This website uses cookies to analyze the traffic
Information on the use of our website is therefore transferred to Google.

Accept

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

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


Please help us with a donation for our Crowdfunding Campaign on Kickstarter

Today we ask you a favour! blinkvideo wants to expand the section of curated exhibitions next to the "archive character".

Curators need a fee and artists a screening fee. That's what we need your help for! An extensive and exciting program is already in the starting blocks and only needs the GO.


Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Sofia

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

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

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

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

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

Peter Weibel
Robert De Niro – Al Capone / Donald Trump – Donald Trump

I continued the »BILDERATLAS« / Commissioned by ABY WARBURG

In the pre-election period in America, Peter Weibel has produced a video in which he contrasts the gestures and intonation of Donald Trump with those of Robert de Niro in his role as Al Capone. The title alone suggests the assumption of a good staging and not just pure coincidence.

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.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

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

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.

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.

Our Partners

blinkvideo mediaart
blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Sofia

Works

Artists: Veneta Androva, Neno Belchev, Mitch Brezounek, Marina Genova, Nadezhda Oleg-Lyahova, Kalin Serapionov, Dimitar Shopov, Kamen Stoyanov, Samuil Stoyanov, Krassimir Terziev

Curators: Kalin Serapionov, Krassimir Terziev

I read somewhere a statement by Bulgarian gallerist Georgi Kolev saying that the beginning of video art in Bulgaria was a video recording of one of the first mass protests in Bulgaria on 14th December 1989 in front of the Parliament made by film director Evgeniy Mihaylov where the prime minister at the time Petar Mladenov (Bulgarian Communist Party) uttered the words 'bring in the tanks'[1]. I don’t know why this idea stuck in my head for a long time. Clearly the recording cannot be a work of art, it was never viewed as such either. But let’s imagine I’m deprived of common sense and I go with the idea that’s stuck in my head. No one ever found out whether those words really were said by Peter Mladenov. They were swamped by the surrounding noise and no expert analysis managed to make up for the poor quality. Notwithstanding the questionable character of this piece of evidence, the words stayed and were repeated in and out of context for decades. The video created a myth stimulating the imagination to produce not what is probable, but what is possible. And thus it may turn out to be the necessary myth of origin of video art in Bulgaria.

***

After decades of state monopoly on television and radio (two television channels and three national radio channels), in the 1990s we witnessed an inundation of cable operators broadcasting, with or without a license, all sorts of spam. 24-hour porn, martial arts films dating back two decades, action films and Latin American soap operas from the same period: a chaotic mix reaching unexpected heights with the apex of tele-magic – the psychic healer Kashpirovski[2], who would heal the entire nation live on air. This was the environment in which the moving image found the popular context from which to move forward as an art medium.

***

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.

All works in the programme start not from a blank page, but from a directly lived experience that poses a problem. So they all stay close to the real, perceived from the personal position of the artist. But the artists are not content to figure all the elements that already shape the reality of the experienced situation, nor to reduce it to a chain of probabilities and calculations. On the contrary, their approach at work is to complicate the situation with all the possibilities that are not foreseen, with all the ghosts and monsters that are part of the picture but invisible from certain angles. In order to realise all the possibilities that shape reality the artists take on the angles of wild imagination, grotesque exaggeration, or poetic indetermination.

Yet what we witness is not merely artistic play. It is an outcome of certain ethical and political positions that reject the view that the world is a predetermined product of calculated probabilities, lately emerging as the apotheosis of the Capitalocene.

***

There are thick layers of context that each of the works in the selection contains that are necessary for a fruitful experience and interpretation. In 'Ear Cleaning' (2018) Veneta Androva lures the viewer to that inexplicable, comfortable shudder that ASMR videos create only to shake her/him the moment the language of the whispers is recognised to contain aggressive, paranoid, racist and homophobic hate-speech familiar in the distorted world of online discussions in the Bulgarian-language web. In the case of Neno Belchev’s 'My Heart is an Octopus...' (2016) it is the entire scene of post-socialist/neoliberal Bulgaria, the missing foundations of the artistic avant-garde in the 20th century history of the country and the schizophrenic relationships between generations, that is the backdrop of autobiographical fiction. 'A Made-up Story' (2014-2015) by Nadezhda Oleg-Lyahova paints ignored parts of the post-socialist landscape - the shrinking countryside full of abandoned villages with abandoned houses full of abandoned biographies exposed in found family albums - the result of massive emigration happening over the past 30 years. Samuil Stoyanov re-animates the dead stuffed animals in the collection of the Museum of Natural History in Sofia using the substance that moves matter - light ('National Museum of Natural History', 2014). History meets the future in a no-man's land of Istanbul peripheries - the site of the new gigantic Istanbul Airport - in the process of development during the film’s production. This is the site of 'New Istanbul Dream' (2017) by Kamen Stoyanov. Marina Genova’s 'New Comfort Zone' (2019) imagines and punctually visualises in a 3D model the AI-centric home of the near future, that could materialise in a very literal way Corbusier’s vision of the modern home as a machine. From the near future, speculation gets us teleported to the far-reaching film forecast 'Plovdiv Life Vest' (2017) by Dimitar Shopov. Shopov projected the 'eternal' city of Plovdiv in the year 2120 - a dystopian future in which the only humans surviving on the planet seek asylum in Plovdiv, where all machines became obsolete but there is still a machine that people cannot part with because it literally keeps the economy alive - the coffee machine. All these future scenarios are being suspended in Krassimir Terziev’s '[...] Suspended' (2020) - a horror movie without actors other than the camera and the spectator, shot during the lockdown caused by Covid-19 - a permanent present pregnant with expectations (good and bad). And touching on film genres - film noir was claiming everything begins with a fatal woman shaking the world out of balance. That sexist claim is ridiculed in 'A Blonde Woman in a Red Dress and Bright Lipstick is Talking on the Phone and Smoking a Cigarette' (2016) by Kalin Serapionov, in which the camera follows the 'model’s' movement and gestures. However, the viewer does not see the real image but its video scopes – the visualisation of the range of colours in the image. An important reminder that whatever the speculations or truth claims, a good amount of questioning of the apparatus that produced the image is required. In the contemporary art world the image is increasingly being produced not by the artist, but by the apparatus of the art industry. There are numerous manuals off-and-online, free or expensive, which promise to teach us how to break through the increasingly opaque surface of the art industry. Mitch Brezounek offers us precisely such a manual in his ‘How to Become the Best Artist in the World’ (2020), only this time with grotesque humour and hilarious B-movie aesthetics.

 

List of films/videos

Veneta Androva 'Ear Cleaning' 2018, animation, 18 min

Neno Belchev 'My Heart Is an Octopus or My Father on the Shore of the Black Sea' 2016, experimental autobiographical fiction, 93 min

Mitch Brezounek 'How to Become the Best Artist in the World' 2020, tutorial, 35 min

Marina Genova 'New Comfort Zone' 2019, animation, 3:44 min

Nadezhda Oleg-Lyahova 'A Made-up Story' 2014-2015, video, 13:17 min

Kalin Serapionov 'A Blonde Woman in a Red Dress and Bright Lipstick is Talking on the Phone and Smoking a Cigarette' 2016, video, 5:59 min

Kamen Stoyanov 'Havalimani – New Istanbul Dream' 2017, docufiction, 26:52 min

 Samuil Stoyanov '10 min National Museum of Natural History' 2013, video, 10:20 min

Krassimir Terziev '[...] Suspended' 2020, experimental film, 8:38 min

Dimitar Shopov 'Plovdiv Life Vest' 2017, film forecast, 6:57 min

[1] On 14th December 1989 at one of the first large-scale oppositional rallies in front of Parliament aimed at changing the one-party political system, Petar Mladenov, Chairman of the State Council of the People’s Republic of Bulgaria at the time, said 'Better bring in the tanks' according to a video circulated by the opposition, which lead to the fall of the government and the beginning of the transition in Bulgaria. See: Wikipedia

[2] Anatoliy Kashpirovski is a para-psychotherapist who, following his success in the USSR, visited Bulgaria in the Vsyaka Nedelya [Every Sunday] show on Bulgarian National Television, conducting the so called 'telebridges' for remote mass healing.

Shooting Ghosts Online screening programme in cooperation with the Goethe-Institut Sofia

Please fill out the application form.

  • Please select
  • Mr.
  • Mrs.
  • Please select
  • Afghanistan
  • Albania
  • Algeria
  • American Samoa
  • Andorra
  • Angola
  • Anguilla
  • Antarctica
  • Antigua and Barbuda
  • Argentina
  • Armenia
  • Aruba
  • Australia
  • Austria
  • Azerbaijan
  • Bahamas
  • Bahrain
  • Bangladesh
  • Barbados
  • Belarus
  • Belgium
  • Belize
  • Benin
  • Bermuda
  • Bhutan
  • Bolivia
  • Bosnia and Herzegovina
  • Botswana
  • Bouvet Island
  • Brazil
  • British Indian Ocean Territory
  • British Virgin Islands
  • Brunei
  • Bulgaria
  • Burkina Faso
  • Burma
  • Burundi
  • Cambodia
  • Cameroon
  • Canada
  • Cape Verde
  • Cayman Islands
  • Central African Republic
  • Chad
  • Chile
  • China
  • Christmas Island
  • Cocos (Keeling) Islands
  • Colombia
  • Comoros
  • Congo Democratic Republic of the
  • Congo Republic of the
  • Cook Islands
  • Costa Rica
  • Cote d'Ivoire
  • Croatia
  • Cuba
  • Curacao
  • Cyprus
  • Czech Republic
  • Denmark
  • Djibouti
  • Dominica
  • Dominican Republic
  • Ecuador
  • Egypt
  • El Salvador
  • Equatorial Guinea
  • Eritrea
  • Estonia
  • Ethiopia
  • Falkland Islands (Islas Malvinas)
  • Faroe Islands
  • Fiji
  • Finland
  • France
  • France Metropolitan
  • French Guiana
  • French Polynesia
  • French Southern and Antarctic Lands
  • Gabon
  • Gambia
  • Georgia
  • Germany
  • Ghana
  • Gibraltar
  • Greece
  • Greenland
  • Grenada
  • Guadeloupe
  • Guam
  • Guatemala
  • Guernsey
  • Guinea
  • Guinea Bissau
  • Guyana
  • Haiti
  • Heard Island and McDonald Islands
  • Holy See (Vatican City)
  • Honduras
  • Hong Kong
  • Hungary
  • Iceland
  • India
  • Indonesia
  • Iran
  • Iraq
  • Ireland
  • Isle of Man
  • Israel
  • Italy
  • Jamaica
  • Japan
  • Jersey
  • Jordan
  • Kazakhstan
  • Kenya
  • Kiribati
  • Korea North
  • Korea South
  • Kosovo
  • Kuwait
  • Kyrgyzstan
  • Laos
  • Latvia
  • Lebanon
  • Lesotho
  • Liberia
  • Libya
  • Liechtenstein
  • Lithuania
  • Luxembourg
  • Macau
  • Macedonia
  • Madagascar
  • Malawi
  • Malaysia
  • Maldives
  • Mali
  • Malta
  • Marshall Islands
  • Martinique
  • Mauritania
  • Mauritius
  • Mayotte
  • Mexico
  • Micronesia Federated States of
  • Moldova
  • Monaco
  • Mongolia
  • Montenegro
  • Montserrat
  • Morocco
  • Mozambique
  • Namibia
  • Nauru
  • Nepal
  • Netherlands
  • New Caledonia
  • New Zealand
  • Nicaragua
  • Niger
  • Nigeria
  • Niue
  • Norfolk Island
  • Northern Mariana Islands
  • Norway
  • Oman
  • Pakistan
  • Palau
  • Panama
  • Papua New Guinea
  • Paraguay
  • Peru
  • Philippines
  • Pitcairn Islands
  • Poland
  • Portugal
  • Puerto Rico
  • Qatar
  • Reunion
  • Romania
  • Russia
  • Rwanda
  • Saint Barthelemy
  • Saint Helena Ascension and Tristan da Cunha
  • Saint Kitts and Nevis
  • Saint Lucia
  • Saint Martin
  • Saint Pierre and Miquelon
  • Saint Vincent and the Grenadines
  • Samoa
  • San Marino
  • Sao Tome and Principe
  • Saudi Arabia
  • Senegal
  • Serbia
  • Seychelles
  • Sierra Leone
  • Singapore
  • Sint Maarten
  • Slovakia
  • Slovenia
  • Solomon Islands
  • Somalia
  • South Africa
  • South Georgia and the Islands
  • South Sudan
  • Spain
  • Sri Lanka
  • Sudan
  • Suriname
  • Svalbard
  • Swaziland
  • Sweden
  • Switzerland
  • Syria
  • Taiwan
  • Tajikistan
  • Tanzania
  • Thailand
  • Timor Leste
  • Togo
  • Tokelau
  • Tonga
  • Trinidad and Tobago
  • Tunisia
  • Turkey
  • Turkmenistan
  • Turks and Caicos Islands
  • Tuvalu
  • Uganda
  • Ukraine
  • United Arab Emirates
  • United Kingdom
  • United States
  • United States Minor Outlying Islands
  • Uruguay
  • Uzbekistan
  • Vanuatu
  • Venezuela
  • Vietnam
  • Virgin Islands
  • Wallis and Futuna
  • West Bank
  • Western Sahara
  • Yemen
  • Zambia
  • Zimbabwe

Data you submit will only be used by us for contact purposes, sending you the password and information about our activities. Your data will not be shared with other companies. If you wish, we will immediately delete your data from our system; please send us an email.


Enter your E-mail address below and we'll get you back to the art.