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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.

64th International Short Film Festival Oberhausen 2018

In the course of more than five decades, the International Short Film Festival Oberhausen has become one of the world's most respected film events and in its 64th issue over 500 films were shown selected out of more than 7.000 films submitted.

Videoart at High Noon
Critics‘ Pick by Nicole Büsing and Heiko Klaas

Cologne/Brussels. How can video art be presented in a suitable way? While on “blinkvideo” you can enjoy watching video art comfortably from your couch, at your desk or on a train, viewing videos at art fairs often turns out to be quite a challenge. To concentrate on a work of moving pictures in the bustling atmosphere of an art fair requires maximum attention. And yet, this year’s Art Cologne and the simultaneous Art Brussels once more featured a number of intriguing video works, some of which we would like to present you here.

Christoph Faulhaber: Revolution & Architecture

Kunsthalle Osnabrück / June 15 to October 2, 2018
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.

European Media Art Festival 2018

The various sections of the festival dealt primarily with one theme: the link between media art and journalism – under the heading “Report – Notes from Reality.” It was all about facebook data theft, interference in elections by secret services, the threat of trade war, and dubious arms exports.

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

Breaking News
Von Kelterborn Collection

Over the past 20 years, the Frankfurt couple Mario and Julia von Kelterborn have put together a collection mostly of politically explosive, socially themed video art and photography by internationally known artists. It is their conviction that art can help us to understand the present day with all its complexity, contradictions and disturbing cruelty, but also its positive potential.

image: © Richard Mosse

Featured videos

B3 – ON DESIRE

With the key topic ON DESIRE, B3 will in fall 2017 reflect on the latest trends relating to the moving image in art and media from a political, technological and aesthetic perspective. Desire as yearning, wish, lust or hope and its translation into moving images will be explored in an artistic, social, political, sociopolitical and historical perspective and critically examined. . . .

image: Jesper Just, Servitudes (2015)

KINO DER KUNST

2017 a worldwide unique combination of film festival and art exhibition, held its third edition in April 2017. Movie theatres and museums all over Munich presented an International Competition as well as special focuses, artists talks, smposions and multi-channel installations.

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.

Artemovendo – in collaboration with Goethe Institut Porto Alegre

The video works shown in Artemovendo present a morphology of ambiguous entities, creatures or technical devices. Natural environments are contrasted with artificial, fully computer-designed worlds. Sometimes it is difficult to distinguish whether we have been invited to take a look at the outside world or into a laboratory; even dimensions appear to be chosen arbitrarily. Or do we happen to be entering a microscopically small universe that has been magnified many times over?

Anna Gaskell. Hide and Seek

Curated by Nadia Ismail

The Kunsthalle Gießen is pleased to present the first institutional solo-exhibition in Germany by the New York based artist Anna Gaskell (*1969 Des Moines/Iowa). The exhibition focuses on photographic and time-based works which have largely characterised the American artists Œuvre since 1996.

Duration: 27.01. - 08.04.2018

image: © Anna Gaskell and Light Manufacturing/Esto, Courtesy: Galerie Gisela Capitain, Köln

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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

Videoart at High Noon
Critics’ Pick by Nicole Büsing and Heiko Klaas

Works

Videoart at High Noon

Critics‘ Pick: Nicole Büsing and Heiko Klaas recommend video works shown at the Art Cologne and Art Brussels art fairs in the spring of 2018.

Cologne/Brussels. How can video art be presented in a suitable way? There is, of course, the museum variant, situated ideally in a black box fitted with seats and a perfect sound system. Then we have monitors installed in the context of exhibitions, screenings at festivals or cinema shows as programmes accompanying exhibitions. Besides this, video works are regularly presented at special events, such as the format “Videoart at Midnight”, where a choice of works by different artists is shown once a month at a cinema in Berlin.

In addition to this, since 2012, “blinkvideo” has become established as a convenient online platform for video art.  While on “blinkvideo” you can enjoy watching video art comfortably from your couch, at your desk or on a train, viewing videos at art fairs often turns out to be quite a challenge. To concentrate on a work of moving pictures in the bustling atmosphere of an art fair requires maximum attention. And yet, this year’s Art Cologne and the simultaneous Art Brussels once more featured a number of intriguing video works, some of which we would like to present you here.

Petra Rinck Galerie from Düsseldorf presented at the Art Cologne the 15-minute video “You’re Gonna Pay For It Now, Now You’re Gonna Pay For It” (2016), by the British artist William Hunt. The native London artist, born 1977, is known for persistently pushing the limits of what is physically bearable. In his performance video, recorded at the Düsseldorf exhibition space KAI 10, he repeatedly presses his face – onto which yellow, red and blue paint is applied alternately – against an airbag, all the while citing the title of the work in an intonation reminding of an auctioneer.

The Cologne-based Philipp von Rosen Galerie presented two works by the artist Rebecca Ann Tess. In “Upper” (2016) the artist living between Seoul and Berlin films the tops of the imposing towers of the Tuscan town of San Gimignano, an important trading centre in the 13th and 14th century, whose most influential merchant families sought to outmatch one another by building ever higher towers. The video is backed by the unnerving sound of crickets. One could say, perhaps, that in this film the artist has traced the precursors of global capitalism. 


In the 22-minute video “LOVE AFFAIR” by Katja Aufleger, who was born in 1983 and studied under Andreas Slominski in Hamburg, suspense is what the Berlin artist works with. The video was on view at the stand of the Hamburg-based Galerie Conradi. Electric lamps in a variety of designs, set against a black background, keep appearing on the scene to finally suffer the same fate: they are fired at from the off and sooner or later give out, by bursting, burning out or even going up in smoke. Representing a kind of execution video with an ironic undertone, “LOVE AFFAIR” can be read as a swan song on obsolete technologies, but also as a metaphor for the threat to all that exists.

Quite a different approach reveals itself in the extremely detailed and playful film “The Sweet Lemon Ballad” by the Zurich painter Klodin Erb, born 1963, presented by the Zurich Gallery Lullin + Ferrari. Here, it is a lemon that takes centre stage, and this in several regards. First as a historically charged motif reappearing time and again, especially in fruit still lifes. Here, the lemon leaves its familiar pictorial space, enters a surrealistically charged world and goes on an adventure that ultimately leads to a tragic ending. Likewise, it represents the alter ego of the artist, who in her lemon costume ventures through a painterly scenery but also into the real world, to finally meet her botanical counterpart.

Very political, in turn, is the work “Requiem for M” (2010) by the Philippine artist Kiri Dalena, born 1975, at the stand of the Michael Janssen Galerie, Berlin, who for Art Cologne cooperated with 1335 MABINI gallery from Makati City, Metro Manila. It was the so-called Maguindanao Massacre, in the course of which 58 people, including 32 journalists, were murdered, which caused Dalena to visit the site just a few days after the incident. The resulting film material – showing burning candles, bullet casings, armed and mourning characters – has been alienated by the filmmaker by various means. People and vehicles are moving backwards, as if what happened could be undone. Moreover, a subtle slow motion underscores the nightmarish atmosphere of the images, underlaid with a lulling sound. 


The ca. 4-minute video “Terry, William and The Gang” (2017) was developed in a collaboration between the dancer and choreograph Dana Ruttenberg and the director and actor Oren Shkedy. At Art Brussels, the video by the Israeli artist duo was presented at the stand of Chelouche Gallery, based in Tel Aviv. The short film at first reminds of an animated paper cut. Black silhouettes of humans are pictured dancing in front of a white background. In fact, they are live dancers who initially had performed on a theatre stage. In the video, sound was left out entirely. Ruttenberg and Shkedy focussed on translating the dancers’ movements into two-dimensional silhouettes using digital technology. Any individual features were thus blocked out. What remains are the figures and their movements. 


The video works featured at Art Cologne and Art Brussels display many different aspects of the medium: conceptual and imaginative-narrative works taking turns with performance videos and films with alienated, documentary material and digital adaptions of theatrical performance practices. In this sense, collectors and video art lovers could experience very balanced offerings at both art fairs. 


Nicole Büsing & Heiko Klaas
24 June 2018

Videoart at High Noon Critics’ Pick by Nicole Büsing and Heiko Klaas

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