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

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


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

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

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

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger
LOVE AFFAIR, 2017

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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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

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

Mitch Brezounek
How to Become the Best Artist

Artist Mitch Brezounek
Year 2020
Duration 35:00 min
Technical info tutorial, HD, 4:3
Contact

About the video

Doug, an old master painter, decided to create with the assistance of his son a VHS tape - an exceptional art tutorial to learn, understand and become the next best artist in the world.

Mitch Brezounek - How to Become the Best Artist
Doug, an old master painter, decided to create with the assistance of his son a VHS tape - an exceptional art tutorial to learn, understand and become the next best artist in the world.

Please fill out the application form.

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