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

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Jeroen Van Den Tempel: I'm fascinated by video's which invite me to watch out of my framework of daily existence, of my perception of time and space. Which remind me of the real nature of reality, which is streaming. All form is temporary. I’m really intrigued when a universal issue is combined with an issue from daily life. Jeroen van den Tempel

Do you have any favorites on blinkvideo ? Or would you like to focus attention on some video works? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows: When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

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

Annegret Soltau
Schwanger-Sein I, 1977/78

"My pregnancies in 1978 and 1980 became an important theme for me. This personal experience yielded pictures in which I once again used myself as a model, this time myself in the process of being pregnant. The fear that my role as a mother could jeopardize my life as an artist inspired me to create a great many photos and videos. At this point I was preoccupied with the question of how women combine creativity and motherhood.“ (Annegret Soltau)

Tobias Yves Zintel
Breed and Educate, 2018

The Film Breed and Educate is based on a collaborative performance with a class from the Hector-Peterson-Schule Berlin Kreuzberg and the HAU. In numerous task based rehearsals eight pupils between 11 and 13 years explored the possibilties of self-education. Based on various materials from found footage to documentary and staged scenes the film circles around the relationship of controlling and self-empowerment in educational systems. Breed and Educate is circling around the question of how lessons should be organised in times of network and algorthim-based learning. Algorithms and neuronal networks have to master problems only once, after they achieved their goal, results can be duplicated and copied any number of times. Kids on the other hand side have to learn everything step by step, the accumulated knowlede can’t be transfered from on kid to the other by „copy and paste“. An allopoetic system is a trivial system, which can be potentially fully explored, controlled and operated by an observer. With a similar theory in mind, the Prussians started to organise schooling in 1717, to prepare pupils for the Prussian Military Academy. What happens almost 300 years later in a school in Berlin, when the relationship between control and self-empowerment is inverted by postmigrant pupils who breed robots, are educated by them and vice versa? “ In Breed and Educate an automated dionsaur is introduced by a twelfe year old boy: “It’s easily trainable”. While he explains the mode of operation, one sees the parallels: the school wouldn’t have any problems with pupils equipped with a suitable operating system downloaded from the internet. Sounds like an uncanny utopia.” (Katrin Bettina Müller)

Lene Markusen
Grad, 2004

Dieter Kiessling
60 Minutes 360 Degrees GK 2010, 2010

A boy is portrayed with a video camera for an hour on a tennis court.During this time the camera turns through 360 degrees. Meanwhile, the whole space is recorded piece by piece. The boy follows the camera movement slowly thus remaining constantly in the centre of the picture.

Clemens von Wedemeyer
Silberhöhe, 2003

In Halle-Silberhöhe in East Germany, the camera records peri-urban area architecture, prefabricated buildings that are deserted and destined to be demolished. The commentary evokes a film editing technique used by Michelangelo Antonioni in his film, L’Eclisse (1962).

Janet Biggs
Fade to White, 2010

In Fade to White, Biggs delves into the desire to explore remote lands. To create this work, the artist embarked on an expedition in the high Arctic, traveling aboard an ice-class, 2-masted schooner, built in 1910. During the voyage, Biggs filmed Fade to White, focusing on a crew member as he navigated the ship through iceberg filled seas, and paddled a kayak past glacier walls and polar bears. As she photographed the explorer, Biggs tested her own will and endurance. The visual tension of her uncompromising imagery bespeaks their mutual struggle to maintain balance and purpose. Yet, the video also reveals the myth of the solitary white male explorer. Biggs explains, "The desire to hold onto the notion of the 'great white north' as a blank space awaiting interpretation only reinforces the idea of the colonial polar hero. The 'virgin' north has now been mapped, surveyed, and mined, but increased knowledge has not replaced endless fantasies of discovery." Loss and change are implicit in the video's title, Fade to White, which refers to an editing technique used to evoke death or transcendence. Biggs integrated her Arctic imagery with sound and video footage of counter tenor John Kelly, whose age, androgyny, and mournful voice parallel the vanishing Arctic landscape and signal the waning of male dominance.

Rebecca Ann Tess
The Tallest, 2014

The »The Tallest« shows pictures shot on-site of the currently tallest buildings in the world. The high-rises are shown as set pieces of global capitalism, visually disappearing into abstraction. The reduced images are reminding of 3D rendering. The simulated image of these buildings circulates in the media for representational and advertising purposes, becomes a substantial object and the actual spatiality becomes a mockup. The narration is undertaken by a computer voice, it describes the competition for the tallest tower at such divers places as Chicago, Dubai, Hong Kong, Kuala Lumpur, Mecca, Nanjing, New York City, Seoul, Shanghai, Shenzhen, Songdo and Taipei.

Johanna Reich
LIGHT ON BLACK ON WHITE HOMAGE TO MALEVICH, 2015

A moving digital light drawing illuminates a white wall. A hand painting a black square on the white surface becomes visible. At the same time the light drawing is painting a light square. In the end the light of the digital light square illuminates the finished black oil painting.

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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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.

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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

The song of the iron bird
Digital art presented by DAM BerlinIFrankfurt

Works

Digitale Medien sind im 21. Jahrhundert in unserer technisierten Gesellschaft fest verankert. Ohne digitale Datenübermittlung wäre sie nicht mehr funktionstüchtig und nicht nur das Bankwesen würde zusammenbrechen. Obwohl die ersten Ausstellungen von Digitaler Kunst bereits 1965 stattfanden, dauerte es bis zum Beginn des 21. Jahrhundert bis sich dieses neue Medium am Kunstmarkt etablierte. Mit der digitalen Kunst ist dabei nicht die die bloße digitale Fotografie oder das digitale Videobild gemeint, sondern Kunstwerke, welche die spezifischen Möglichkeiten des Computers nutzen, der in der Lage ist große Mengen von Informationen sehr schnell zu verarbeiten und entsprechend eine Reaktion bereits nach einem Bruchteil von Sekunden hervorbringt. Das Gebiet der Digitalen Kunst hat sich bereits in viele Unterbereiche unterteilt und wir sprechen jetzt von Software Art, Interaktiven Installationen, 3-D Animationen, Hacktivism, Net Art bis hin zu Medienfassaden, die auf unterschiedliche Art und Weise mit Inhalten bespielt werden können. Überall dort, wo die Digitale Kunst über die traditionellen Medien hinausgeht, wie zum Beispiel bei sich ständig in Echtzeit neu generierenden Darstellungen oder der Nutzung der interaktiven Möglichkeiten des Internets, kommt die spezifische Eigenheit des Computers und verwandter technologischer Mittel zum Tragen.

Zudem reicht das Thema der Digitalen Kunst weiter: Viele Künstler beziehen sich in ihren Arbeiten auf die Digitale Kultur selbst und thematisieren die Verwendung der eigenen technologischen Mittel.

Das Projekt DAM hat sich u.a. der Vertretung historischer Positionen der frühen Computerkunst verschrieben. Vera Molnar oder Manfred Mohr sind nur 2 Beispiele der von der Galerie vertretenen Vorreiter der Entwicklung der Digitalen Kunst, die die Galerie bis hin zu bekannten zeitgenössischen Künstlern wie JODI, Casey Reas oder Eelco Brand verfolgt. Ein umfangreiches Nachschlagewerk stellt das Onlinemuseum www.dam.org dar, das als Recherchetool und Ort der Archivierung Künstlerportraits und -ouvres katalogisiert. In regelmäßigen Abständen initiiert DAM zudem seit 2005 die Vergabe des DAM DIGITAL ART AWARD [DDAA], für das Lebenswerk eines Künstlers. Häufig trägt diese Auszeichnung nicht nur zur finanziellen Unterstützung der Künstler bei, sondern sorgt für deren Einzug in die Aufmerksamkeit der Kunstgeschichtsschreibung. In den Galerien DAM Berlin und DAM Frankfurt stellt Wolf Lieser pro Jahr mehrere Ausstellungen zusammen, die teils Werkzyklen einzelner Künstler präsentieren, jedoch auch in Gruppenausstellungen unter einer kuratorischen Fragestellung einen thematischen Querschnitt durch die Geschichte der Digitalen Kunst bieten. Bei den Veranstaltungen zum Ausstellungsprogramm stellt sich die Galerie immer wieder Fragen der Verbindung der Digitalen Kunst zur Gesellschaft und individuellen Lebensformen als auch zur Bildenden Kunst und dem klassischen Kunstmarkt. Jüngere Künstler wie Aram Bartholl oder auch Evan Roth erforschen das Verhältnis von virtuellen und realen Selbstbildern sowie Interaktionen. Und eine neue Generation von Künstlern beginnt sich zu formieren, die sich als sogenannte “Digital Natives” in ihren Werken nicht mehr notwendig digitaler Mittel bedienen. Nichtsdestotrotz wohnen in ihren teils analogen Arbeiten Denk- und Verhaltensweisen des Digitalen, wie zum Beispiel der Konnektivität, Interaktivität, Liveness und Wiederholung inne.

Wir stellen Ihnen auf blinkvideo.de drei unterschiedliche Positionen aus dem Profil der DAM GALLERY Berlin|Frankfurt vor.

Der international bekannteste Künstler unseres Portfolios ist Casey Reas, der mit seiner Softwarekunst weltweit in Museen ausgestellt und auf Kunstmessen gezeigt wird. Während seines Studiums am Massachusettes Institute of Technology (MIT), USA, entwickelte der heutige Professor (UCLA Design|Media Arts) zusammen mit seinem Kommilitonen Ben Fry die quelloffene Computersprache Processing, die insbesondere für Künstler und Gestalter zur Programmierung von Interaktion und visueller Darstellung genutzt wird. Der Entstehungsprozess seiner Arbeiten, die konzeptuell in der Tradition von Sol LeWitt stehen, beginnt mit einem ausformulierten schriftlichen Konzept, welches dann mittels Computersprache in ein Programm überführt wird. Dieses Programm wird von einem Computer ausgeführt und bringt auf dessen Bildschirm ein visuelles Ereignis hervor, welches sich kontinuierlich wandelt. Ähnlich wie ein lebendiger Organismus verändert sich das, was wir sehen immer fort. Ein ausgegebenes Bild wird sich nicht wiederholen.

Der spanische Künstler Joan Leandre verfolgt einen völlig anderen Ansatz: Seine digitalen Filme basieren auf Computerspielen deren Software er modifiziert und zu einer eigenen Narration umgestaltet. Dabei verändert er die Programmierung der Spiele, indem er Funktionen entfernt oder hinzufügt. In der Serie “In the Name of Kernel” richtet er sein Hauptaugenmerk auf die besondere Bildästhetik einzelner Computerspiele und führt diese in seiner Neumontage teilweise ad absurdum. Das Ergebnis ist ein vollständig komponierter Film von über 20 Minuten Länge, der den Betrachter in diese neu zusammengestellte Welt einsaugt, ohne dass dieser zum Akteur werden muss.

Der dritte Künstler, den wir Ihnen vorstellen, arbeitet mit verschiedenen 3-D Softwareprogrammen, um kleine Animationen oder auch Standbilder zu erzeugen. Das künstlerische Prinzip der 3D-Arbeiten von Eelco Brand ist die schleichende Umkehrung eines idyllischen Naturzustandes in einen surrealen Bildeindruck. Der niederländische Künstler erstellt kurze Filmclips, die eine realistische Naturszenerie detailreich darstellen. Fast unmerklich verändern sich im Laufe der kurzen Clips im Zeitraffer Bilddetails, sodass das Gewohnte ins Surreale oder Absurde kippt. Danach beginnt der Transformationsprozess von neuem. Brands animierte Loops lassen ein ungutes Gefühl zurück. Plakativ könnte man sagen: Die Natur entzieht sich der Kontrolle des Menschen und schlägt im Bild zurück. Bei Brand geschieht dies jedoch auf eine so romantisch- ästhetische Art und Weise, dass wir uns dieser Erschütterung schwer entziehen können.
(Wolf Lieser)

The song of the iron bird Digital art presented by DAM BerlinIFrankfurt

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