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

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


Something Between Us
KAI 10 | ARTHENA FOUNDATION, Düsseldorf

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020

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

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

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Nasim Weiler: Hello, there are many absolutely wonderful video works on Blinkvideo - here are my three favourites of today, March 26 - a day spent in quarantane in Paris.

Jeroen Van Den Tempel: I'm fascinated by video's which invite me to watch out of my framework of daily existence, of my perception of time and space. Which remind me of the real nature of reality, which is streaming. All form is temporary. I’m really intrigued when a universal issue is combined with an issue from daily life. Jeroen van den Tempel

Do you have any favorites on blinkvideo ? Or would you like to focus attention on some video works? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows: When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

Featured videos

Federico Adorno
La estancia, 2014

Federico Adorno’s film La estancia was awarded the Grand Prize of the City of Oberhausen at this year’s International Short Film Festival Oberhausen. In its statement the jury said: “Through a succession of subtly constructed tableaux, this powerful film is a profound critique of systematic oppression. Instigated by a massacre amidst a land-rights conflict in Paraguay, this haunting work transcends the local context to voice the struggle for essential freedoms.”Many years ago, while he was working at the Swiss NGO “Helvetas Paraguay”, Adorno travelled long distances into the countryside to film short documentaries with peasants, whom he taught how to use a camera and write short stories, which they then shot together. His last two short films are about land rights and property, and how the extensive ownership of land by just a few landowners gives rise to serious conflicts and problems in rural communities. Isla Alta is about the tensions that surround a community when a wealthy rancher goes missing; La estancia depicts the aftermath of a massacre and is based on true events that happened in Paraguay in 2012.

Tobias Yves Zintel
Breed and Educate, 2018

The Film Breed and Educate is based on a collaborative performance with a class from the Hector-Peterson-Schule Berlin Kreuzberg and the HAU. In numerous task based rehearsals eight pupils between 11 and 13 years explored the possibilties of self-education. Based on various materials from found footage to documentary and staged scenes the film circles around the relationship of controlling and self-empowerment in educational systems. Breed and Educate is circling around the question of how lessons should be organised in times of network and algorthim-based learning. Algorithms and neuronal networks have to master problems only once, after they achieved their goal, results can be duplicated and copied any number of times. Kids on the other hand side have to learn everything step by step, the accumulated knowlede can’t be transfered from on kid to the other by „copy and paste“. An allopoetic system is a trivial system, which can be potentially fully explored, controlled and operated by an observer. With a similar theory in mind, the Prussians started to organise schooling in 1717, to prepare pupils for the Prussian Military Academy. What happens almost 300 years later in a school in Berlin, when the relationship between control and self-empowerment is inverted by postmigrant pupils who breed robots, are educated by them and vice versa? “ In Breed and Educate an automated dionsaur is introduced by a twelfe year old boy: “It’s easily trainable”. While he explains the mode of operation, one sees the parallels: the school wouldn’t have any problems with pupils equipped with a suitable operating system downloaded from the internet. Sounds like an uncanny utopia.” (Katrin Bettina Müller)

Lene Markusen
Grad, 2004

Dieter Kiessling
60 Minutes 360 Degrees GK 2010, 2010

A boy is portrayed with a video camera for an hour on a tennis court.During this time the camera turns through 360 degrees. Meanwhile, the whole space is recorded piece by piece. The boy follows the camera movement slowly thus remaining constantly in the centre of the picture.

Clemens von Wedemeyer
Silberhöhe, 2003

In Halle-Silberhöhe in East Germany, the camera records peri-urban area architecture, prefabricated buildings that are deserted and destined to be demolished. The commentary evokes a film editing technique used by Michelangelo Antonioni in his film, L’Eclisse (1962).

Janet Biggs
Fade to White, 2010

In Fade to White, Biggs delves into the desire to explore remote lands. To create this work, the artist embarked on an expedition in the high Arctic, traveling aboard an ice-class, 2-masted schooner, built in 1910. During the voyage, Biggs filmed Fade to White, focusing on a crew member as he navigated the ship through iceberg filled seas, and paddled a kayak past glacier walls and polar bears. As she photographed the explorer, Biggs tested her own will and endurance. The visual tension of her uncompromising imagery bespeaks their mutual struggle to maintain balance and purpose. Yet, the video also reveals the myth of the solitary white male explorer. Biggs explains, "The desire to hold onto the notion of the 'great white north' as a blank space awaiting interpretation only reinforces the idea of the colonial polar hero. The 'virgin' north has now been mapped, surveyed, and mined, but increased knowledge has not replaced endless fantasies of discovery." Loss and change are implicit in the video's title, Fade to White, which refers to an editing technique used to evoke death or transcendence. Biggs integrated her Arctic imagery with sound and video footage of counter tenor John Kelly, whose age, androgyny, and mournful voice parallel the vanishing Arctic landscape and signal the waning of male dominance.

Rebecca Ann Tess
The Tallest, 2014

The »The Tallest« shows pictures shot on-site of the currently tallest buildings in the world. The high-rises are shown as set pieces of global capitalism, visually disappearing into abstraction. The reduced images are reminding of 3D rendering. The simulated image of these buildings circulates in the media for representational and advertising purposes, becomes a substantial object and the actual spatiality becomes a mockup. The narration is undertaken by a computer voice, it describes the competition for the tallest tower at such divers places as Chicago, Dubai, Hong Kong, Kuala Lumpur, Mecca, Nanjing, New York City, Seoul, Shanghai, Shenzhen, Songdo and Taipei.

Johanna Reich
LIGHT ON BLACK ON WHITEHOMAGE TO MALEVICH, 2015

A moving digital light drawing illuminates a white wall. A hand painting a black square on the white surface becomes visible. At the same time the light drawing is painting a light square. In the end the light of the digital light square illuminates the finished black oil painting.

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

Works

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

Ingel Vaikla
Roosenberg

Artist Ingel Vaikla
Year 2017
Duration 29:15 min
Contact

For further information contact blinkvideo
Phone: +49 172 4024342
E-Mail: info (et) blinkvideo (dot) art

About the video

Roosenberg is a place, a space, a building, a film. Roosenberg is Amanda, Godelieve, Rosa and Trees. Roosenberg is a letter that tells of a personal encounter with four elderly nuns in a fascinating abbey in Belgium. The every day communal life of four sisters, their religious practice and final departure from the building tells the story of modernist architecture. It is a memory, a story of a space at the beginning of the end.

Ingel Vaikla - Roosenberg
Roosenberg is a place, a space, a building, a film. Roosenberg is Amanda, Godelieve, Rosa and Trees. Roosenberg is a letter that tells of a personal encounter with four elderly nuns in a fascinating abbey in Belgium. The every day communal life of four sisters, their religious practice and final departure from the building tells the story of modernist architecture. It is a memory, a story of a space at the beginning of the end.

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