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

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

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

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

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

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

Something Between Us

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020


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

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.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

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

Featured videos

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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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


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 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 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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