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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

Critics’ Pick: Vienna
by Nicole Büsing + Heiko Klaas


Nicole Büsing and Heiko Klaas recommend five videos from the exhibition “Antarctica” at the Kunsthalle Wien

In her book “Entfremdung. Zur Aktualität eines sozialphilosophischen Problems“ (Alienation. A Contemporary Problem of Social Philosophy), published in 2016, the Swiss philosopher Rahel Jaeggi outlined the phenomenon of the objectification of interhuman relationships and the relations with the world as follows: “Alienation is a relationship based on the absence of a relationship”. Is alienation thus a new phenomenon of contemporary life? The literature of the past turn of the century had also repeatedly addressed the issue of isolation and the lack of relationships within society, for example, in Arthur Schnitzler’s theatre piece “The Lonely Way”, (1903), which recently played in a grandiose staging at the Theater in der Josefstadt in Vienna. Equally worth seeing was the group show “Antarctica. An Exhibition on Alienation”, also presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni, from the 1960s, 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. Introduced here are five videos from this show, selected by Nicole Büsing and Heiko Klaas for BLINKVIDEO.

Serving as a basis for the six-minute video work “Afterwork” (2016) by the Lithuanian artist duo Vilte Braziunaitè and Tomas Sinkevicius was the so-called “stock photography”. Laid over the aesthetically staged, glossy images of automobile hoods, flora and fauna illuminated by evening light along with various amorph-looking objects we hear a disparate, emphatic off-scene voice. Similar to the images originating from pre-produced, unreal visualizations for advertising purposes, the commentary was assembled from footage deriving from tweets and chatbots of various social media groups. The discrepancy between the subject and his performance in an artificially construed public “after-work situation” is impressively illustrated in the video. Hovering above it all is a longing for closeness, emotional comfort and meaning, symbolized by the image of a necklace floating in mid-air, which is set against the null and void fantasy images in “Afterwork” as a concrete object.

The “brave new world of work” also plays a role in Burak Delier’s 15-minute video “Crises & Control” of 2013. Here, performers are seen intently practicing yoga exercises in a modern building in Istanbul. The physical exercises for relaxation executed in tight business attire are overlaid with the performers’ comments about stress at the office, tensions in the working world, success and failure in one’s career and other business-related subjects. The Turkish artist, born in 1977, creates a tension between two worlds: on the one hand, the balancing, stress-relieving world of yoga, usually associated with the leisure-oriented domain of fitness and wellness studios, and, on the other hand, the world of business, careers and everyday work. In Delier’s case, even relaxation, paradoxically, is stringently organized down to the last detail: external recreational areas no longer exist; the credo “fit for the job” is fully integrated into the office routine, the privilege of taking a little time off transferred into zones within the office world. Neoliberalism and late capitalism engross the individual, who is forced to place self-optimization in the service of his or her career. But at which price?

The artist Isabella Fürnkäs was born in Tokio in 1988 and currently lives and works in Berlin and Düsseldorf. On view in the exhibition “Antarctica” was, alongside an installation and a performance, a video loop of around three minutes, titled “In Ekklesia” from 2015. Images of industrial assembly robots and drawn comic figures, accompanied by hard rave beats, are shown at a rapidly alternating pace. Commenting text lines will pop up again and again, such as: “I’m so sad.” The viewer experiences an endless loop of repetition, rhythm, monotony and the co-optation of the individual. The title of the work “In Ekklesia”, by the way, refers to the core of the Attic democracy of antiquity. Isabella Fürnkäs asks us which position the responsible citizen can take while risking to be worn down in the friction between man and machine, between automat and individual.

An entirely different sphere is examined by the artist Jana Schulz, born in Berlin in 1984, who studied at the Academy of Fine Arts in Leipzig. In her 17-minute video work “Golden Boys. Igdir. Maravilla. Monterey Park” from 2018 she observes, in long takes, young men in the environs of the world of boxing. In the scope of research trips to three places in Turkey and Los Angeles, Jana Schulz filmed her protagonists during unproductive leisure activities such as watching TV, playing with their cell phone, intensive body care or sports training. Choosing settings in economically precarious locations, she scrutinized – in a kind filmic sociological study – the subcultural milieu of boxing, which has been a particular object of fascination for many decades, and not only with regard to sports. The video’s title “Golden Boys” is drawn from the company name “Golden Boys Promotion” held by a US-American boxing agency.

Another highly convincing video work is the 29-minute film “Roosenberg”, created in 2017 by the Estonian Ingel Vaikla, born in 1992 and living in the Belgian city of Ghent. The eponymous Roosenberg Abbey is an abbey that was re-established in Waasmunster, Belgium in a minimalist style devoted to architectural modernity. The video is a portrait of this abbey and the last four of its inhabitants. The austerely dressed sisters are seen performing their habitual tasks during the last days before the abbey’s closure. Religious rituals blend with routine activities such as packing, cleaning up and preparing to move out. In long takes and aesthetically remote images, the video describes the inner world of monastic life within an unpretentious architectural setting detached from the outer world. Special contrasts of light and darkness alternate with calm takes of everyday scenes in which the sisters are captured by the camera in an almost picturesque manner. The site of the abbey acts as a heterotopia in the sense of Michel Foucault: a space defined by a community of faith with a strict set of rules, perceived as a rigorously secluded part of society. The clearly structured, functional rooms built by the architect and Benedictine monk, Hans von der Laan, provide a conceptual framework in which the sisters integrate themselves unconditionally. Religion as alienation – alienation as religion, in no other video at the Kunsthalle Wien was the topic of the exhibition so clearly outlined as in Ingel Vaiklas’ half-hour masterpiece.

Nicole Büsing & Heiko Klaas
June 7, 2019

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

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