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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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Critics’ Pick from Nicole Büsing and Heiko Klaas

Works

Critics’ Pick: Nicole Büsing and Heiko Klaas compiled a set of videos for Blinkvideo which were on show at Art Cologne and Art Brussels earlier this year

Screening at Art fairs is as you know a challenge in itself. Captivating the visitor at a fair for longer periods of time by showing films has its limitations. Unless following a specific quest for video installation whilst at Art fairs, people are usually not necessarily inclined to enter a custom-made dark booth. At both spring fairs several stalls showed video art, most predominantly those galleries that have more than just one video artist on their books. Unlike Art Rotterdam with its newly introduced section “Projections” or, more recently, Art Basel and its vast selection of film at Art Unlimited, neither Art Cologne nor Art Brussels provide a separate area for video. And yet, if you looked closely, you would discover video gems at both fairs, in Cologne and Brussels.

At Art Cologne, Copenhagen’s Martin Asbæk Gallery featured Sofie Bird Møller’s video “Down the Line”. In her roughly one-minute short film the 39-year-old Danish artist uses found footage from old Hollywood movies and underpins it with music. The twist is that the protagonists change their outfits, strip off without the body becoming visible. Sofie Bird Møller uses image manipulation software so skillfully that both bodies and faces have been eliminated, thus creating a surreal impression. Shapeless beings shift around as if dancing amongst luxurious interiors. Showing selected scenes from well-known Hollywood movies this work may in particular appeal to film enthusiasts.

Gallery Figge von Rosen based in Cologne and Berlin presents the Russian artist Yelena Popova who trained at the Royal College in London. In her video essay “Unnamed” the 35-year-old deals with the recent history of her hometown situated in the Ural mountains at a site used for secret nuclear tests in the 1950s. The 14-minute video traces this invisible threat using slow tracking shots narrated with the artist’s comments.

“Rituals” (2012) is a 12-minute twin-channel video by Julika Rudelius examining the body language of young androgynous Chinese. During a stay in China Rudelius filmed young men who volunteered to pose for her amidst the rush of traffic, examining the differences in body language between Western and Chinese cultures against the backdrop of an increasingly globalised world. The 45-year-old artist originates from Cologne but now lives in Amsterdam and New York. Represented by Gallery Reinhard Hauff in Stuttgart Julika Rudelius has become an internationally acclaimed video artist.

Paris-based Gallery Jocelyn Wolff showed the four-minute video “Auslöschung” , ‘elimination’, by Ulrich Polster. The film and video artist who was born in 1963 and lives in Berlin and Leipzig uses poetic images accompanied by music to show how the eye of a donkey – moments before the animal is slaughtered – disappears into electronic nirvana. This is a tranquil, almost painterly piece of Art showing the limitations of life as well as the relationship of man and beast.

Finally Ming Wong’s 10-minute video loop presented by Gallery Carlier Gebauer from Berlin attracted considerable attention. The tongue-in-cheek work “Learn German with Petra von Kant” by the 42-year-old artist from Singapore dates from 2007. In it homosexual Ming Wong wears a blonde wig and the garish outfit Rainer Werner Fassbinder’s leading actress Margit Carstensen wore in “Die bitteren Tränen der Petra von Kant” (1972). Petra aka Margit aka Ming Wong appear drunk, dishevelled and bitter, making this video persiflage highly entertaining.

In Brussels the Dutch gallery owner Ron Mandos who has galleries in Amsterdam and Brussels showed new talent in the shape of the video “Origin of the Beginning” by 28-year-old Dutch artist Levi van Veluw. The barely four-minute-long film features the artist and members of his family as wooden aliens in a confined space. Initially this resembles a digital animation but is in fact a sculpture. Van Veluw covered all five actors’ bodies with more than 20,000 small pieces of wood thus creating the illusion of automated beings void of emotion.

To conclude, in Cologne and Brussels there is more than sufficient material for curators, critics and collectors of video art. And those who wish to purchase video art and don’t know how to display it in their own homes are welcome to copy the French video collectors Isabelle and Jean-Conrad Lemaître. All video cases of their collection are neatly stacked beside Monsieur Lemaître’s shirts in his wardrobe. However, the screening of their collection is exclusive and in close co-operation with high profile institutional exhibition venues.

Critics’ Pick from Nicole Büsing and Heiko Klaas

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