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

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.

Nadja Verena Marcin - OPHELIA
Stadtgalerie in Saarbrücken, Germany. 2019

OPHELIA is an interdisciplinary performance that is presented in the Stadtgalerie Saarbrücken as a live action and subsequently as a video installation. It reflects the human-induced destruction of nature and creates references to art, literature and science. Dressed in "Ophelia's" dress and equipped with a diving device, Nadja Verena Marcin will climb into an aquarium and try under water to read the text "The Werld" by Daniil Kharms about human perception.
Image: © Nadja Verena Marcin

Igor Simić - WELTSCHMERZ 
at Galerie Beckers, Frankfurt

The exhibition WELTSCHMERZ shows new works by Serbian artist Igor Simic, which he created in connection with his iOS game Golf Club: Wasteland. For this game he and his award-winning gaming and film company Demagog Studio developed a whole world — a storyline with characters and various landscapes — in a post-apocalyptic scenario. The eerie atmosphere of the carefully crafted visual scenery is accompanied by slow paced, nostalgic, sometimes almost chilling music that evokes the feeling of longing for something lost.
Image: © Igor Simić

Fuzzy dark spot
Video art from Hamburg

The exhibition FUZZY DARK SPOT curated by the Hamburg-based video artist Wolfgang Oelze, at the Falckenberg Collection brings together 56 video works by over 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups.
image: © Stefan Panhans

REFRACTED REALITIES at VIDEONALE.17

In optics, “refraction” refers to the bending of a beam of light, a change in direction which occurs at the moment when it passes from one medium to another. Through refraction, the light wave alters course, changing the way we perceive the objects it illuminates in the process. This optical deviation requires us to repeatedly correct our gaze, comparing the beginning and end points of our perception with reality, and bringing the object we see clearly into focus. In its figurative sense, refraction refers to a critical reflection on the means and channels of visualization, and by extension the possibility of a rearticulation of our view of things – how they are, were, or apparently always have been.
Image: © Sohrab Hura

Featured videos

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

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

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

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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

VIDEONALE.scope

Works

Retrospectives: Birgit Hein and James Benning

With Videonale Scope, Videonale Bonn opens a new series of events dealing with the crossover and the interfaces between film and video art. The programme, curated by Daniel Kothenschulte, will start with retrospectives of two world-famous film artists who have influenced the film avant-garde for some forty years: Berlin-born Birgit Hein and American James Benning. Both of them will be there to discuss their works with the spectators. However much their positions may differ – Hein, with her collages and their frequent explosive cuts, was a pioneer of found-footage film, while Benning is known for his long, austere landscape shots – they have much in common: They were both born in 1942 and were successful in the experimental field of structural film; both drew upon the rich aesthetic pool afforded by the early cinema, and, as university teachers, inspired numerous, now well-known film makers.

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In 1968, Birgit Hein was one of the organisers of the legendary X-Screen-Festivals in Cologne. Together with her husband Wilhelm, she created film collages which radically deconstructed found material in order to reveal how the films operated. At the same time, she called into existence the politically-based scepticism about the institutions which produce moving pictures. In 1977 in Cologne, together with Wulf Herzogenrath, she curated the legendary exhibition “Film as Film”, a milestone in the opening of the art world to avant-garde filmmakers – Videonale is bringing them together once again for a discussion on this theme. After the separation from Wilhelm Hein, she created pathbreaking essay films which, in their highly individual approach, were viewed as contributions to the influential discussions about gender, violence and feminism.

In James Benning’s first full length film 11x14 (1977), shots of the middle west of the USA taken with a static camera are merged into a paradox narrative. The painterly camera work is underlined by a contrapuntal interplay of image and sound. Although no direct reference was made to the contemporary photographic art of a Stephen Shore, Lewis Baltz or Bernd and Hilda Becher, Benning’s films are similarly positioned at the interface between documentary and artistic portrayal of reality. He is no less interested in natural beauty than in urban sprawl and industrialisation. In Ruhr (2009) he was able to depict the “Kohlenpott” (the Ruhr industrial area in Germany) in six long, fixed-camera shots of laconic beauty: A tunnel, a wood, a factory, a mosque, graffiti and a chimney stack. The film Double Play: James Benning and Richard Linklater, first presented at the Venice Film Festival, can be seen in Germany for the first time.

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