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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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Would you like to share your videos online? Or would you like to focus attention on a video work? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows:
When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
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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

Kurt Hentschläger

Works


Statement

Kurt Hentschlager creates audiovisual performances and installations. He began to exhibit his work in 1983, creating surreal machine-objects, and since has been working with timebased media, film, video, animation and sound.
The immersive nature of his work reflects on the metaphor of the sublime and the human condition. His current work further researches human perception and the impact of new technologies on both individual and collective consciousness.


Biography

born 1960 in Linz/Austria
creates audiovisual performances and installations.

Solo exhibitions (selected)

2014
MEASURE, Art Basel (Hong Kong / Basel / Miami Beach)

2013 CLUSTER installation, The Office, Nicosia, Cyprus
ZEE, HIVE, Wood Street Galleries, Pittsburgh, USA
MODEL5, POL, Wood Street Galleries, Pittsburgh, USA (as Granular Synthesis)

2012 CORE, Ironbridge Gorge Museum (Commission, Cultural Program of the UK Olympic
Games & London 2012 Festival)
MATTER, Site-specific commission, SATosphère Dome, Société des Arts
Technologiques (SAT), Montreal, Canada

2009
SCAPE, Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA, USA
ZEE, FuturePerfect, New York, NY, USA

2008
RANGE, ZEE, Wood Street Galleries, Pittsburgh, PA, USA

2004
NATURE04, Lille 2004 - European Capital of Culture, Public Art Installation, Lille, France

2003
LUX, Lia Rumma Gallery, Milano, Italy (as Granular Synthesis)

2000
NOISEGATE, Creative Time Inc / In the Anchorage, New York, NY, USA (as Granular Synthesis)
NOISEGATE, National Museum for Photo, Film and TV, Bradford, England (as Granular Synthesis)
NOISEGATE, Musiques en Scène / Musée d'Art Contemporain, Lyon, France (as Granular Synthesis)
FELD, Wood Street Galleries, Pittsburgh, PA, USA (as Granular Synthesis)
FORMEN, Québec, Canada (as Granular Synthesis)

1999
NOISEGATE, Kunstverein Hannover, Germany (as Granular Synthesis)
NOISEGATE, Musée d'art contemporain, Montreal, Canada (as Granular Synthesis)

1998
NOISEGATE, Museum of Applied Arts (MAK), Vienna, Austria (as Granular Synthesis)
NOISEGATE, Marstall, Munich, Germany (as Granular Synthesis)
NOISEGATE, Transpennine, Hull, England (as Granular Synthesis)
NOISEGATE, Stedelijk Museum / De Ijsbreker, Amsterdam, Netherlands (as Granular Synthesis)

1997
SWEETHEART, Kunststücke ORF - Austrian Broadcasting Corporation, Austria (as Granular Synthesis)

Group exhibitions (selected)

2015
TURBO PIRAT, “Vienna for Art’s Sake!”, Belvedere, Wien, Austria
MEASURE, Stedelijk Museum, Sonic Acts Festival, Amsterdam, Netherlands

2014
HIVE, “Sleuthing the mind”, Pratt Manhattan Gallery, New York, NY, USA

2013
ZEE, “I look to you and I see nothing”, Sharjah Art Foundation, Sharjah, United Arab Emirates
ZEE, “Beam in Thine Own Eye”, MONA – Museum of New and Old Art, Hobart, Tasmania
ZEE, Nemo Festival, Le Centquatre, Paris, France
CLUSTER installation, There is a Body on Screen, Luxun Museum, Shenyang, China
SECTOR 2c, Accumulations, SherinNajjar Gallery, Berlin, Germany

2011
CLUSTER, Simulationists, School of the Art Institute, Chicago, IL, USA
ZEE, Matter-Light, Béthune, France
ZEE, And, Foundation for Art and Creative Technology (Fact), Liverpool, England
HIVE, Madde-Isik, Borusan Muzik Evi, Istanbul, Turkey
VIEW, Public Art Installation Tom Bradley International Terminal, Los Angeles Airport, Los Angeles, CA

2010
ZEE, dynamic (in)position, Laboratorio Arte Alameda, Mexico City, Mexico
ZEE, File Festival, São Paulo, Brazil
ZEE, Wave Exhibition, INDAF, Seoul, South Korea
MODELL 5, Madde-Isik, Borusan Muzik Evi, Istanbul, Turkey (as Granular Synthesis)
POL, Mapping Festival, Genève, Switzerland (as Granular Synthesis)

2009
ZEE, STRP Festival, Eindhoven, Netherlands
Retrospective GRANULAR-SYNTHESIS, STRP & MU-Gallery, Eindhoven, Netherlands (as Granular Synthesis)
LUX, Videorama, Artclips from Austria, Galerie Henze & Ketterer, Wichtrach/Bern, Switzerland (as Granular Synthesis)
LUX, Videorama, Artclips from Austria, Kunsthalle, Vienna, Austria (as Granular Synthesis)
POL, Un volcan numérique, Le Volcan, Le Havre, France (as Granular Synthesis)
SINKEN & FORM, See this Sound, Lentos Museum Linz, Austria (as Granular Synthesis)
FELD, Sounds and Visions, Tel Aviv Museum of Art, Israel (as Granular Synthesis)

2008
ZEE, Tiefenrausch, OK-Center, Linz, Austria
KARMA/X, Dans la nuit, des images, Le Grand Palais, Paris, France
KARMA/cell, Synthetic Times, National Art Museum of China, Beijing, China
SCAPE, Sonic Acts XII, The Cinematic Experience, Amsterdam, Netherlands
POL, eLandscapes, eArts Festival / Zendai MoMA, Shanghai, China (as Granular Synthesis)
MODELL 5, Les Voix Magnétiques, Le Tri Postal, Lille, France (as Granular Synthesis)

2007
KARMA/cell, Body Media, O Art Center, Shanghai, China
MODELL 5, Body Media, O Art Center / Sculpture Art Space, Shanghai, China (as Granular Synthesis)
LUX, What color does a sound make?, Honolulu, Hawaii, USA (as Granular Synthesis)

2006
KARMA/cell, Panorama, Le Fresnoy - Studio national des Arts Contemporains, Tourcoing, France
KARMA, Switching Worlds: Desires and Identities, Austrian Cultural Forum (ACF), New York, NY, USA
FELD, Code Blue, Millenium Museum, Beijing, China (as Granular Synthesis)
MODELL 5, Slow Tech, Museum for Contemporary Arts, Taipei, Taiwan (as Granular Synthesis)
SWEETHEART, 40 Jahre Videokunst Deutschland /Center for Art and Media (ZKM) -
Kunsthalle Bremen, Germany (as Granular Synthesis)
LUX, What color does a sound make? The Center for Art & Visual Culture, Baltimore,
MD, USA (as Granular Synthesis)

2005
KARMA, Digital Paradise, Municipal Museum, Daejon, South Korea
LUX, What color does a sound make? Eyebeam, New York, NY USA (as Granular Synthesis)
FELD, Gabinete Literario, Las Palmas de Gran Canaria, Spain (as Granular Synthesis)
FELD, Circulo de Bellas Artes, Santa Cruz de Tenerife, Spain (as Granular Synthesis)

2004
KARMA /cave, Ars Electronica Festival, Linz, Austria
IMMERSIVE WORKS, Cinémas du Futur, Lille 2004 - Cultural Capital of Europe, Lille, France (as Granular Synthesis)
LUX, Arborescence Festival, Aix-en-Provence, France (as Granular Synthesis)
LUX, Z33, Hasselt, Belgium (as Granular Synthesis)
FORM & MODELL 5, Australian Center for the Moving Image (ACMI) Melbourne, Australia (as Granular Synthesis)

2003
SINKEN, Austrian Cultural Forum, New York, NY, USA (as Granular Synthesis)
LUX, Centro Nacional de las Artes / Centro Multimedia, Laboratorio Alameda, Mexico City, Mexico (as Granular Synthesis)
LUX, IEAR Presents! / Rensselaer Polytechnic Institute, Troy, NY, USA (as Granular Synthesis)

2002
FELD, Municipal Museum of Art, Daejeon, South Korea (as Granular Synthesis)
FELD, Musica per gli Occhi, Bolzano, Italy (as Granular Synthesis)
WIDE, Austrian Cultural Forum, New York, NY, USA (as Granular Synthesis)
MODELL 5.7, Schirn Kunsthalle, Frankfurt am Main, Germany (as Granular Synthesis)

2001
RESET, Austrian Pavilion, Venice Biennial, Venice, Italy (as Granular Synthesis)

2000
FELD, OK-Center, Linz, Austria (as Granular Synthesis)

1999
MODELL 5, Face to Face, Beyeler Foundation, Basel, Switzerland (as Granular Synthesis)

1998
NOISEGATE, Exit Festival, Créteil, France (as Granular Synthesis)
NOISEGATE, Via Festival, Mauberge, France (as Granular Synthesis)
MODELL 5, Museum of Contemporary Art, Seoul, South Korea (as Granular Synthesis)

Online

2013 SECTOR 2c, Accumulations, www.blinkvideo.de
CLUSTER & NATURE04, Ikono On Air Festival, www./ikono.org

Grants, awards and residencies (selected)

2013
Residency - Experimental Media and Performing Arts Center (EMPAC), Rensselaer
Polytechnic Institute (RPI), Troy, NY, USA
2012
CORE Commission, Cultural Program of the UK Olympic Games & London 2012 Festival
Residency - Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute (RPI), Troy, NY, USA
2010
QWARTZ, New Media Arts Award, Paris, France
FILE PRIX LUX Award, Sao Paulo, Brazil
2008
Austrian Federal State Grant for Media Art, Austria
Chicago Studio Grant, Austria
2005
KARMA/cell commission, Le Fresnoy - Studio National des Arts Contemporains, Tourcoing, France
2000-05
Elisabeth Foundation for the Arts New York, subsidized studio
1999
PS1 Residency New York, NY, USA (as Granular Synthesis)
Austrian Federal State Grant for Fine Art, Austria (as Granular Synthesis)
1995
Austrian Furtherance Prize for new media art (as Granular Synthesis)
1993
Austrian Furtherance Prize for new media art (as Granular Synthesis)


Kurt Hentschläger
born 1960 in Linz/Austria creates audiovisual performances and installations. Solo exhibitions (selected) 2014 MEASURE, Art Basel (Hong Kong / Basel / Miami Beach) 2013 CLUSTER installation, The Office, Nicosia, Cyprus ZEE, HIVE, Wood Street Galleries, Pittsburgh, USA MODEL5, POL, Wood Street Galleries, Pittsburgh, USA (as Granular Synthesis) 2012 CORE, Ironbridge Gorge Museum (Commission, Cultural Program of the UK Olympic Games & London 2012 Festival) MATTER, Site-specific commission, SATosphère Dome, Société des Arts Technologiques (SAT), Montreal, Canada 2009 SCAPE, Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA, USA ZEE, FuturePerfect, New York, NY, USA 2008 RANGE, ZEE, Wood Street Galleries, Pittsburgh, PA, USA 2004 NATURE04, Lille 2004 - European Capital of Culture, Public Art Installation, Lille, France 2003 LUX, Lia Rumma Gallery, Milano, Italy (as Granular Synthesis) 2000 NOISEGATE, Creative Time Inc / In the Anchorage, New York, NY, USA (as Granular Synthesis) NOISEGATE, National Museum for Photo, Film and TV, Bradford, England (as Granular Synthesis) NOISEGATE, Musiques en Scène / Musée d'Art Contemporain, Lyon, France (as Granular Synthesis) FELD, Wood Street Galleries, Pittsburgh, PA, USA (as Granular Synthesis) FORMEN, Québec, Canada (as Granular Synthesis) 1999 NOISEGATE, Kunstverein Hannover, Germany (as Granular Synthesis) NOISEGATE, Musée d'art contemporain, Montreal, Canada (as Granular Synthesis) 1998 NOISEGATE, Museum of Applied Arts (MAK), Vienna, Austria (as Granular Synthesis) NOISEGATE, Marstall, Munich, Germany (as Granular Synthesis) NOISEGATE, Transpennine, Hull, England (as Granular Synthesis) NOISEGATE, Stedelijk Museum / De Ijsbreker, Amsterdam, Netherlands (as Granular Synthesis) 1997 SWEETHEART, Kunststücke ORF - Austrian Broadcasting Corporation, Austria (as Granular Synthesis) Group exhibitions (selected) 2015 TURBO PIRAT, “Vienna for Art’s Sake!”, Belvedere, Wien, Austria MEASURE, Stedelijk Museum, Sonic Acts Festival, Amsterdam, Netherlands 2014 HIVE, “Sleuthing the mind”, Pratt Manhattan Gallery, New York, NY, USA 2013 ZEE, “I look to you and I see nothing”, Sharjah Art Foundation, Sharjah, United Arab Emirates ZEE, “Beam in Thine Own Eye”, MONA – Museum of New and Old Art, Hobart, Tasmania ZEE, Nemo Festival, Le Centquatre, Paris, France CLUSTER installation, There is a Body on Screen, Luxun Museum, Shenyang, China SECTOR 2c, Accumulations, SherinNajjar Gallery, Berlin, Germany 2011 CLUSTER, Simulationists, School of the Art Institute, Chicago, IL, USA ZEE, Matter-Light, Béthune, France ZEE, And, Foundation for Art and Creative Technology (Fact), Liverpool, England HIVE, Madde-Isik, Borusan Muzik Evi, Istanbul, Turkey VIEW, Public Art Installation Tom Bradley International Terminal, Los Angeles Airport, Los Angeles, CA 2010 ZEE, dynamic (in)position, Laboratorio Arte Alameda, Mexico City, Mexico ZEE, File Festival, São Paulo, Brazil ZEE, Wave Exhibition, INDAF, Seoul, South Korea MODELL 5, Madde-Isik, Borusan Muzik Evi, Istanbul, Turkey (as Granular Synthesis) POL, Mapping Festival, Genève, Switzerland (as Granular Synthesis) 2009 ZEE, STRP Festival, Eindhoven, Netherlands Retrospective GRANULAR-SYNTHESIS, STRP & MU-Gallery, Eindhoven, Netherlands (as Granular Synthesis) LUX, Videorama, Artclips from Austria, Galerie Henze & Ketterer, Wichtrach/Bern, Switzerland (as Granular Synthesis) LUX, Videorama, Artclips from Austria, Kunsthalle, Vienna, Austria (as Granular Synthesis) POL, Un volcan numérique, Le Volcan, Le Havre, France (as Granular Synthesis) SINKEN & FORM, See this Sound, Lentos Museum Linz, Austria (as Granular Synthesis) FELD, Sounds and Visions, Tel Aviv Museum of Art, Israel (as Granular Synthesis) 2008 ZEE, Tiefenrausch, OK-Center, Linz, Austria KARMA/X, Dans la nuit, des images, Le Grand Palais, Paris, France KARMA/cell, Synthetic Times, National Art Museum of China, Beijing, China SCAPE, Sonic Acts XII, The Cinematic Experience, Amsterdam, Netherlands POL, eLandscapes, eArts Festival / Zendai MoMA, Shanghai, China (as Granular Synthesis) MODELL 5, Les Voix Magnétiques, Le Tri Postal, Lille, France (as Granular Synthesis) 2007 KARMA/cell, Body Media, O Art Center, Shanghai, China MODELL 5, Body Media, O Art Center / Sculpture Art Space, Shanghai, China (as Granular Synthesis) LUX, What color does a sound make?, Honolulu, Hawaii, USA (as Granular Synthesis) 2006 KARMA/cell, Panorama, Le Fresnoy - Studio national des Arts Contemporains, Tourcoing, France KARMA, Switching Worlds: Desires and Identities, Austrian Cultural Forum (ACF), New York, NY, USA FELD, Code Blue, Millenium Museum, Beijing, China (as Granular Synthesis) MODELL 5, Slow Tech, Museum for Contemporary Arts, Taipei, Taiwan (as Granular Synthesis) SWEETHEART, 40 Jahre Videokunst Deutschland /Center for Art and Media (ZKM) - Kunsthalle Bremen, Germany (as Granular Synthesis) LUX, What color does a sound make? The Center for Art & Visual Culture, Baltimore, MD, USA (as Granular Synthesis) 2005 KARMA, Digital Paradise, Municipal Museum, Daejon, South Korea LUX, What color does a sound make? Eyebeam, New York, NY USA (as Granular Synthesis) FELD, Gabinete Literario, Las Palmas de Gran Canaria, Spain (as Granular Synthesis) FELD, Circulo de Bellas Artes, Santa Cruz de Tenerife, Spain (as Granular Synthesis) 2004 KARMA /cave, Ars Electronica Festival, Linz, Austria IMMERSIVE WORKS, Cinémas du Futur, Lille 2004 - Cultural Capital of Europe, Lille, France (as Granular Synthesis) LUX, Arborescence Festival, Aix-en-Provence, France (as Granular Synthesis) LUX, Z33, Hasselt, Belgium (as Granular Synthesis) FORM & MODELL 5, Australian Center for the Moving Image (ACMI) Melbourne, Australia (as Granular Synthesis) 2003 SINKEN, Austrian Cultural Forum, New York, NY, USA (as Granular Synthesis) LUX, Centro Nacional de las Artes / Centro Multimedia, Laboratorio Alameda, Mexico City, Mexico (as Granular Synthesis) LUX, IEAR Presents! / Rensselaer Polytechnic Institute, Troy, NY, USA (as Granular Synthesis) 2002 FELD, Municipal Museum of Art, Daejeon, South Korea (as Granular Synthesis) FELD, Musica per gli Occhi, Bolzano, Italy (as Granular Synthesis) WIDE, Austrian Cultural Forum, New York, NY, USA (as Granular Synthesis) MODELL 5.7, Schirn Kunsthalle, Frankfurt am Main, Germany (as Granular Synthesis) 2001 RESET, Austrian Pavilion, Venice Biennial, Venice, Italy (as Granular Synthesis) 2000 FELD, OK-Center, Linz, Austria (as Granular Synthesis) 1999 MODELL 5, Face to Face, Beyeler Foundation, Basel, Switzerland (as Granular Synthesis) 1998 NOISEGATE, Exit Festival, Créteil, France (as Granular Synthesis) NOISEGATE, Via Festival, Mauberge, France (as Granular Synthesis) MODELL 5, Museum of Contemporary Art, Seoul, South Korea (as Granular Synthesis) Online 2013 SECTOR 2c, Accumulations, www.blinkvideo.de CLUSTER & NATURE04, Ikono On Air Festival, www./ikono.org Grants, awards and residencies (selected) 2013 Residency - Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute (RPI), Troy, NY, USA 2012 CORE Commission, Cultural Program of the UK Olympic Games & London 2012 Festival Residency - Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute (RPI), Troy, NY, USA 2010 QWARTZ, New Media Arts Award, Paris, France FILE PRIX LUX Award, Sao Paulo, Brazil 2008 Austrian Federal State Grant for Media Art, Austria Chicago Studio Grant, Austria 2005 KARMA/cell commission, Le Fresnoy - Studio National des Arts Contemporains, Tourcoing, France 2000-05 Elisabeth Foundation for the Arts New York, subsidized studio 1999 PS1 Residency New York, NY, USA (as Granular Synthesis) Austrian Federal State Grant for Fine Art, Austria (as Granular Synthesis) 1995 Austrian Furtherance Prize for new media art (as Granular Synthesis) 1993 Austrian Furtherance Prize for new media art (as Granular Synthesis)

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