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

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

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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

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

Kamen Stoyanov
Havalimani – New Istanbul Dream

Artist Kamen Stoyanov
Year 2017
Duration 26:52 min
Technical info HD, color, sound
Contact

For further information contact blinkvideo
Phone: +49 172 4024342
E-Mail: julia (et) blinkvideo.de

About the video

Since 2014 Turkey has been constructing its third international airport. Istanbul New Airport was planned to be the world's largest airport in the future. The opening was scheduled for February 2018.

In the film the construction site turns into an arena of critical artistic observation and intervention. Using the old 'Karagöz' theatre in the setting of the airport and in th current political situation in Turkey allows a strong critique of power structures. Karagöz is an old Ottoman theatre which provided the possibility to make a public critique of the governing power. Today, Erdogan is pushing back Turkey ́s modernisation to 'Re-Ottomanisation'.

The revival of the abandoned Karagöz is used as a form of critique.This is happening in a double bind. It revitalises a traditional Ottoman technique of critique to criticise the current re-Ottomanisation in Turkey. The film ends with a musical performance of the song 'Karagözlum' by the Turkish Band Zoomk Ru Tu. The song is an adaptation of the popular Turkish singer Seda Sayan ́s song 'Karagözlum'. The original song was adapted to the content of the film (parts of the interviews flowed into the lyrics.) and reinterpreted musically.

New Istanbul Airport is one of Turkey’s most controversial projects in recent times for a number of reasons. Firstly, there are problems with the area’s ground, because of its instability. Secondly, the airport’s potential environmental impact on the surrounding nature. Thirdly, there is no need for a another airport as Atatürk is big enough for current needs. The new airport is located in the Northern Forest Area, which is of huge importance for Istanbul’s ecological sustainability. The movie shows the construction site of the New Istanbul Dream from a critical perspective. Documentary and staged sequences are mixed. The main issue of the video is the conflict between Erdogan ́s 'mega-project' and its impact on nature and on the villagers living around the future airport

Kamen Stoyanov - Havalimani – New Istanbul Dream
Since 2014 Turkey has been constructing its third international airport. Istanbul New Airport was planned to be the world's largest airport in the future. The opening was scheduled for February 2018.In the film the construction site turns into an arena of critical artistic observation and intervention. Using the old 'Karagöz' theatre in the setting of the airport and in th current political situation in Turkey allows a strong critique of power structures. Karagöz is an old Ottoman theatre which provided the possibility to make a public critique of the governing power. Today, Erdogan is pushing back Turkey ́s modernisation to 'Re-Ottomanisation'.The revival of the abandoned Karagöz is used as a form of critique.This is happening in a double bind. It revitalises a traditional Ottoman technique of critique to criticise the current re-Ottomanisation in Turkey. The film ends with a musical performance of the song 'Karagözlum' by the Turkish Band Zoomk Ru Tu. The song is an adaptation of the popular Turkish singer Seda Sayan ́s song 'Karagözlum'. The original song was adapted to the content of the film (parts of the interviews flowed into the lyrics.) and reinterpreted musically. New Istanbul Airport is one of Turkey’s most controversial projects in recent times for a number of reasons. Firstly, there are problems with the area’s ground, because of its instability. Secondly, the airport’s potential environmental impact on the surrounding nature. Thirdly, there is no need for a another airport as Atatürk is big enough for current needs. The new airport is located in the Northern Forest Area, which is of huge importance for Istanbul’s ecological sustainability. The movie shows the construction site of the New Istanbul Dream from a critical perspective. Documentary and staged sequences are mixed. The main issue of the video is the conflict between Erdogan ́s 'mega-project' and its impact on nature and on the villagers living around the future airport

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