during Documentary (Film)Production. Doctoral Committee: Prof. R. Pinxten (Ghent University), Prof. E. Sweetser (UC Berkeley), Prof. S. Hughes (SOAS University of London), Prof. M. De Mey (Ghent University) and Dirk Dewit (independent new media curator) Funded by Ghent 1999-2000 UC Berkeley: visiting scholar invited by prof. Trinh Minh-Ha at the Rhetoric department (Film studies) 1995-'97 University of Ghent: Master Degree in Comparative Cultural Sciences Qualified with Great Distinction Fall semester ’99 UC Berkeley: Santander-scholarship: visiting scholar at the Rhetoric Department UC Berkeley Qualified with Greatest Distinction 1991-1995 School of Arts Sint-Lukas in Brussels: Master Degree in Visual Arts, Specialisation Documentary Film Qualified with Distinction 1989-'91 Catholic University of Louvain: Candidate Courses in History of Art Qualified with Distinction Art projects 2015 “Lili” Shortfilm (16mm) coproduced by Contour 7, argos, VAF (Flemish film fund), School of arts Screenings: Contour 7, Biënnale Mechelen; BFI Festival London 2015; IFFR Rotterdam 2016; 25FPS Festival Zagreb (C); Message to man Festival - St.Petersburg (R); FID Marseille - Festival International du Cinéma (Fr); European Media Arts Festival - Osnabrueck (D); SCCA Center for Contemporary Art, Ljubljana (C); Het Bos (Antwerp); Museum of Contemporary Art, Athens (G); Stuttgarter Filmwinter — Festival for Expanded Media (G); Videonale Bonn (G) Nomination best short film award BFI London 2015 “Letter Home” Shortfilm coproduced by Beursschouwburg, Argos and School of arts Screenings: Beursschouwburg; Forum Image Festival Tokyo, Fukuoka, Kyoto, Nagoya and Yokohama 2016; Message to man Festival - St.Petersburg (R). “Kastom Kopiraet” Scenario documentary with Hugo DeBlock, funded by VAF (Flemish film fund) 2013 “Scattering of the Fragile. Cherry Blossoms” Artists book. van Dienderen A. en L. Spilliaert, (ara)MER, Gent. 2012 “Cherry Blossoms” Video-installation and short film, funded by VAF (Flemish film fund) Special Prize of the Jury at the International Short Film Competition Monsieur Guillaume at FIDOCS Chile 2013 Screenings: Festival des Films de Femmes, Le Créteil, Paris 2013 “The politics and Poetics of Documentary Film”, research symposium Helsinki, 2013 International Short film Festival Oberhausen, 2013 KVS, Tok Toc Knock festival Brussel, 2013 Festival back up, Weimar 2013 FIDOCS, Festival Internacional de Documentales de Santiago, 2013 FID Marseille, 2013 Elles tournent, Brussel, 2013 DMZ Korean international documentary Festival, 2013 Kasseler docfest, 2013 International Filmfestival Rotterdam, 2013 Leiden international Film Festival 2013 ‘Grenzen/loos’ expo in Emergent Veurne 22/12/2013- 09/03/2014 Cinematek Brussels 2014 Association for Cultural Studies (ACS), Bloemfontein, South-Africa, 2015 2010 “A Dog of Flanders, een nooit geziene kijk op Vlaanderen” Collection Exposition 30/04 > 29/08/2010 Koningin Fabiolazaal Antwerpen, funded by the province Antwerp 4/10 > 30/11/2010 Town hall Sint-Katelijne-Waver 2009 “Scattering of the fragile cherry blossoms” Series of Photographs Exposition in t:mebook 2009, curators Dirk Braeckman and Els Dietvorst. MER publisher. “Scattering of the fragile cherry blossoms” Postcards – series of three 10 > 11/10/2009 Exposition in Nieuwe vide, Arts Center Haarlem (The Netherlands) along the cityfestival ‘When Guests become Host’ (curator Danielle Van Zuijlen) 7/10 > 17/11/2010 : Camera Japan Rotterdam (curator Dirk Zschunke). 2008 “Patrasche, A Dog of Flanders, Made in Japan” Documentary, 85’ ism Didier Volckaert, funded by VAF (Flemish film fund), Production company Elektrischer Schnellseher Shortlist Grierson Innovation Award, DocFest Sheffield 2008 Screenings (selection) 2010 Tokyo Tama University Canvas, TV screening (National Broadcasting company Flanders) 2009 Taiwan International Ethnographic Film Festival, Taipei Days of ethnographic Cinema, Moscow Bristol, Conference of Association of Social Anthropologists (ASA) Kyoto University Ethnocineca Vienna Cinemo Novo Festival, Brugges Nieuwe Vide, Haarlem (The Netherlands) in the arts center with the theme When guests become hosts, curator Danielle Van Zuylen Open Doek Filmfestival Turnhout (B) 2008 DocFest Sheffield UK Camera Japan festival NL Dordrecht & Rotterdam (Lantaren-Venster) Ouida conference, Kingston College London Delhi International Ethnographic film festival Z33 Hasselt – zebracinema (B) UGC Antwerp (B) O.L.V.-kathedraal Antwerp (B) Beursschouwburg Brussels, DocHouseprogramma (B) 2007 “Dog of Flanders 127.670.000 Japanese Fans Can’t Be Wrong“ Teaser expo, Mixed Media 04/10 > 02/11/2007 Beursschouwburg Brussel 2004 “The ephemerist. Pocket Librarian of the Veldstraat” – 34 min. Betacam Nominatie Prijs beste Belgische documentaire 2005 en 2006 van de Vlaamse en Waalse Gemeenschap & Erevermelding Prijs Cultureel erfgoed 2006 Provincie Oost-Vlaanderen Commissioned by Gent Cultuurstad Screenings (selection) 2011 11/2010 > 09/2011: Gent Expo with the film ‘The ephemerist’ in OCMW woonzorgcentra with STAM museum heritage, OCMW Gent, Universiteit Gent 2009 AVS TV screening 2005 Kentucky (US): University of West-Kentucky UC Berkeley 2004 Veldstraat project Gent Cultuurcel (B) Film museum Brussels 2002 «Tu ne verras pas Verapaz» Documentary, 56’ directed with Didier Volckaert. Produced by Elektrischer Schnellseher, Funded by KunstenFestivaldesArts, Koning Boudewijnstichting, City of Ghent, province East-Flanders, vzw de hondsjaren and Flemish Film Fund Price Best Belgian documentary 2002 and 2003 by the Flemish and Walloon Community Screenings (selection) 2012 Atlas, Antwerp during the art project Vlamingrant 2010 Brussels, Maison de L ‘Amérique Latine London Conference: Dilemma and Decision: Ethnographic Filmmaking in the Making. International Centre for Contemporary Cultural Research, Royal Anthropological Institute, Host: Institute for the Study of Muslim Civilisations 2009 28/06 – 30/08/09: Ronse (B) during the art project Vlamingrant 2003 SOAS, School of Oriental and African Studies, University London Guatemala city: Festival de Cine Europeo; London: Royal Anglo-Belgian Club; 2002 KunstenFESTIVALdesArts, Brussels Argosfestival, Brussels Margaret Mead Film and Video festival New York Pacific Film Archive Berkeley Viewpoint Documentair Filmfestival Gent Timefestival Gent Brussels Festival of the free image; Utrecht, Nederlands film festival, Benelux screening,.. 2000 « Site, Portrait topographique de José Besprosvany » Betacam SP 10’ Produced by Kunstenfestivaldesarts & Brussel2000 Screenings 2011 Netwerk, Center for Contemporary Arts Aalst (B) in the expo Poetics of Observation, SIC Vooruit, Performing arts center Gent (B) at the conference Minorities and artistic practice of the majority org. Amateo, Compendium authors and Forum amateurkunsten 2008 Extrapool Nijmegen (TN) 2000 KunstenFESTIVALdesArts Brussels Actor’s Studio’s Brussels TV screening op Canvas Viewpoint Documentair Filmfestival Gent Cinema Nova 1998 “Visitors of the Night” Documentary, 34' directed with Didier Volckaert, produced by Sophimages, desire productions and TouMouv asbl. Distribution Women Make Movies, New York. GNT Channel television Prize for Language Renewal- Brazilië (1999) Margaret Mead Film en video festival Award 1999 Screenings 2016 Contemporary art center Vilnius, Exposition Morality reflex curated by Heidi Ballet 2/9 - 19/10/2016 2011 Netwerk, center for contemporary arts Aalst (B) in the expo Poetics of Observation, SIC (10/09 – 20/11/2011) 2008 ‘Elles tournent!’ Festival Brussels B-docs, Luik (B) Extrapool Nijmegen (TN) 2007 Canada, Documentary reframed, Paved Arts, Saskatoon (curator Maureen Latta) 2001 Cinema Nova Brussels 2000 S.M.A.K. Museum of Contemporary Art Gent Rio de Janeiro Brasilia Albion College (US) Marlboro College (US) Donell Public Library NY 1999 Margaret Mead festival, New York Pacific Film Archive Berkeley Belluard Festival Fribourg Switzerland Filmplateau, Gent Beursschouwburg, Brussels Viewpoint, Gent Limelight, Kortrijk (B) 1995 “Coïtus” 16mm, b/w, 12’ Screenings 1997 Amsterdam 1996 Filmfestival Den Haag Filmfestival Utrecht Brussel Filmfestival 1995 Filmfestival van Gent 1993 “Yzer” U-matic low, kleur, 3' Publieksprijs Canada, Montréal 6°Evenement interuniversitaire de Création vidéo '95 Screenings: 1995 Film Festival Gent '95. 1994 Berlin, Arsenal; Film festival Brussels Curator film programs and expositions • Curator KASKADE with Elias Grootaers and Rob Vanderbeeken: Nicolas Philibert, Susanne Helke and Sarah Vanagt (2008-2009) • Coordinator of the International and Interdisciplinary Symposium: Making Sense in the City, organized by CICI, Ghent University. • Curator of Dochouse at Beursschouwburg Brussels (2006 – 2009) • Curator of “Zone 2005, the documentary platform” organized by MuHKA (Antwerp), Limelight (Kortrijk) and Film-Plateau, Ghent. • Curator of the Film program commissioned by Gerard Mortier of the Rührtriënnale for the theater piece “The children of Herakles” by Peter Sellars September 2002. • Curator of exhibitions, screenings and lectures for the series ‘Operation One-eye’ a six months program of experimental films on the occasion of the opening of Museum of Contemporary Art S.M.A.K in Ghent: May till December ’99. • Co-Programmatrice Viewpoint Documentary Film Festival Gent, in '96, '97 en '98 Prices, nominations, grants and funding - Nomination best short film award BFI London 2015 - Special Prize of the Jury at the International Short Film Competition Monsieur Guillaume at FIDOCS Chile 2013 - Shortlist Grierson Innovation Award 2008 - Nomination Price best Belgian documentary 2005 and 2006 - Price best Belgian documentary 2002 and 2003 - GNT Channel television Prize for Language Renewal - Brazilië 1999 - Margaret Mead Film en video festival Award New York 1999 - Price of the public Canada, Montréal, 6°Evenement interuniversitaire de Création vidéo 1995 - Santander grant as exchange student / visiting scholar fall semester 1999 at UC Berkeley - Bijzonder Onderzoeks Fonds Universiteit Gent: doctoral position: 2000-2004 - EU grant for a lecture at EASA (European Association of Social Anthropologists) Vienna 2004 - FWO grants for conferences in UC Berkeley 05 and EASA Bristol 06 - Faculty funding for conferences in Manchester 07 (Beyond Text?) - Funding by VAF (Flemish film fund); SACD-SCAM; City Ghent Art; Province East-Flanders; Noordstarfonds;

An van. Dienderen
Lili

Artist An van. Dienderen
Year 2015
Duration 12:07 min
Technical info 16mm transferred
Contact

About the video

Where do a film’s colors come from? Or, as the chatty voiceover (a fictitious CEO of Kodak) cheerfully asks at the beginning: »Who is Lili?«

From the very beginning of van. Dienderen’s LILI, it is suggested that the name in the title refers to a procedure which has been observed over decades in the dark recesses of film studios. It is a method employed to ensure a consistent color tone throughout the production. At the beginning of a regular production, the camera is measured by placing a ›China Girl‹ with an affixed color table before the lens. The aim is to establish a skin tone that is smooth, and above all as white as Chinese porcelain.

From here, a camera style which plays with the conventions of documentary film – shaky shots, hasty zooms, out-of-focus images – escorts us into a studio situation where one of these ›China Girls‹ is going about her daily work. She is the perfect cliché – white, blond, blue-eyed. She sits smiling, posing for the camera before carrying out more menial tasks around the studio.

The commentary suggests that this is Lili, whereas in fact, she is merely an actress who embodies the stereotype. By staging authenticity in this manner, van. Dienderen’s film reproduces the artificiality inherent in the film making process, according to which what is supposed to appear natural in the finished film is in fact carefully constructed in advance. Not least, the method brought with it a serious gesture of exclusion. The practice of taking a white skin type as a reference point resulted in the distortion of other skin tones. This illustrates how a practice carried out before making a film establishes a norm, and how the supposed objectivity of the technical apparatus is invisibly shaped to fit prevailing ideologies.

(Sebastian Hammerschmidt, catalogue Videonale 2017)


Credits

Director: An van. Dienderen
Produced by: Elektrischer Schnellseher, coproduced by Contour 7, argos, VAF (Flemish film fund), School of arts
Distribution: distribution@argosarts.org
Lili: Maaike Neuville
Director of Photography: Léo Lefèvre
Sound: Laszlo Umbreit
Editing: Fairuz
Editing assistant: Kenneth Michiels
Assistant camera: Artur Castro Freire
Production: Natalie Gielen, Steven Op de Beeck, Lieze Eneman, Christina Stuhlberger
Manager Maaike: Marie Van Innis by Talent Agency Innis
Set photographer: Lisa Spilliaert
Colour Grading: Loup Brenta for Stempel
Credits titles: Mario Debaene

An van. Dienderen - Lili
Where do a film’s colors come from? Or, as the chatty voiceover (a fictitious CEO of Kodak) cheerfully asks at the beginning: »Who is Lili?«From the very beginning of van. Dienderen’s LILI, it is suggested that the name in the title refers to a procedure which has been observed over decades in the dark recesses of film studios. It is a method employed to ensure a consistent color tone throughout the production. At the beginning of a regular production, the camera is measured by placing a ›China Girl‹ with an affixed color table before the lens. The aim is to establish a skin tone that is smooth, and above all as white as Chinese porcelain.From here, a camera style which plays with the conventions of documentary film – shaky shots, hasty zooms, out-of-focus images – escorts us into a studio situation where one of these ›China Girls‹ is going about her daily work. She is the perfect cliché – white, blond, blue-eyed. She sits smiling, posing for the camera before carrying out more menial tasks around the studio.The commentary suggests that this is Lili, whereas in fact, she is merely an actress who embodies the stereotype. By staging authenticity in this manner, van. Dienderen’s film reproduces the artificiality inherent in the film making process, according to which what is supposed to appear natural in the finished film is in fact carefully constructed in advance. Not least, the method brought with it a serious gesture of exclusion. The practice of taking a white skin type as a reference point resulted in the distortion of other skin tones. This illustrates how a practice carried out before making a film establishes a norm, and how the supposed objectivity of the technical apparatus is invisibly shaped to fit prevailing ideologies.(Sebastian Hammerschmidt, catalogue Videonale 2017)

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