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

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

blinkvideo the platform 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.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

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

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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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

Critics’ Pick: Loop Fair Barcelona 2018
by Nicole Büsing and Heiko Klaas

Works

The Fascination with the Motion Picture

Critics‘ Pick: Nicole Büsing and Heiko Klaas recommend video works featured at the LOOP Fair in Barcelona in November 2018 Barcelona.

At the end of November 2018 the 16th edition of the LOOP Fair took place in Barcelona. The fair, founded by the gallerists Emilio Álvarez and Carlos Durán, is specialized in artists’ films and videos and is internationally regarded as one of the most relevant meeting points for video professionals. The artistic director Carolina Ciuti, had succeeded in luring important figures of the international video scene to the Catalan capital for the three intensive Fair days embedded in the ten-day LOOP Festival.

The LOOP Fair Award 2018 was granted to the Galerie Iragui from Moscow, which has endeavoured for many years to make Russian conceptual and video art better known on the international level. At the LOOP Fair, the gallerist Ekatherina Iragui presented Olga Chernysheva’s 27-minute film “Steamboat Dionysius” from 2004. In serene images, the camera films two protagonists during a river trip with the pleasure steamer. Underlaid with melancholy, somewhat nostalgic music, this film guides us into the world of the post-Soviet people, beyond the cosmopolitan cities of Moscow and St. Petersburg and their internationally networked elites. We witness the protagonists performing a touchingly intimate dance or enjoying simple, traditional food and drink. What appears to be alien and unattainable for Olga Chernysheva’s protagonists, however, is the world outside. They have somehow become accustomed to this homelike river landscape, strewn with old monasteries and new industrial wastelands, thus settling for the modest amusements they can afford.

The girl acting in the eponymous 16-minute animation film, “The Girl”, produced by Hans Op de Beeck in 2017, seems equally strange and mysterious. The Amsterdam Galerie Ron Mandos presented this complex, large-scale production of the versatile Belgian artist, who also wrote the immersive music for the narrative film. A deathly pale, obviously injured teenage girl stands at the centre of the grotesque sequence of images leading the viewer into a dystopian model world full of nocturnal rain-drenched free-way bridges, forest clearings, dismal dumps and brownfields, and fog-shrouded landscapes of swamps and lakes. The work shifts between modern fairy tale, gloomy horror film and fantasy music video clip. “The Girl” stirred a great deal of attention on behalf of the professional audience at the LOOP Fair.

In stark contrast to this was the ca. 15-minute film “The God of the Labyrinth” by the London-based Japanese conceptual artist Yoi Kawakubo. Born and raised in Toledo, Spain, the Japanese artist had deconstructed a text by the Argentine author Jorge Luis Borges to then generate a new text from its elements, whose individual words he finally screened in the form of English type in rapid sequence. Via headphones, the viewer listens to the artist’s voice recorded both in Spanish and Japanese. Poetic language, a subtle approach to the well-familiar phenomenon of being “lost-in-translation” along with the cognitive completion of blanks characterize this formally and intellectually challenging work presented by the London gallery Yamamoto Keiko Rocheix.

In the 29-minute video “Venom – A Diva in Exile” (2016) by the Hungarian media artist Péter Forgács, born 1950, everything revolves around Katalin Karády – once regarded as the country’s greatest film diva. The communist regime, however, stopped giving her roles from one day to the next. Hence, in 1951 , she emigrated to Brazil and never again performed as an actress until her death in 1990. Péter Forgács portrays her path into the tropical exile in the form of a collage composed of movie images fading over in a slow-motion aesthetic along with photographs, film stills and documents. Appearing repeatedly is also the author Zsófia Bán who had written a short story inspired by Katalin Karády’s fate, from which she reads individual passages. Some of the found-footage material derives from films which the author’s father had made in Brazil in the 1950s. “Venom – A Diva in Exile” is a an equally sensitive and Kafkaesque quest along the traces of the iconic Hungarian Femme Fatale and everyday heroine who, during Hungary’s occupation by the Nazi troops, could save many of her Jewish friends from the concentration camp. The film was presented by the Budapest Ani Molnár Gallery and received the LOOP Acquisition Award. It is now entering the collection of the Barcelona Museum of Contemporary Art (MACBA) as a loan from the LOOP collection.

The crowd favourite at the LOOP Fair was undoubtedly the ca. ten-minute, ironic video “The Curator”, a humoristic persiflage on the vanities of the art world. At the core of the suggestive satire in the style of a Hollywood trailer stands an overly self-assured do-it-yourself curator, who marvellously fails in the end. The video by the Israeli artist Shahar Marcus was offered by the Braverman Gallery from Tel Aviv in an edition of six and was sold several times.

Another film from Israel gained much attention: Tamir Zadok's complex film narrative “Art Undercover” from 2017. In the ca. 30-minute video the Israeli protagonist, who speaks Arabic fluently, undertakes a research trip to Egypt. His intention is to track down works of the artist Charduval, presumably a Frenchman who had been highly successful in Cairo during the 20th century. However, in the course of the story, the latter turns out to be Shlomo Choen Abravenel. Abravanel was a founding member of the Israeli secret service Mossad. The complex detective story contains plenty of subtle references to the political ties and connections in the Middle East, including the artist’s inner strife of being torn between the Arab and Jewish identity and the enmeshments of the art business in international relations. The Rosenfeld Gallery from Tel Aviv presented this political-humoristic video in their space curated by Maya Frenkel Tene.

The video work “Recorder”, created in 2010 by the Islandic artist Sigurður Guðjónsson, was shown at BERG Contemporary from Reykjavik and also attracted a considerable number of viewers. In the loop one sees an old cine projector with two reels spinning incessantly above a water basin in an old warehouse. The insistent sound of drops falling into water and the mechanical sound of rotating film reels merge to form a musical flow that corresponds to both the visual aesthetics and sombre mood of the images. Sigurður Guðjónsson, born in 1975, is not only known in the experimental art scene, but has also presented his works in an international context in many exhibitions and at festivals.

One of the most innovative videos at the LOOP Fair was “Astronaut Doll”, created in 2017 by the Chinese artist Tang Chau. A marionette-like figure in a space suit wanders about aimlessly in nocturnal Shanghai; the figure roams in a dystopian setting seemingly without any social ties, without backing, without work. An impressive portrait of the nomadic metropolitan no longer integrated in the system. Tang Chau was born in 1990 in Hunan and works in the media video, photography, theatre and performance. He is represented by the Vanguard Gallery in Shanghai.

The Galerie Reinthaler from Vienna presented Lukas Marxt’s six-and-a-half-minute video work “Circular Inscription” from 2016. The setting is the Mojave Desert in California or, more precisely, El Mirage Dry Lake. An old American cruiser with a noisy engine is driving in perpetual circles in the dry and dusty desert, leaving behind tire marks in the sand. Here, the artist references the well-known land art work “Spiral Jetty” by Robert Smithson from the 1960s. In the past decades, the impressive landscape of the Mojave Desert has repeatedly served as a backdrop for Hollywood productions and advertising clips, especially for car advertising.

In the film “Away”, the Iranian artist Parisa Aminolahi tells the story of a young couple emigrating from Iran to the Netherlands. The contrast between a colourful, warm-hearted world in the Middle East and the unhospitable, Calvinistic Holland is described from the perspective of the young woman. The woman, thrown back on herself and constrained to the house, falls into a severe depression - visualized in emphatic, poetic pictures - and thus withdraws into a hallucinatory dreamworld. Parisa Aminolahi was born in Teheran in 1978 and has lived in the Netherlands since 2008. Her works have been shown internationally and are generally concerned with issues of exile, displacement and childhood traumata. She is represented by the Ag Galerie in Teheran.

In the 20-minute video “Not I”, created in 2018, we see an isolated woman’s mouth speaking non-stop. The voice, however, does not belong to the woman who is speaking, and also what she is saying is not coming from her. This irritating discrepancy is in turn reflected by the video’s title. The work by Lúa Coderch from Peru, born in 1985, is based on a theatre piece by Samuel Beckett from 1972, which was staged at the Forum Theater in the Lincoln Center in New York. At the LOOP Fair, it was presented by àngels barcelona.

Altogether around eleven-and-a-half hours of video art were on view at the LOOP Fair 2018 – an intensive load. Owing to the comfortable seating in the hotel rooms and the diversified programme of talks, this trade fair for video art is nonetheless a well-consumable format for insiders, friends and discoverers of the electronic medium.

Nicole Büsing and Heiko Klaas, 16 Jan 2019

Critics’ Pick: Loop Fair Barcelona 2018 by Nicole Büsing and Heiko Klaas

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