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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

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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

Ann Oren

Works


Statement

My films, videos and installations explore the performative quality of everyday life by tracing its cultural and historical origins. As social media invites our fictitious personas to come forth, true intimacy increasingly gives way to a dynamic of performers and audiences. When everyone is both a viewer and a “star”, the line between exhibitionism, voyeurism and spectatorship evaporates. Similarly, the characters in my projects exist in the liminal space between performers and viewers.

Working at the perplexing intersection of the narrative and the conceptual, I use narrative elements to lure viewers emotionally into a space that engages both critical thinking and the affective dimension. Ordinary behaviors are exaggerated to highlight the theatricality of the everyday, and presented in a dialogue with our collective legends from the history of literature, theater, and cinema.

www.annoren.com


Biography

Education

2009 Skowhegan School of Art, ME.
2007 The School of Visual Arts, NY. MFA. Major: Fine Arts.
2004 The School of Visual Arts, NY. BFA. Major: Film & Television.


Solo Screenings, Exhibitions and Commissions

2017
THE WORLD IS MINE New Horizons Film Festival, Wroclaw, Poland.
THE WORLD IS MINE Dok Leipzig.
THE WORLD IS MINE New Orleans Film Festival.
DEUX FEMMES Ann Arbor Film Festival.
THE WORLD IS MINE Olympia Film Festival, Olympia, WA.
THE WORLD IS MINE Sound Unseen Film Festival, Minneapolis, MT.

2016
THE SUPREME SPASM Künstlerhaus Bethanien, Berlin.
THE SUPREME SPASM Cindy Rucker Gallery, New York, NY.

2015
InContact APEXART, NY.

2013
InContact The Tel-Aviv Cinematheque.
InContact Carnegie Mellon Film Festival.

2012
InContact Anthology Film Archives. New York, NY.
InContact The Social Media Film Festival, Las Vegas.

2010
COLOR OCCURRENCE MediaLab Prado, Madrid. In collaboration with Zevan Rosser.

2009
IN SECURITY multi-media play, collaboration with Unbound Collective. 3LD, New York, NY.


Group Exhibitions and Screenings (Selected)

2017
B3 Biennial of the Moving Image,Frankfurt.
The Praders, with Locarno Film Festival, a program dedicated to artists' films, Switzerland.
Space Odyssey beyond Material Confinements, Radiator Gallery, New York.
Musrara Mix Festival, Jerusalem.
Videoformes 2017, Clermont-Ferrand, France.

2016
Custom Paradise SomoS Art, Berlin.
ULTImate Event DISKURS, Berlin.
Seattle Transmedia & Independent Film Festival.
DELETE TV - Broadcast exhibition program. ch. LA36, Los Angeles/ch. C31 Melbourne.

2015
the trees the trees the trees Cindy Rucker Gallery, NY, NY.
Roots On The Ground Floor, LA.
NewFilmmakers Anthology Film Archives. New York, NY.
artvideoKOELN German-Japanese Cultural Centre Cologne, Germany.

2014
Le Deuxieme Sexe Nuit Blanche aux Salaisons, Les Salaisons, Paris.
Preliminary Study: RSI –T, Slag Gallery, Brooklyn, NY/ Muskegon Museum of Art, MI.
FILE Festival FIESP Cultural Centre - Ruth Cardoso, Sau Paulo, Brasil.
Seoul International NewMedia Festival.

2013
WRO Art Center Biennale Wroclaw, Poland.
F_ll in the bl_nk. Nars Foundation. Brooklyn, NY.

2012
EPOS - Cinepublika The Tel-Aviv Museum of Art.
Me Pix Rochester Contemporary Art Center, NY.
Re-new / The Interactive Media Arts Conference (IMAC) Copenhagen.
The Double Cabinet, NY and LAXART, LA.
Skowhegan at 92YTribeca, NY.

2010
Moscow Biennale of Young Art Tsaritsyno Museum, Moscow.
Media Façade Festival Europe 2010 Collegium Hungaricum, Berlin.
NewTown: Convergences The Armory Center for the Arts, Pasadena, CA.
(IN)TANGIBLE Taller Boricua, NY, NY.

2009
WRO 13th Media Art Biennale WRO Art Center, Wroclaw, Poland.

2008
Come Out & Play APEXART, New York, NY.

2007
Crude Technology The Annex, Whitebox, NYC.
View From Here PS122, New York, NY.
$960,000+ SVA gallery, New York, NY.

2006
Too much freedom? ‘Freewaves’, The Hammer museum, LA.


Awards

2017
Best Artwork Award, B3 Moving Image Biennial, Frankfurt.
The New York State Council on the Arts Project Grant
2016
Rabinovich Foundation Grant
Israel Lottery Council for Culture and Arts Grant
Ostrovsky Family Fund Grant
2014
New Artist Award, NeMaf
Seoul International NewMedia Festival.
Nars Foundation Fellowship
2012
Special Jury Award, The Social Media Film Festival.
2009
Spiro Arts Fellowship.
2008
The Jerome Foundation Travel and Study Grant.
2006-2007
Scholarship from The School of Visual Arts.
2004
Visual arts fund grant, The School of Visual Arts.
2003
The National board of reviews New York Grant


Residencies

2015 - 2016
Künstlerhaus Bethanien, Berlin.
2014
Nars Foundation, NY.
2013
I-Park, Connecticut.
Aljira Emerge 11, NJ.
2010
NES, Skagaströnd, Iceland.
Open Up MediaLab Prado, Madrid, Spain.
2009
Spiro Arts Park City, UT.

Ann Oren
Education2009 Skowhegan School of Art, ME.2007 The School of Visual Arts, NY. MFA. Major: Fine Arts.2004 The School of Visual Arts, NY. BFA. Major: Film & Television.Solo Screenings, Exhibitions and Commissions2017THE WORLD IS MINE New Horizons Film Festival, Wroclaw, Poland.THE WORLD IS MINE Dok Leipzig.THE WORLD IS MINE New Orleans Film Festival.DEUX FEMMES Ann Arbor Film Festival.THE WORLD IS MINE Olympia Film Festival, Olympia, WA.THE WORLD IS MINE Sound Unseen Film Festival, Minneapolis, MT.2016THE SUPREME SPASM Künstlerhaus Bethanien, Berlin.THE SUPREME SPASM Cindy Rucker Gallery, New York, NY.2015InContact APEXART, NY.2013InContact The Tel-Aviv Cinematheque.InContact Carnegie Mellon Film Festival.2012InContact Anthology Film Archives. New York, NY.InContact The Social Media Film Festival, Las Vegas.2010COLOR OCCURRENCE MediaLab Prado, Madrid. In collaboration with Zevan Rosser.2009IN SECURITY multi-media play, collaboration with Unbound Collective. 3LD, New York, NY.Group Exhibitions and Screenings (Selected)2017B3 Biennial of the Moving Image,Frankfurt.The Praders, with Locarno Film Festival, a program dedicated to artists' films, Switzerland.Space Odyssey beyond Material Confinements, Radiator Gallery, New York.Musrara Mix Festival, Jerusalem.Videoformes 2017, Clermont-Ferrand, France.2016Custom Paradise SomoS Art, Berlin.ULTImate Event DISKURS, Berlin.Seattle Transmedia & Independent Film Festival.DELETE TV - Broadcast exhibition program. ch. LA36, Los Angeles/ch. C31 Melbourne.2015the trees the trees the trees Cindy Rucker Gallery, NY, NY.Roots On The Ground Floor, LA.NewFilmmakers Anthology Film Archives. New York, NY. artvideoKOELN German-Japanese Cultural Centre Cologne, Germany.2014Le Deuxieme Sexe Nuit Blanche aux Salaisons, Les Salaisons, Paris.Preliminary Study: RSI –T, Slag Gallery, Brooklyn, NY/ Muskegon Museum of Art, MI.FILE Festival FIESP Cultural Centre - Ruth Cardoso, Sau Paulo, Brasil.Seoul International NewMedia Festival.2013WRO Art Center Biennale Wroclaw, Poland.F_ll in the bl_nk. Nars Foundation. Brooklyn, NY.2012 EPOS - Cinepublika The Tel-Aviv Museum of Art.Me Pix Rochester Contemporary Art Center, NY.Re-new / The Interactive Media Arts Conference (IMAC) Copenhagen.The Double Cabinet, NY and LAXART, LA.Skowhegan at 92YTribeca, NY.2010Moscow Biennale of Young Art Tsaritsyno Museum, Moscow.Media Façade Festival Europe 2010 Collegium Hungaricum, Berlin.NewTown: Convergences The Armory Center for the Arts, Pasadena, CA.(IN)TANGIBLE Taller Boricua, NY, NY.2009WRO 13th Media Art Biennale WRO Art Center, Wroclaw, Poland.2008Come Out & Play APEXART, New York, NY.2007Crude Technology The Annex, Whitebox, NYC.View From Here PS122, New York, NY.$960,000+ SVA gallery, New York, NY.2006Too much freedom? ‘Freewaves’, The Hammer museum, LA.Awards2017Best Artwork Award, B3 Moving Image Biennial, Frankfurt.The New York State Council on the Arts Project Grant2016Rabinovich Foundation GrantIsrael Lottery Council for Culture and Arts GrantOstrovsky Family Fund Grant2014New Artist Award, NeMafSeoul International NewMedia Festival.Nars Foundation Fellowship2012Special Jury Award, The Social Media Film Festival.2009Spiro Arts Fellowship.2008The Jerome Foundation Travel and Study Grant.2006-2007Scholarship from The School of Visual Arts.2004Visual arts fund grant, The School of Visual Arts.2003The National board of reviews New York GrantResidencies2015 - 2016Künstlerhaus Bethanien, Berlin.2014Nars Foundation, NY.2013I-Park, Connecticut.Aljira Emerge 11, NJ.2010NES, Skagaströnd, Iceland.Open Up MediaLab Prado, Madrid, Spain.2009Spiro Arts Park City, UT.

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