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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

Peter Weibel

Works


Galleries

ZKM
Germany

Phone: +49-(0)721-8100-1000
E-Mail: chairman@zkm.de




Biography

Born in Odessa in 1944, Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science.

From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde.

Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art], and in 2020 the Lovis-Corinth-Preis. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow.

Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. 

______________

Peter Weibel was essentially participating in three avant-garde movements during the 1960s: the development of visual poetry, Viennese film formalism, and Vienna Actionism, a term he invented. Beginning in the mid-1960s, he developed the independent extension of film via filmic events and installations, while simultaneously producing a series of conceptual photographic and verbal works. His first videos were produced in 1969, and he achieved an exceptional notoriety with his body- and media-centered works. During the 1970s he created the feature films »Unsichtbare Gegner« [Invisible Opponents, 1976-77] and »Menschenfrauen« [Female Humans, 1980] together with Valie Export, parallel to his works in videotape, video installations, video performances, and further avant-garde films. In the 1980s he began to work with digital media, which was not hard for him given his education in mathematics from the 1960s. In 1974 he published »Studien zur Automatentheorie« [Studies in Automation Theory], and thereby became one of few media artists who were prepared for the digital era. This led to his being invited to replace Hollis Frampton in the Digital Arts Laboratory of the Department of Media Studies at SUNY, Buffalo in 1984, where he taught until 1989 after numerous guest professorships in Canada, Germany, and Austria and participation in many media festivals. During this period he produced many video operas, from »Der künstliche Wille« [The Artificial Will, 1984] to »Stimmen aus dem Innenraum« [Voices from the Interior, 1988], culminating in his videographic masterpiece »Gesänge des Pluriversums« [Songs of the Plural Universe, 1986-88], a narrative of technographic transformation since 1800 using the means of audiovisual special effects.

www.peter-weibel.at


Peter Weibel
Born in Odessa in 1944, Peter Weibel studied literature, medicine, logic, philosophy, and film in Paris and Vienna. He became a central figure in European media art on account of his various activities as artist, media theorist, curator, and as a nomad between art and science.From 1984 until 2017, he has been a professor at the University of Applied Arts Vienna. From 1984 to 1989, he was head of the digital arts laboratory at the Media Department of New York University in Buffalo, and in 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main, which he directed until 1995. Between 1986 and 1995, he was in charge of the Ars Electronica in Linz as artistic director. From 1993 to 2011 he was chief curator of the Neue Galerie Graz and from 1993 to 1999 he commissioned the Austrian pavilion at the Venice Biennale. He was artistic director of the Seville Biennial (BIACS3) in 2008 and of the 4th Moscow Biennial of Contemporary Art, in 2011. From 2015–2017, he was curator of the lichtsicht 5 + 6 – Projection Biennale in Bad Rothenfelde.Peter Weibel was granted honorary doctorates by the University of Art and Design Helsinki, in 2007 and by the University of Pécs, Hungary, in 2013. In 2008, he was awarded with the French distinction »Officier dans l’Ordre des Arts et des Lettres«. The following year he was appointed as full member of the Bavarian Academy of Fine Arts Munich, and he was awarded the Europäischer Kultur-Projektpreis [European Cultural Project Award] of the European Foundation for Culture. In 2010, he was decorated with the Austrian Cross of Honor for Science and Art, First Class. In 2013 he was appointed an Active Member of the European Academy of Science and Arts in Salzburg. In 2014, he received the Oskar-Kokoschka-Preis [Oskar-Kokoschka-Prize] and in 2017 the Österreichische Kunstpreis – Medienkunst [Austrian Art Prize – Media Art], and in 2020 the Lovis-Corinth-Preis. In 2015 he was appointed as Honorary Member of the Russian Academy of Arts in Moscow.Since 1999, Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media Karlsruhe and since 2017 director of the Peter Weibel Research Institute for digital Cultures at the University of Applied Arts Vienna. ______________Peter Weibel was essentially participating in three avant-garde movements during the 1960s: the development of visual poetry, Viennese film formalism, and Vienna Actionism, a term he invented. Beginning in the mid-1960s, he developed the independent extension of film via filmic events and installations, while simultaneously producing a series of conceptual photographic and verbal works. His first videos were produced in 1969, and he achieved an exceptional notoriety with his body- and media-centered works. During the 1970s he created the feature films »Unsichtbare Gegner« [Invisible Opponents, 1976-77] and »Menschenfrauen« [Female Humans, 1980] together with Valie Export, parallel to his works in videotape, video installations, video performances, and further avant-garde films. In the 1980s he began to work with digital media, which was not hard for him given his education in mathematics from the 1960s. In 1974 he published »Studien zur Automatentheorie« [Studies in Automation Theory], and thereby became one of few media artists who were prepared for the digital era. This led to his being invited to replace Hollis Frampton in the Digital Arts Laboratory of the Department of Media Studies at SUNY, Buffalo in 1984, where he taught until 1989 after numerous guest professorships in Canada, Germany, and Austria and participation in many media festivals. During this period he produced many video operas, from »Der künstliche Wille« [The Artificial Will, 1984] to »Stimmen aus dem Innenraum« [Voices from the Interior, 1988], culminating in his videographic masterpiece »Gesänge des Pluriversums« [Songs of the Plural Universe, 1986-88], a narrative of technographic transformation since 1800 using the means of audiovisual special effects. www.peter-weibel.at

Peter Weibel
Robert De Niro – Al Capone / Donald Trump – Donald Trump

Artist Peter Weibel
Year 2020
Duration 2:50 min
Contact
ZKM
Germany

Phone: +49-(0)721-8100-1000
E-Mail: chairman@zkm.de

About the video

I continued the »BILDERATLAS« / Commissioned by ABY WARBURG


Credits

Concept: Peter Weibel
Production: ZKM | Videostudio

Resources:
The Untouchables
Brian De Palma,1987

Donald Trump
Found Footage on Youtube

Trump slams protesters in patriotic 4th July speech at Mount Rushmore (3.7.2020)
https://youtu.be/iUEk5kxm7NE

Trump's remarkable Arizona speech (23.08.2017)
https://youtu.be/XS-Cj-uQ8J8

Trump Returns To Oval Office Despite Ongoing Covid Treatment | NBC Nightly News (07.10.2020)
https://youtu.be/1JTMMkrrl_Q

Donald Trump Delivers Speech on Election The New York Times (22.06.2016)
https://youtu.be/gTzdE4elA5c

Donald Trump compilation The 90 most shocking things hes said during election campaign (05.11.2016)
https://youtu.be/kAIfU5RBBso

The strangest moments from Donald Trumps CPAC 2018 speech (23.02.2018)
https://youtu.be/VLr8Vic1mas

Donald Trump is nominated as Republican presidential candidate at the partys National Convention (24.08.2020)
https://youtu.be/DWYFIELF0D8

President Trump's re-election rally in Tulsa (20.06.2020)
https://youtu.be/sMoMWEZYSoM

Trump Inauguration Speech (FULL) | ABC News (20.01.2017)
https://youtu.be/sRBsJNdK1t0

Peter Weibel - Robert De Niro – Al Capone / Donald Trump – Donald Trump
I continued the »BILDERATLAS« / Commissioned by ABY WARBURG

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