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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

Julika Rudelius

Works


Galleries

Galerie Reinhard Hauff
Patrick Zeh
Paulinenstrasse 47
70178 Stuttgart
Germany

Phone: +49 711 60 97 70
E-Mail: patrick@reinhardhauff.de




Biography

Born 1968 in Cologne, Germany.
Lives and works in New York, USA

Solo exhibitions

2013
UPCOMING - Total Access, Galerie Reinhard Hauff, Stuttgart, D
Julika Rudelius, Nieuwe Vide, Haarlem, NL

2012
Rituals of Capitalism, Leo Koenig Inc., New York
Julika Rudelius, Institute of Modern Art @Ksubi, Brisbane, AU
What is on the Outside, Museum for Arts and Design, New York City, USA

2011
Rites of Passage: A Work of Julika Rudelius, Borges Liberia, Guangzhou

2010
One of Us, Galerie Michael Janssen, Berlin
One of Us, Galerie Reinhard Hauff, Stuttgart
Soft Intrusion, Ursula Blickle Stiftung, Kraichtal
Julika Rudelius: Projections, Center for the Arts at Wesleyan University Middletown CT

2009
Study in Obedience, Galerie Diana Stigter, Amsterdam
Ecstatic Truth (with Jannicke Låker), Dumbo Arts Center, Brooklyn

2008
Rites of Passage, Galerie Reinhard Hauff, Stuttgart
Impakt Event: Julika Rudelius, Film Theater ‘t Hoogt, Utrecht

2007
Forever, Swiss Institute of Contemporary Art, New York

2006
Geld! Julika Rudelius, Grazer Kunstverein, Graz

2005
Julika Rudelius. Vijf videowerken 2001–2005, Frans Hals Museum/De Hallen, Haarlem (catalogue)
Studio Manuela Klerkx, Milan
Ansichten der Ökonomie/ Economic Primacy, Kunstraum Lakeside, Klagenfurt

2004
Your blood is as red as mine, Galerie Reinhard Hauff, Stuttgart
Plus ou moins jeunes, Centre Culturel Suisse, Paris
Feuilleton, deel vijf, Marres, centrum voor actuele kunst, Maastricht (catalogue)
BijlmAir: Your Blood is as Red as Mine, Stedelijk Museum Bureau Amsterdam/ Artotheek Zuidoost, Amsterdam

2003
You can’t stay in the 80s wearing cowboy boots while the whole world progresses, Kunsthaus Glarus (catalogue)
Galerie Diana Stigter, Amsterdam

2001
Talkshow, Stedelijk Museum Bureau Amsterdam (catalogue)

Selected group exhibitions

2013
Verguenza, La Casa Encendida, Madrid, ES
Gatsby Revisited in the Age of the One Percent, University of Connecticut, Storrs, USA
From Holland With Love, Netherlands Fotomuseum, Rotterdam, NL

2012
Sprache und Macht', Kunsthaus Baselland, Muttenz
De Nederlandse Identiteit?’ Tentoonstelling Museum De Paviljoens, Almere
Survival Techniques: Narratives of Resistance, Museum of Contemporary Photography, Chicago
Permiso Para Hacer La Revolución’, Off Limits, Madrid
8th International Biennial of Photography and Visual Arts’, Liège
Friendship, SHUNCK Museum of Contemporary Art, Heerlen
Remote Viewing, Kulturhuset Museum, Stockholm
Where Do We Migrate To?, Anna-Maria and Stephen Kellen Gallery, Sheila C. Johnson Design Center,
Parsons School, New York
Where Do We Migrate To?, Contemporary Art Center, New Orleans

2011
IKJIJWIJ. Rabo Kunstzone, Utrecht
Role Images – Role Playing, Museum der Moderne, Salzburg
She Devil 5, MACRO, Museo d’arte contemporanea di Roma, Rome
Where Do We Migrate To?, The Center for Design and Visual Arts, Baltimore
From Interaction to Micro-Sociology, Art Issues Projects, Beijing
Über die Metapher des Wachstums, Kunsthaus Baselland, Basel / Mutenz
Über die Metapher des Wachstums, Frankfurter Kunstverein, Frankfurt
Über die Metapher des Wachstums, Kunstverein Hannover, Hannover
A Portrait of the Artist as a Young Man, Galerie Reinhard Hauff, Stuttgart
Open Frame First Movement, Centre Régional d’Art Contemporain, Sète
Hors Pistes Festival, Centre Pompidou, Paris
Into the Eye of the Storm, The Israeli Center for Digital Art, Holon
Precarious Status, University of Florida Gallery, Gainesville

2010
Appkied Reality, Heden Contemporary Art, Den Haag
The 6th Seoul International Biennale of Media Art, Seoul Museum of Art, Seoul
Double Infinity: Last Two Decades Revisited, Dutch Culture Center, Shanghai
Saturday Sessions, P.S.1 Contemporary Art Center, New York
California Dreamin’, PortugalArte10, Lisbon
H Box, Fondation Beyeler, Basel
H BOX, New Museum, New York
H BOX, Laboratorio Arte Alameda, Mexico City
Das ist die Lebenswelt, Neuer Aachener Kunstverein, Aachen
And the moral of the story is..., apexart, Neyw York
The Morality Project Vl, Witte de With Center for Contemporary Art, Rotterdam
Niet Normaal * Difference on Display, Beurs van Berlage, Amsterdam

2009
Heartland, The Smart Museum of Art, Chicago
Images Recalled. 3. Foto Festival, Kunsthalle Mannheim, Mannheim
Actors and Extras, Argos Centre for Art and Media, Brussels
21st Century Exhibition, Incheon Women Artist Biennial, Incheon
The Third ICP Triennial of Photography and Video, International Center of Photography, New York
Golden Agers & Silver Surfers, Kunsthaus Baselland, Basel
Differences On Display, Niet Normaal, Amsterdam
BUTT IN ASS, Asia Song Society (ASS), New York
Images 22nd Festival, Images Festival, Toronto
talk talk. Das Interview als künstlerische Praxis, HGB Leipzig, travelling to Kunstverein Medienturm, Graz and Galerie 5020, Salzburg
Sammlung Landesbank Baden-Württemberg, ZKM / Museum für Neue Kunst, Karlsruhe (catalogue)
Come in, friends, the house is yours!, Badischer Kunstverein, Karlsruhe
Das Bielefelder Gefühl, Bielefelder Kunstverein, Bielefeld
De Ideale Vrouw, Noorbradants Museum, Den Bosch
Strategies of Confidence, New International Cultural Centre (NICC), Antwerp
Looking at Others, Umjetnicki paviljon, Zagreb

2008
The Possibility of an Island, MOCA North Miami, Miami
De Samaritaan, Corveshof/ Hermitage, Amsterdam
Hollywould, 10th Biennale Film, Video & New Media Arts Festival, Hollywood
Vertrautes Terrain. Aktuelle Kunst in & über Deutschland, ZKM / Museum für Neue Kunst, Karlsruhe (catalogue)
Heartland, Van Abbemuseum, Eindhoven
Dutch Dare, Fondazione Studio Marangoni, Florence
Bare Market, Thierry Goldberg Projects, New York
Courtesy Hans Kemmna, De Hallen Museum, Haarlem
Breaking Walls Festival, Brakke Grond, Amsterdam

2007
Art Summer University, (speech/ screening) Tate Modern, London
MachineRAUM – a biennale for video art and digital culture, Vejle Art Museum, Vejle
A Spectral Image of Self, Newcomb Art Gallery Tulane University, New Orleans
The Big Easy: Relocating the Myth of the West - First part, Halle 14, Leipzig
The Big Easy: Relocating the Myth of the West - Second part, ACC Galerie, Weimar
Elegance, Kölnischer Kunstverein, Cologne
Global Feminisms, Brooklyn Museum, Brooklyn (catalogue)
Ready Media, Montevideo/ Time based arts, Amsterdam
Nothing Else Matters, De Hallen/ Frans Hals Museum, Haarlem
Speakers, Aeroplastics Contemporary, Bruxelles
Dutch Dare, Erasmushuis, Jakarta
Role Model, Freymond-Guth & Co., Fine Arts/ THE JOHN INSTITUTE, Zurich
Temporarily Disconnected, Bard Museum, Annandale-on-Hudson
Energeia, Virtueel Museum Zuidas, Amsterdam

2006
Gwangju Biennale, Gwangju (catalogue)
Dutch Dare, ACP, Sidney
Monitoring, Kulturbahnhof Kassel, Kassel
The youth of today, Schirn Kunsthalle Frankfurt, Frankfurt (catalogue)
Eastern Neighbours, Cultural Center Babel, Utrecht
World Unlimited, Museum voor Moderne Kunst Arnhem, Arnhem
Domestic Affairs, PROJEKT 0047, Berlin
Momentum 2006, 4th Nordic Festival of Contemporary Art, Moss
Again for tomorrow' (screening 'economic primacy' + discussion) Royal College of Art Galleries, London
30th annual, 6th Biennial exhibition of Visual + Art: Give (a)way, Limerick (catalogue)

2005
Respect. Formes de cohabitation, Musée Dar Si Saïd, Marrakech (catalogue)
A Second Sight, International Biennale of Contemporary Art 2005, National Gallery, Prague (catalogue)
Recreating the Case, Kunsthaus Glarus
Migration, Kölnischer Kunstverein, Cologne (catalogue)
Populism, Stedelijk Museum Amsterdam
Populism, Frankfurter Kunstverein, Frankfurt a. M.
Populism, The Contemporary Art Center, Vilnius
Documentary Strategies, TENT. Centre for Visual Arts, Rotterdam (catalogue)
moving on, Handlungen an Grenzen, Neue Gesellschaft für Bildende Kunst, Berlin (catalogue)

2004
Untitled, Tate Modern, London
Rheinschau – Art Cologne Projects, Rheinforum, Cologne, organized by Stedelijk Museum Bureau Amsterdam
Histoire(s) Parallèle(s) création – confrontation France Pays-Bas, Institut Néerlandais, Paris (catalogue)
Over zee, land en gezicht, Museum Valkhof, Nijmegen
Grenzeloos Kijken, Film by the Sea Festival, Scheveningen
Revisie, Dutch Film Festival, Centraal Museum, Utrecht
Anonietta Peeters, Julika Rudelius en Lily van der Stokker, Stedelijk Museum, Schiedam
Verworpenen en zondagskinderen: Aanwinsten 2003, Frans Hals Museum, Haarlem
Teenage Kicks. Adolescence as subject, The Gallery, Royal Hibernian Academy, Dublin (catalogue)
Wirklich wahr! Realitätsversprechen von Fotografien, Ruhrlandmuseum, Essen (catalogue)
LISTE Basel, with Kunsthaus Glarus, Basel
Das zweite Bild, dreizehnzwei, Vienna / Galerie Olaf Stüber, Berlin (catalogue)

2003
Link, Stedelijk Museum Amsterdam (catalogue)
Contemporary Dutch Art, National Museum of Contemporary Art, Seoul (catalogue)
Strangers, The First ICP Triennial of Photography and Video, International Center of Photography, New York (catalogue)
Utopie van de periferie, Stedelijk Museum, Aalst
Turbulence, Centre for Contemporary Art, Kiev (catalogue)
Child in Time. Views of contemporary artists on youth and adolescence, Gemeentemuseum Helmond (catalogue)
Turbulence, Museum voor Moderne Kunst, Arnhem
Beyond beauty, Galerie Diana Stigter, Amsterdam

2002
Rendez-vous, Musée d'Art Contemporaine de Lyon, Lyon
Faces, people and society, Frans Hals Museum, Haarlem
There’s no accounting for other peoples relationships, Ormeau Baths Gallery, Belfast
Sold, Christie’s, Amsterdam (catalogue)
Non-Members only, Arti et Amicitiae, Amsterdam
Jong, with Rineke Dijkstra, De Beeldbank, TU Eindhoven, Eindhoven
Dark Spring, Ursula Blickle Stiftung, Kraichtal (catalogue)
Non Places, Frankfurter Kunstverein, Frankfurt a. M. (catalogue)
A'dam & Eve, De Appel, Amsterdam
The People’s Art, Witte de With, Rotterdam (catalogue)

2001
You never walk alone, Stroom, haags centrum voor beeldende kunst, The Hague
Commitment, een keuze uit drie jaar Fonds BKVB, Las Palmas, Rotterdam (catalogue)
From Here to Reality – a dutch show, Index The Swedish Contmporary Art Foundation, Stockholm (catalogue)
A Arte do Povo, Central Eléctrica do Freixo, Porto

2000
For Real, Stedelijk Museum, Amsterdam (catalogue)
Hellenistic, W139, Amsterdam
Scripted Spaces, Witte de With, Rotterdam
Man muss ganz schön viel lernen um hier zu funktionieren, Frankfurter Kunstverein, Frankfurt a. M.

Julika Rudelius
Born 1968 in Cologne, Germany. Lives and works in New York, USA Solo exhibitions 2013 UPCOMING - Total Access, Galerie Reinhard Hauff, Stuttgart, D Julika Rudelius, Nieuwe Vide, Haarlem, NL 2012 Rituals of Capitalism, Leo Koenig Inc., New York Julika Rudelius, Institute of Modern Art @Ksubi, Brisbane, AU What is on the Outside, Museum for Arts and Design, New York City, USA 2011 Rites of Passage: A Work of Julika Rudelius, Borges Liberia, Guangzhou 2010 One of Us, Galerie Michael Janssen, Berlin One of Us, Galerie Reinhard Hauff, Stuttgart Soft Intrusion, Ursula Blickle Stiftung, Kraichtal Julika Rudelius: Projections, Center for the Arts at Wesleyan University Middletown CT 2009 Study in Obedience, Galerie Diana Stigter, Amsterdam Ecstatic Truth (with Jannicke Låker), Dumbo Arts Center, Brooklyn 2008 Rites of Passage, Galerie Reinhard Hauff, Stuttgart Impakt Event: Julika Rudelius, Film Theater ‘t Hoogt, Utrecht 2007 Forever, Swiss Institute of Contemporary Art, New York 2006 Geld! Julika Rudelius, Grazer Kunstverein, Graz 2005 Julika Rudelius. Vijf videowerken 2001–2005, Frans Hals Museum/De Hallen, Haarlem (catalogue) Studio Manuela Klerkx, Milan Ansichten der Ökonomie/ Economic Primacy, Kunstraum Lakeside, Klagenfurt 2004 Your blood is as red as mine, Galerie Reinhard Hauff, Stuttgart Plus ou moins jeunes, Centre Culturel Suisse, Paris Feuilleton, deel vijf, Marres, centrum voor actuele kunst, Maastricht (catalogue) BijlmAir: Your Blood is as Red as Mine, Stedelijk Museum Bureau Amsterdam/ Artotheek Zuidoost, Amsterdam 2003 You can’t stay in the 80s wearing cowboy boots while the whole world progresses, Kunsthaus Glarus (catalogue) Galerie Diana Stigter, Amsterdam 2001 Talkshow, Stedelijk Museum Bureau Amsterdam (catalogue) Selected group exhibitions 2013 Verguenza, La Casa Encendida, Madrid, ES Gatsby Revisited in the Age of the One Percent, University of Connecticut, Storrs, USA From Holland With Love, Netherlands Fotomuseum, Rotterdam, NL 2012 Sprache und Macht', Kunsthaus Baselland, Muttenz De Nederlandse Identiteit?’ Tentoonstelling Museum De Paviljoens, Almere Survival Techniques: Narratives of Resistance, Museum of Contemporary Photography, Chicago Permiso Para Hacer La Revolución’, Off Limits, Madrid 8th International Biennial of Photography and Visual Arts’, Liège Friendship, SHUNCK Museum of Contemporary Art, Heerlen Remote Viewing, Kulturhuset Museum, Stockholm Where Do We Migrate To?, Anna-Maria and Stephen Kellen Gallery, Sheila C. Johnson Design Center, Parsons School, New York Where Do We Migrate To?, Contemporary Art Center, New Orleans 2011 IKJIJWIJ. Rabo Kunstzone, Utrecht Role Images – Role Playing, Museum der Moderne, Salzburg She Devil 5, MACRO, Museo d’arte contemporanea di Roma, Rome Where Do We Migrate To?, The Center for Design and Visual Arts, Baltimore From Interaction to Micro-Sociology, Art Issues Projects, Beijing Über die Metapher des Wachstums, Kunsthaus Baselland, Basel / Mutenz Über die Metapher des Wachstums, Frankfurter Kunstverein, Frankfurt Über die Metapher des Wachstums, Kunstverein Hannover, Hannover A Portrait of the Artist as a Young Man, Galerie Reinhard Hauff, Stuttgart Open Frame First Movement, Centre Régional d’Art Contemporain, Sète Hors Pistes Festival, Centre Pompidou, Paris Into the Eye of the Storm, The Israeli Center for Digital Art, Holon Precarious Status, University of Florida Gallery, Gainesville 2010 Appkied Reality, Heden Contemporary Art, Den Haag The 6th Seoul International Biennale of Media Art, Seoul Museum of Art, Seoul Double Infinity: Last Two Decades Revisited, Dutch Culture Center, Shanghai Saturday Sessions, P.S.1 Contemporary Art Center, New York California Dreamin’, PortugalArte10, Lisbon H Box, Fondation Beyeler, Basel H BOX, New Museum, New York H BOX, Laboratorio Arte Alameda, Mexico City Das ist die Lebenswelt, Neuer Aachener Kunstverein, Aachen And the moral of the story is..., apexart, Neyw York The Morality Project Vl, Witte de With Center for Contemporary Art, Rotterdam Niet Normaal * Difference on Display, Beurs van Berlage, Amsterdam 2009 Heartland, The Smart Museum of Art, Chicago Images Recalled. 3. Foto Festival, Kunsthalle Mannheim, Mannheim Actors and Extras, Argos Centre for Art and Media, Brussels 21st Century Exhibition, Incheon Women Artist Biennial, Incheon The Third ICP Triennial of Photography and Video, International Center of Photography, New York Golden Agers & Silver Surfers, Kunsthaus Baselland, Basel Differences On Display, Niet Normaal, Amsterdam BUTT IN ASS, Asia Song Society (ASS), New York Images 22nd Festival, Images Festival, Toronto talk talk. 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Julika Rudelius
Rituals

Artist Julika Rudelius
Year 2012
Duration 11:43 min
Technical info HD video, 2 synchronized hard drives,
Contact
Galerie Reinhard Hauff
Patrick Zeh
Paulinenstrasse 47
70178 Stuttgart
Germany

Phone: +49 711 60 97 70
E-Mail: patrick@reinhardhauff.de

About the video

While in China, I searched for a common ground between the Western culture I am familiar with and Chinese culture. which I found in the form of actions and gestures derived from the overarching global phenomenon of capitalism. Advertising imagery seduces and dominates attitudes, style, and body language in China just as it does elsewhere and forms a common language between two seemingly different cultures.

The viewer initially encounters young, androgynous men posing seductively amidst traffic. The discrepancy between the poses and the surrounding scenery reveals the artificiality of the gesture itself and the commercialized eroticism therein, simultaneously questioning the role of the young boys. Gradually the camera seduces the young men in the film using the promise of fame. Naive to the camera’s position of power and their objectification, the boys are proud to be the viewer’s subject but unaware of the implications of their participation. While the boys innocently embrace these global gestures, a magician turns one RMB into a hundred RMB (a tiny fortune) and poor men shower insignificant bills and coins on working class women in a cheap imitation of having power and disposable wealth - a shower of nothingness.

Julika Rudelius - Rituals
While in China, I searched for a common ground between the Western culture I am familiar with and Chinese culture. which I found in the form of actions and gestures derived from the overarching global phenomenon of capitalism. Advertising imagery seduces and dominates attitudes, style, and body language in China just as it does elsewhere and forms a common language between two seemingly different cultures.The viewer initially encounters young, androgynous men posing seductively amidst traffic. The discrepancy between the poses and the surrounding scenery reveals the artificiality of the gesture itself and the commercialized eroticism therein, simultaneously questioning the role of the young boys. Gradually the camera seduces the young men in the film using the promise of fame. Naive to the camera’s position of power and their objectification, the boys are proud to be the viewer’s subject but unaware of the implications of their participation. While the boys innocently embrace these global gestures, a magician turns one RMB into a hundred RMB (a tiny fortune) and poor men shower insignificant bills and coins on working class women in a cheap imitation of having power and disposable wealth - a shower of nothingness.

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