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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.

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

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

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

Lúa Coderch

Works


Galleries

àngels barcelona gallery
Emilio Alvares
Quico Peinado, Pintor Fortuny, 27
08001 Barcelona, Spain
Spain

Phone: +34 93 412 54 00
E-Mail: info@angelsbarcelona.com




Biography

born 1982 in Iquitos, Perú


Education

2012 Master in Production and Art Research

2017 PhD in Fine Arts from the University of Barcelona.


Solo shows

2018
Shelter, Sala Multiverso, Fundación BBVA, Madrid
The Girl With No Door On Her Mouth, àngels barcelona, Barcelona
Vida de O., Centrocentro Cibeles, Madrid

2017
Lúa Coderch, Art Institute Vienna, Vienna
Lúa Coderch. Souvenir (Onyx), Art Institute Vienna, Vienna

2016
Lúa Coderch, Koroška galerija likovnih umetnosti, Slovenj Grade, Slovenia
The Rainbow Statement, Compositions Program, Barcelona Gallery Weekend, Barcelona
Art Brussels: Discovery section, Brussels, Belgium

2015
La vida en los bosques, Galería Bacelos, Madrid
Night in a Remote Cabin Lit By a Kerosene Lamp, àngels barcelona, Barcelona

2014
Oro, Fundació Suñol, Barcelona
La parte que falta, Galería Bacelos, Madrid

2013
La muntanya màgica, Fundació Joan Miró, Barcelona

2012
Paràbola, Capella de Sant Roc, Valls

2011
Recopilar les fotografies sense memòria d l´arxiu familiar, Espai 2, Terrassa
Estratègies per desaparèixer, La Capella, Barcelona


Group shows

2018
As long as summer lasts, Tamara Kuselman, Lua Coderch and Andrea Canepa., The Ryder, London
As if we could scrape the color of the iris and still see, Twin Gallery, Madrid

2017
Materia Primera, Centre d’Art Fabra i Coats, barcelona
La disidencia nostálgica, La Capella, Barcelona.
Caminar sobre el gel. Èpica i disfuncionalitat en la pràctica artística. Arts Santa Mònica, Barcelona

2016
100 Häuser (Collectors Agenda), Viena, Austria
A Thousand Horsepower, Fábrica Can Trinxet, L’Hospitalet del Llobregat, Barcelona
La Contrarevolució dels Cavalls, Can Felipa Centre Civic, Barcelona
Without Pause, Dialogues, Loop Barcelona, Reial Centre Artístic, Barcelona
Enésima Intempestiva, àngels barcelona-espai2, Barcelona
How to do things with documents, Fundació Antoni Tàpies, Barcelona
Walking on Ice. The Epic and Dysfunctional in Artistic Practice, Bòlit Cenre d'Art Contemporani, Girona
Segueixi els rastres com si fos miop Art Jove 2006 – 2016, Arts Santa Mònica, Barcelona
The Language Games, àngels barcelona-espai2, Barcelona
IN/OUT- Swab Artfair, Barcelona

2015
¿Por qué no lo llamas entropía? (Edición 0 Encuentro de Cultura Contemporánea de Guadalajara, México
The Air Was Full of Anticipation, BF15, Lyon, Francia
La apisonadora y el violín. Una travesía por la Colección Meana Larrucea. Fundación Valentín de
Vadaraiga, Sevilla
Re-view, Espacio Combo-La Fragua, Córdoba

2014
Absence as a Pretext, Galeria Fran Reus, Palma de Mallorca
A[p]partment, Sant Andreu Contemporani, Barcelona
El futuro no espera, La Capella, Barcelona
The World of Interiors, The Green Parrot, Barcelona

2013
El espacio cósmico estaba ahí, en dos o tres centímetros., Galería Bacelos, Madrid
Le Périmètre Interne, Institut Français, Barcelona

2012
Critical Botox in Times of 2.0 Feudalism, Pavilion, Bucharest
ClaResil 2012 mg, La Capella, Barcelona
Pogo, Arts Santa Monica, Barcelona
Pas de deux, The Private Space, Barcelona


Awards and fellowships

2016
Premio DKV al mejor Artista Español, Swab Artfair, Barcelona
Premio Fundación Juan Coromina al mejor Artista Catalán, Swab Artfair, Barcelona
2015
Beca de la Fundación BBVA para la creación del Videoarte
àngels barcelona| Lúa Coderch | CV
Premio Miquel Casablancas a la mejor obra por la obra “Oro”
2013
Beca de la Fundación Guasch-Coranty
Beca PAIR Fundación Suñol, producción, estudio y exposición
2012
Residencia artística en SMART PROJECT SPACE (Amsterdam) – HANGER-AECID
2011
Beca CoNCA para la investigación y creación artística

Lúa Coderch
born 1982 in Iquitos, Perú Education 2012 Master in Production and Art Research 2017 PhD in Fine Arts from the University of Barcelona. Solo shows 2018 Shelter, Sala Multiverso, Fundación BBVA, MadridThe Girl With No Door On Her Mouth, àngels barcelona, BarcelonaVida de O., Centrocentro Cibeles, Madrid 2017 Lúa Coderch, Art Institute Vienna, ViennaLúa Coderch. Souvenir (Onyx), Art Institute Vienna, Vienna 2016 Lúa Coderch, Koroška galerija likovnih umetnosti, Slovenj Grade, SloveniaThe Rainbow Statement, Compositions Program, Barcelona Gallery Weekend, BarcelonaArt Brussels: Discovery section, Brussels, Belgium 2015 La vida en los bosques, Galería Bacelos, MadridNight in a Remote Cabin Lit By a Kerosene Lamp, àngels barcelona, Barcelona 2014 Oro, Fundació Suñol, BarcelonaLa parte que falta, Galería Bacelos, Madrid 2013 La muntanya màgica, Fundació Joan Miró, Barcelona 2012 Paràbola, Capella de Sant Roc, Valls 2011 Recopilar les fotografies sense memòria d l´arxiu familiar, Espai 2, TerrassaEstratègies per desaparèixer, La Capella, Barcelona Group shows 2018As long as summer lasts, Tamara Kuselman, Lua Coderch and Andrea Canepa., The Ryder, LondonAs if we could scrape the color of the iris and still see, Twin Gallery, Madrid 2017 Materia Primera, Centre d’Art Fabra i Coats, barcelonaLa disidencia nostálgica, La Capella, Barcelona.Caminar sobre el gel. Èpica i disfuncionalitat en la pràctica artística. Arts Santa Mònica, Barcelona 2016 100 Häuser (Collectors Agenda), Viena, AustriaA Thousand Horsepower, Fábrica Can Trinxet, L’Hospitalet del Llobregat, BarcelonaLa Contrarevolució dels Cavalls, Can Felipa Centre Civic, BarcelonaWithout Pause, Dialogues, Loop Barcelona, Reial Centre Artístic, BarcelonaEnésima Intempestiva, àngels barcelona-espai2, BarcelonaHow to do things with documents, Fundació Antoni Tàpies, BarcelonaWalking on Ice. The Epic and Dysfunctional in Artistic Practice, Bòlit Cenre d'Art Contemporani, GironaSegueixi els rastres com si fos miop Art Jove 2006 – 2016, Arts Santa Mònica, BarcelonaThe Language Games, àngels barcelona-espai2, BarcelonaIN/OUT- Swab Artfair, Barcelona 2015 ¿Por qué no lo llamas entropía? (Edición 0 Encuentro de Cultura Contemporánea de Guadalajara, MéxicoThe Air Was Full of Anticipation, BF15, Lyon, FranciaLa apisonadora y el violín. Una travesía por la Colección Meana Larrucea. Fundación Valentín deVadaraiga, SevillaRe-view, Espacio Combo-La Fragua, Córdoba 2014 Absence as a Pretext, Galeria Fran Reus, Palma de MallorcaA[p]partment, Sant Andreu Contemporani, BarcelonaEl futuro no espera, La Capella, BarcelonaThe World of Interiors, The Green Parrot, Barcelona 2013El espacio cósmico estaba ahí, en dos o tres centímetros., Galería Bacelos, MadridLe Périmètre Interne, Institut Français, Barcelona 2012 Critical Botox in Times of 2.0 Feudalism, Pavilion, BucharestClaResil 2012 mg, La Capella, BarcelonaPogo, Arts Santa Monica, BarcelonaPas de deux, The Private Space, Barcelona Awards and fellowships 2016 Premio DKV al mejor Artista Español, Swab Artfair, BarcelonaPremio Fundación Juan Coromina al mejor Artista Catalán, Swab Artfair, Barcelona2015 Beca de la Fundación BBVA para la creación del Videoarteàngels barcelona| Lúa Coderch | CVPremio Miquel Casablancas a la mejor obra por la obra “Oro”2013 Beca de la Fundación Guasch-CorantyBeca PAIR Fundación Suñol, producción, estudio y exposición2012 Residencia artística en SMART PROJECT SPACE (Amsterdam) – HANGER-AECID2011 Beca CoNCA para la investigación y creación artística

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