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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

Lynne Sachs

Works


Statement

Lynne Sachs makes films, installations, performances and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with every new project. Lynne discovered her love of filmmaking while living in San Francisco where she worked closely with artists Bruce Conner, Ernie Gehr, Gunvor Nelson, Barbara Hammer, Craig Baldwin and Trin T. Min-ha. Her recent work embraces a hybrid form combining the non-fiction, experimental and fiction modes. In the words of NYC artist Kelly Spivey, “Lynne allows her real film ‘characters’ to explore storytelling from various subjectivities, various selves and other-selves, opening up, perhaps ironically, a more authentic portrayal of being alive during a specific time, in a specific situation or place. We learn that to burrow down into our ability to imagine another’s pain or joy, and then to perform these as part of our own exploration for the camera, yields a deeper intimacy than if we’d simply ‘told the truth.’ Lynne Sachs’s work can best be epitomized by her interests in intimacy, collaboration and space.” Lynne has made over 25 films which have screened at the New York Film Festival, the Sundance Film Festival and Toronto’s Images Festival amongst others. They have also been exhibited at the Museum of Modern Art, the Whitney, Walker Art Center, Wexner Center for the Arts and other venues nationally and internationally. The Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana and the China Women’s Film Festival have all presented retrospectives of Sachs’ films. Lynne received a 2014 Guggenheim Fellowship in the Creative Arts. She lives in Brooklyn, New York and teaches part-time in the Art Department at Princeton University.

Her films and art work are distributed by: Icarus Film, Canyon Cinema, Film-Makers' Cooperative, Cinema Guild, and Court Tree Collective Gallery.


Biography

Education

1989 San Francisco Art Institute, M.F.A. Film

San Francisco State University, M.A. Cinema

1983 Brown University, Providence, Rhode Island, B.A. History

1981-82 University of Paris (Sorbonne), History


Selected Lectures/ Artist Presentations

2018

Documentary Fortnight Festival of Non-Fiction Films, Museum of Modern Art; Film Forum, Los Angeles Amherst College; University of Buffalo Sebastapol Festival of Documentary Film Punto de Vista Int’l Festival of Documentary Film, Pamplona, Spain Echo Park Film Center, Los Angeles Filmoteca Español, Madrid Oberhausen Film Festival, Germany European Media Arts Festival, Germany Symposium on Black Feminist History, Carter Woodson Institute for African-American Studies, University of Virginia; University of Pennsylvania; Smith College; Mount Holyoke College; University of North Carolina; Dennison College; Amherst College; University of Buffalo; Tisch School of the Arts, New York University; Princeton University, Lewis Center for the Arts; National Gallery of Art.


2017

Documentary Fortnight Festival of Non-Fiction Films, Museum of Modern Art; Pittsburgh Filmmakers and Center for the Arts; Indie Memphis; Wexner Center for the Arts; SF Cinematheque; Kino Palais, Buenos Aires
Maine Int’l Film Fest; Anthology Film Archives.


2016

“Cool Worlds and Sacred Pictures” Museum Mumok, Vienna, Austria screening; Vermont College of Fine Art Lecture; Exploded View Cinema, Tucson, AZ; Panel on “Collaborative spirit and tradition of Canyon Cinema”, Museum of Art and Design, NYC; Fusion Film Festival Panelist on Women in Experimental Film, NYU.


2015

San Francisco State University Dep’t of Cinema; California College of the Arts; Muhlenberg College; School of Visual Arts; Haverford College; Hunter College CUNY; Museum of the Chinese in America, San Francisco; Union Docs Collaborative; University of Pennsylvania; Visible Evidence Conference, Toronto.


2014

Wellesley College; First Person Cinema Series, University of Colorado, Boulder; Virginia Commonwealth University Visiting Artist in Kinetic Imaging; Southern Illinois University; “Four Artists”, School of the Museum of Fine Arts Boston; RIDE (Risk/Dare/Experiment) Lecturer at Pratt Institute; Keynote Lecture, La Universidad Andina Simón Bolívar y el Festival Encuentros del Otro Cine (EDOC), Coloquio Internacional de Cine Documental, Quito, Ecuador; Antioch College, Ohio; Museum of Reclaimed Urban Spaces; St. Mary’s College of Maryland; Tsinghua University, Beijing, China; New York University, Shanghai.


2013

Museum of Modern Art, Documentary Fortnight 2013; Ann Arbor Film Festival; Images Film Festival, Toronto; “Things that Quicken the Heart” Chris Marker Symposium (Lecture) at University of Pennsylvania Maysles Cinema Fiction-Non Series, New York Porter Visiting Artist at UC Santa Cruz “Taking a Documentary Detour”, Dep’t Film & Media, UC Berkeley “The Experimental Documentary: Reality and Performance”, BorDocs Foro Documental, Tijuana, Mexico; Center for History Media and Culture, NYU; Asian and Pacific American Institute Lecture Series, NYU; “Documentary as Social Practice”, New School for Social Research, Graduate Program in Media Studies; “Social Issue Documentary”, School of Visual Arts; “Reality & Performance” Artist Lecture Downtown Community TV.


2012

Art@Rennaisance (a former hospital) in Greenpoint, New York Public Library Chinatown Branch; Proteus Gowanus Inter-disciplinary Gallery in Brooklyn; Tulane University Artist Lecture; American Corner at Corvinus University, Budapest, Hungary; University Settlement House Five Show run, Nov. 2012.


2011

“The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power (1973 – 1991)” SUNY Purchase; National Gallery of Art, Washington D.C. (two programs of films); “Artists in Conversation”, Wexner Center for the Arts, Columbus, Ohio, Fall 2011.


2010

SF Cinematheque and Pacific Film Archive Retrospective; Migrating Forms Film Festival; Punto de Vista Film Fest; European Media Arts Festival; Massachusetts College of Art Film Society; Univ. of Chicago; California College of Art; UC Berkeley; Memphis Brooks Museum of Art, Walker Art Center; International House, Univ. of Pennsylvania


2009

Tulane University “Women Representing” Conference, invited guest artist; University of Pennsylvania; Buenos Aires Film Fest; Hallwalls Art Center, Buffalo; SUNY Buffalo; University of Maryland Performing Arts Center, Washington, DC; ; Fondacion d’Arte Contemporaneo, Uruguay.


2008

Museo Nationl de Artes Argentina & Uruguay; University of Southern California;


2007

Buenos Aires In’t Film Fest invited guest; Cornell; Harvard; UC Davis; Brown Univ.; CalArts; Rutgers


2006

Makor 92nd St Y, California College of Art, UC Berkeley, SF State University, Ocularis, Cinema Project, Portland; Chicago Filmmakers, GeorgetownUniversity; Ziethgeist Theatre Experiments, New Orleans.


2005

Margaret Mead Film Festival, Cooper Union, SF Art Institute


2004

Berks Filmakers Albright College, Columbia Univ. Inst. for Art and Diplomacy; Univ Utah


2003

Hallwalls Art Center, Buffalo, American University, Georgetown, Rochester Inst. of Technology


2002

Museum of Fine Arts Boston; Mass College of Art; Vassar; Ithaca College; SUNY Binghamton;Cornell; Catholic Univ.; College Art Association “The Internet & Exile”; UCLA; CalArts


2000

Sarah Lawrence; Syracuse, Univ. of Maryland Baltimore; Delaware Art Museum


1999

University of Michigan, Humboldt State University, Adelphi University


Grants, Scholarships & Awards

2017
Brooklyn Arts Council Grant

2015
Women in the Arts & Media Coalition, Collaboration Award with Lizzie Olesker
Fandor.com Film Initiative Award

2014
Guggenheim Fellowship, Film-Video,
New York State Council for the Arts Grant for Electronic Media finishing funds, 2012

2012
MacDowell Colony Artist Residency, Selected as Elodie Osborn Fellow 2006-07

2008
Experimental Television Center, finishing funds,1997; residency, 1999; finishing funds
New York University Adjunct Faculty Grant, 2005,2007, 2008. 2011.

2006
New York Public Library Artist Commission
National Video Resource, Technical Assistance Award, 2005,2006.
New York State Council on the Arts, grant for film

2004
Jerome Foundation, grant for film
Rockefeller Foundation, media arts fellowship, 2001; Service award

2001
Trust for Mutual Understanding, media grant

2000
Maryland State Arts Council Individual Artist Grant
School 33 Public Art Space, juried invitational show of installation work, Fall, 2000, Baltimore.
Puffin Foundation artist grant for Catonsville Nine Project

1999
Maryland State Arts Council Mini-Grant, with the Catonsville Historical Society

1993
San Francisco Bay Guardian Outstanding Local Discovery Award
Western States Regional Media Arts Fellowship, Supported by the NEA

1990
Southeast Regional Media Arts Fellowship, NEA
Robert Flaherty Documentary Film Seminar, Scholarship

1987
Film Arts Foundation Development Grant, San Francisco
Pioneer Fund for Emerging Filmmakers, San Francisco

1985
Downtown Community Television Artist in Residence, New York

Lynne Sachs
Education 1989 San Francisco Art Institute, M.F.A. Film San Francisco State University, M.A. Cinema 1983 Brown University, Providence, Rhode Island, B.A. History 1981-82 University of Paris (Sorbonne), History Selected Lectures/ Artist Presentations 2018 Documentary Fortnight Festival of Non-Fiction Films, Museum of Modern Art; Film Forum, Los Angeles Amherst College; University of Buffalo Sebastapol Festival of Documentary Film Punto de Vista Int’l Festival of Documentary Film, Pamplona, Spain Echo Park Film Center, Los Angeles Filmoteca Español, Madrid Oberhausen Film Festival, Germany European Media Arts Festival, Germany Symposium on Black Feminist History, Carter Woodson Institute for African-American Studies, University of Virginia; University of Pennsylvania; Smith College; Mount Holyoke College; University of North Carolina; Dennison College; Amherst College; University of Buffalo; Tisch School of the Arts, New York University; Princeton University, Lewis Center for the Arts; National Gallery of Art. 2017 Documentary Fortnight Festival of Non-Fiction Films, Museum of Modern Art; Pittsburgh Filmmakers and Center for the Arts; Indie Memphis; Wexner Center for the Arts; SF Cinematheque; Kino Palais, Buenos AiresMaine Int’l Film Fest; Anthology Film Archives. 2016 “Cool Worlds and Sacred Pictures” Museum Mumok, Vienna, Austria screening; Vermont College of Fine Art Lecture; Exploded View Cinema, Tucson, AZ; Panel on “Collaborative spirit and tradition of Canyon Cinema”, Museum of Art and Design, NYC; Fusion Film Festival Panelist on Women in Experimental Film, NYU. 2015 San Francisco State University Dep’t of Cinema; California College of the Arts; Muhlenberg College; School of Visual Arts; Haverford College; Hunter College CUNY; Museum of the Chinese in America, San Francisco; Union Docs Collaborative; University of Pennsylvania; Visible Evidence Conference, Toronto. 2014 Wellesley College; First Person Cinema Series, University of Colorado, Boulder; Virginia Commonwealth University Visiting Artist in Kinetic Imaging; Southern Illinois University; “Four Artists”, School of the Museum of Fine Arts Boston; RIDE (Risk/Dare/Experiment) Lecturer at Pratt Institute; Keynote Lecture, La Universidad Andina Simón Bolívar y el Festival Encuentros del Otro Cine (EDOC), Coloquio Internacional de Cine Documental, Quito, Ecuador; Antioch College, Ohio; Museum of Reclaimed Urban Spaces; St. Mary’s College of Maryland; Tsinghua University, Beijing, China; New York University, Shanghai. 2013 Museum of Modern Art, Documentary Fortnight 2013; Ann Arbor Film Festival; Images Film Festival, Toronto; “Things that Quicken the Heart” Chris Marker Symposium (Lecture) at University of Pennsylvania Maysles Cinema Fiction-Non Series, New York Porter Visiting Artist at UC Santa Cruz “Taking a Documentary Detour”, Dep’t Film & Media, UC Berkeley “The Experimental Documentary: Reality and Performance”, BorDocs Foro Documental, Tijuana, Mexico; Center for History Media and Culture, NYU; Asian and Pacific American Institute Lecture Series, NYU; “Documentary as Social Practice”, New School for Social Research, Graduate Program in Media Studies; “Social Issue Documentary”, School of Visual Arts; “Reality & Performance” Artist Lecture Downtown Community TV. 2012 Art@Rennaisance (a former hospital) in Greenpoint, New York Public Library Chinatown Branch; Proteus Gowanus Inter-disciplinary Gallery in Brooklyn; Tulane University Artist Lecture; American Corner at Corvinus University, Budapest, Hungary; University Settlement House Five Show run, Nov. 2012. 2011 “The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power (1973 – 1991)” SUNY Purchase; National Gallery of Art, Washington D.C. (two programs of films); “Artists in Conversation”, Wexner Center for the Arts, Columbus, Ohio, Fall 2011. 2010 SF Cinematheque and Pacific Film Archive Retrospective; Migrating Forms Film Festival; Punto de Vista Film Fest; European Media Arts Festival; Massachusetts College of Art Film Society; Univ. of Chicago; California College of Art; UC Berkeley; Memphis Brooks Museum of Art, Walker Art Center; International House, Univ. of Pennsylvania 2009 Tulane University “Women Representing” Conference, invited guest artist; University of Pennsylvania; Buenos Aires Film Fest; Hallwalls Art Center, Buffalo; SUNY Buffalo; University of Maryland Performing Arts Center, Washington, DC; ; Fondacion d’Arte Contemporaneo, Uruguay. 2008 Museo Nationl de Artes Argentina & Uruguay; University of Southern California; 2007 Buenos Aires In’t Film Fest invited guest; Cornell; Harvard; UC Davis; Brown Univ.; CalArts; Rutgers 2006 Makor 92nd St Y, California College of Art, UC Berkeley, SF State University, Ocularis, Cinema Project, Portland; Chicago Filmmakers, GeorgetownUniversity; Ziethgeist Theatre Experiments, New Orleans. 2005 Margaret Mead Film Festival, Cooper Union, SF Art Institute 2004 Berks Filmakers Albright College, Columbia Univ. Inst. for Art and Diplomacy; Univ Utah 2003 Hallwalls Art Center, Buffalo, American University, Georgetown, Rochester Inst. of Technology 2002 Museum of Fine Arts Boston; Mass College of Art; Vassar; Ithaca College; SUNY Binghamton;Cornell; Catholic Univ.; College Art Association “The Internet & Exile”; UCLA; CalArts 2000 Sarah Lawrence; Syracuse, Univ. of Maryland Baltimore; Delaware Art Museum 1999 University of Michigan, Humboldt State University, Adelphi University Grants, Scholarships & Awards 2017Brooklyn Arts Council Grant 2015Women in the Arts & Media Coalition, Collaboration Award with Lizzie OleskerFandor.com Film Initiative Award 2014Guggenheim Fellowship, Film-Video,New York State Council for the Arts Grant for Electronic Media finishing funds, 2012 2012MacDowell Colony Artist Residency, Selected as Elodie Osborn Fellow 2006-07 2008Experimental Television Center, finishing funds,1997; residency, 1999; finishing fundsNew York University Adjunct Faculty Grant, 2005,2007, 2008. 2011. 2006New York Public Library Artist CommissionNational Video Resource, Technical Assistance Award, 2005,2006.New York State Council on the Arts, grant for film 2004Jerome Foundation, grant for filmRockefeller Foundation, media arts fellowship, 2001; Service award 2001Trust for Mutual Understanding, media grant 2000Maryland State Arts Council Individual Artist GrantSchool 33 Public Art Space, juried invitational show of installation work, Fall, 2000, Baltimore.Puffin Foundation artist grant for Catonsville Nine Project 1999Maryland State Arts Council Mini-Grant, with the Catonsville Historical Society 1993San Francisco Bay Guardian Outstanding Local Discovery AwardWestern States Regional Media Arts Fellowship, Supported by the NEA 1990Southeast Regional Media Arts Fellowship, NEARobert Flaherty Documentary Film Seminar, Scholarship 1987Film Arts Foundation Development Grant, San FranciscoPioneer Fund for Emerging Filmmakers, San Francisco 1985Downtown Community Television Artist in Residence, New York

Lynne Sachs
Carolee, Barbara & Gunvor

Artist Lynne Sachs
Year 2018
Duration 8:38 min
Technical info Super 8 and 16mm transferred to digital, special excerpt created for blinkvideo
Contact

For further information contact blinkvideo
Phone: +49 172 4024342
E-Mail: julia (et) blinkvideo.de

About the video

Three renowned women artists discuss their passion for filmmaking. From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

Screen Slate 2/22/18 Review by Tyler Maxin

"Lynne Sachs’ Carolee, Barbara and Gunvor is an 8-minute triptych of brief encounters with Carolee Schneemann, Barbara Hammer, and Gunvor Nelson filmed at the artists’ homes or studios. Sachs has a really well-attuned photographic eye, and she captures the trio in a series of easygoing domestic situations. The three artists discuss their artistic lives, how they came into their practice, how their gender identities factor in, where their work comes from. It’s a simple premise with intimate results, especially good at giving a sense of the artists’ environments. " (Tyler Maxin)

Village Voice 2/16/18 Review by Ela Bittencourt

“I could make the inside of myself show on the outside,” Barbara Hammer says in Lynne Sachs’s documentary Carolee, Barbara & Gunvor (2018), explaining how a lighter movie camera, developed in the Sixties, helped her convey intimacy, and thus became a useful, malleable tool of expression. The short, in which Sachs pays a visit to pioneering women artists who used moving image in their practice — Hammer, Carolee Schneemann, Gunvor Nelson — will enjoy a weeklong run as part of “Doc Fortnight,” the Museum of Modern Art’s annual showcase dedicated to nonfiction film. (Ela Bittencourt)

Brooklyn Rail 4/4/18 Review by

https://brooklynrail.org/2018/04/artseen/JEFFREY-PERKINS-George  

A similarly brief and similarly enchanting encounter followed with the world premiere screening of Carolee, Barbara, and Gunvor, (2018) Lynne Sachs’s nine-minute cinematic collage exploring the distinctive styles and approaches of three artists. She delicately weaves them together by positioning them each in a place of familiarity and inner personal power to themselves and their work. Schneemann interacts with a film camera as a prop which becomes an inducer of memories in her Hudson Valley home; documentary maker Barbara Hammer moves around various sources of inspiration in her West Village studio and Gunvor Nelson shares glimpses of the village where she spent her childhood in Sweden. Each artist is gracefully and uniquely introduced via different relationships they have created with themselves, their environments, the filmmaker, and the audience.

agnès films: Supporting Women and Feminist Filmmakers 4/5/2018 Review by Julia Casper Roth

It was deep into her artistic practice that Lynne Sachs shifted to a collaborative style of filmmaking. As she recounts on her website, Sachs was in the midst of recording a project when it struck her that those in front of the camera were performing. Aware that such hyperbolic displays might betray the authenticity of her subjects, Sachs invited the subjects to participate with her. No longer was her process about filming and being filmed. Rather, filmmaking became a joint effort that softened the camera as an intermediary and aloof barrier.

It’s this approach to filmmaking that makes Sachs’ most recent work, Carolee, Barbara and Gunvor, such a particularly wonderful piece. The short film doesn’t expose the stories of just any subjects; it looks at the lives of three creative giants who work with the moving image: Carolee Schneemann, Barbara Hammer, and Gunvor Nelson. With filmmakers balancing out both sides of the lens, the collaboration between filmmaker and subject reaches superheroine proportions.

Shot on 8mm and 16mm film, the soft colors and square aspect ratio of the film pull the viewer out of contemporary times. In the first image of the film, a cat is perched on a tree limb. In the next, the cat is acting as sentinel on a porch. The camera looks from the inside of a house out, framing the cat in a doorway. This moment jars me. I hear the voice of Schneemann discussing her entry into the medium of moving images, but the picture quality, the cat, the framing—it all conjures images of Schneemann’s own Fuses. For a moment, I wonder if I’m actually looking at Schneemann’s footage, but the tell-tale painted film frames, frenetic cuts, and abstraction of her work are absent.

Sachs’ camera casually captures mundane moments at Schneemann’s upstate New York home with beautiful, compositional precision. Schneemann describes moments ranging from her first experience with a Bolex camera to her desire to film the ordinariness of light coming through a hospital window. While she describes it, Sachs captures the sentiment; Schneeman is seen talking on the phone, hanging laundry, looking at mail. Sachs also prioritizes otherwise subtle images in and around the home: a dead bird on the porch, light coming through the window, and shots of greenery around the yard. In this piece, collaboration comes in the form of homage and interpretation.

Next, the film moves to the voice and image of Barbara Hammer. Of the film’s three subjects, Hammer is perhaps the most performative of the bunch. In a compositionally stunning scene, Hammer, at turns, walks and jogs the length of an iron fence in New York’s West Village. She repeats this several times, her body mingling with the long shadows cast by the iron slats. Eventually, she addresses the presence of Sachs’ camera. She stops, stares into it—challenges it—until Sachs pulls the camera skyward. A moment later, Hammer is on the ground, bathed in the fence’s shadows and smiling. Accompanying these images is Hammer’s forever youthful voice, explaining her love of performance both with and without her camera.

From here, the viewer moves into Hammer’s studio space to watch her toy with window blinds and choreograph film cameras as she slides them across her table. She discusses identity, and that discussion is punctuated with another challenge to Sachs’ camera; Hammer points the lens of a camera right back at her.

The final section of the triad takes the viewer to a montage of images that focus on the natural: flowers, ducks, a pond, and landscape greenery. There is no audio soundtrack for the first portion of this section: no music and no narration. The faintest sound of birds in the distant background can be missed unless the volume is set to high. Finally, the voice of Gunvor Nelson cuts the silence. It joins the images, describing Nelson’s entry into film and her impending exit from it as well. The images in this section of the film seem crisper, perhaps to reflect the camera Nelson holds in her hands—a digital Nikon. As Nelson and her camera interact with flowers and landscape, Sachs’ camera watches. Eventually, the two artists end up lens to lens, looking down a barrel at one another’s craft.

Carolee, Barbara and Gunvor is an exquisite dance shared by filmmakers and their literal and metaphorical lenses. It’s also a wonderful journey of nostalgia. The look of the 8mm and 16mm film paired with the subject matter easily takes the viewer back to the innovative first moments of women’s experimental filmmaking.


Credits

Featuring Carolee Schneemann, Barbara Hammer, Gunvor Nelson

Directed by Lynne Sachs

Lynne Sachs - Carolee, Barbara & Gunvor
Three renowned women artists discuss their passion for filmmaking. From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.Screen Slate 2/22/18 Review by Tyler Maxin Lynne Sachs’ Carolee, Barbara and Gunvor is an 8-minute triptych of brief encounters with Carolee Schneemann, Barbara Hammer, and Gunvor Nelson filmed at the artists’ homes or studios. Sachs has a really well-attuned photographic eye, and she captures the trio in a series of easygoing domestic situations. The three artists discuss their artistic lives, how they came into their practice, how their gender identities factor in, where their work comes from. It’s a simple premise with intimate results, especially good at giving a sense of the artists’ environments. (Tyler Maxin)Village Voice 2/16/18 Review by Ela Bittencourt “I could make the inside of myself show on the outside,” Barbara Hammer says in Lynne Sachs’s documentary Carolee, Barbara & Gunvor (2018), explaining how a lighter movie camera, developed in the Sixties, helped her convey intimacy, and thus became a useful, malleable tool of expression. The short, in which Sachs pays a visit to pioneering women artists who used moving image in their practice — Hammer, Carolee Schneemann, Gunvor Nelson — will enjoy a weeklong run as part of “Doc Fortnight,” the Museum of Modern Art’s annual showcase dedicated to nonfiction film. (Ela Bittencourt)Brooklyn Rail 4/4/18 Review by https://brooklynrail.org/2018/04/artseen/JEFFREY-PERKINS-George   A similarly brief and similarly enchanting encounter followed with the world premiere screening of Carolee, Barbara, and Gunvor, (2018) Lynne Sachs’s nine-minute cinematic collage exploring the distinctive styles and approaches of three artists. She delicately weaves them together by positioning them each in a place of familiarity and inner personal power to themselves and their work. Schneemann interacts with a film camera as a prop which becomes an inducer of memories in her Hudson Valley home; documentary maker Barbara Hammer moves around various sources of inspiration in her West Village studio and Gunvor Nelson shares glimpses of the village where she spent her childhood in Sweden. Each artist is gracefully and uniquely introduced via different relationships they have created with themselves, their environments, the filmmaker, and the audience.agnès films: Supporting Women and Feminist Filmmakers 4/5/2018 Review by Julia Casper Roth It was deep into her artistic practice that Lynne Sachs shifted to a collaborative style of filmmaking. As she recounts on her website, Sachs was in the midst of recording a project when it struck her that those in front of the camera were performing. Aware that such hyperbolic displays might betray the authenticity of her subjects, Sachs invited the subjects to participate with her. No longer was her process about filming and being filmed. Rather, filmmaking became a joint effort that softened the camera as an intermediary and aloof barrier.It’s this approach to filmmaking that makes Sachs’ most recent work, Carolee, Barbara and Gunvor, such a particularly wonderful piece. The short film doesn’t expose the stories of just any subjects; it looks at the lives of three creative giants who work with the moving image: Carolee Schneemann, Barbara Hammer, and Gunvor Nelson. With filmmakers balancing out both sides of the lens, the collaboration between filmmaker and subject reaches superheroine proportions.Shot on 8mm and 16mm film, the soft colors and square aspect ratio of the film pull the viewer out of contemporary times. In the first image of the film, a cat is perched on a tree limb. In the next, the cat is acting as sentinel on a porch. The camera looks from the inside of a house out, framing the cat in a doorway. This moment jars me. I hear the voice of Schneemann discussing her entry into the medium of moving images, but the picture quality, the cat, the framing—it all conjures images of Schneemann’s own Fuses. For a moment, I wonder if I’m actually looking at Schneemann’s footage, but the tell-tale painted film frames, frenetic cuts, and abstraction of her work are absent.Sachs’ camera casually captures mundane moments at Schneemann’s upstate New York home with beautiful, compositional precision. Schneemann describes moments ranging from her first experience with a Bolex camera to her desire to film the ordinariness of light coming through a hospital window. While she describes it, Sachs captures the sentiment; Schneeman is seen talking on the phone, hanging laundry, looking at mail. Sachs also prioritizes otherwise subtle images in and around the home: a dead bird on the porch, light coming through the window, and shots of greenery around the yard. In this piece, collaboration comes in the form of homage and interpretation.Next, the film moves to the voice and image of Barbara Hammer. Of the film’s three subjects, Hammer is perhaps the most performative of the bunch. In a compositionally stunning scene, Hammer, at turns, walks and jogs the length of an iron fence in New York’s West Village. She repeats this several times, her body mingling with the long shadows cast by the iron slats. Eventually, she addresses the presence of Sachs’ camera. She stops, stares into it—challenges it—until Sachs pulls the camera skyward. A moment later, Hammer is on the ground, bathed in the fence’s shadows and smiling. Accompanying these images is Hammer’s forever youthful voice, explaining her love of performance both with and without her camera.From here, the viewer moves into Hammer’s studio space to watch her toy with window blinds and choreograph film cameras as she slides them across her table. She discusses identity, and that discussion is punctuated with another challenge to Sachs’ camera; Hammer points the lens of a camera right back at her.The final section of the triad takes the viewer to a montage of images that focus on the natural: flowers, ducks, a pond, and landscape greenery. There is no audio soundtrack for the first portion of this section: no music and no narration. The faintest sound of birds in the distant background can be missed unless the volume is set to high. Finally, the voice of Gunvor Nelson cuts the silence. It joins the images, describing Nelson’s entry into film and her impending exit from it as well. The images in this section of the film seem crisper, perhaps to reflect the camera Nelson holds in her hands—a digital Nikon. As Nelson and her camera interact with flowers and landscape, Sachs’ camera watches. Eventually, the two artists end up lens to lens, looking down a barrel at one another’s craft.Carolee, Barbara and Gunvor is an exquisite dance shared by filmmakers and their literal and metaphorical lenses. It’s also a wonderful journey of nostalgia. The look of the 8mm and 16mm film paired with the subject matter easily takes the viewer back to the innovative first moments of women’s experimental filmmaking.

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