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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

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


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

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


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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