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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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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

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

Moving Images / Moving Bodies
Curated by Ludwig Seyfarth


Moving Images Bulgaria-Germany

Moving Images / Moving Bodies

Online screening programme in cooperation with the Goethe-Institut Bulgaria
Curated by Ludwig Seyfarth

As the first portable video camera came on the market in the USA in 1967 and in 1969 in Western Europe, the development of video art also took off. Alongside technical experiments, theatrical performances were documented or, like simple physical activities, often staged solely to be recorded. The boundary between documentation and independent artistic creation thus became fluid, as was also the case with the beginnings of video art in Bulgaria. Here, as in other East European countries, artists first had opportunities to use the video camera on a large scale after the end of the ‘Iron Curtain’.

Today the technical and aesthetic spectrum of the medium has expanded enormously, including through digital manipulation, even in places where the former political borders created differences in technological standards.

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Examples from the current art scene in Bulgaria and Germany confirm this.

The exhibition curated by Ludwig Seyfarth and planned for November 2020 in Sofia with video projections, installations, individual performances by artists and talks and screenings has been postponed until 2021 because of the Corona pandemic.

Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks.

A programme curated by Kalin Serapionov and Krassimir Terziev from ICA Sofia gives a selected overview of video art in Bulgaria in general. The programme is accompanied by an in-depth essay by Krassimir Terziev as well as by texts on individual films by different authors or the artists themselves.

There will also follow a video programme curated by Julia Sökeland on blinkvideo presenting artists who internationally expand the theme of Moving Images/Moving Bodies.

The paired artists will be: 
Evamaria Schaller and Kamen Stoyanov
Stella Geppert and Boryana Petkova
Teboho Edkins and Nadezhda Oleg Lyahova 
Kirstin Burckhardt and Sevda Semer 


Evamaria Schaller and Kamen Stoyanov

Evamaria Schaller made her 2020 video Contra Cadicum Morbum in the historic cellars of the Kunsthaus NRW in Aachen-Kornelimünster. The art-house is a former monastic building whose history reaches back to the Middle Ages. For centuries, it was also a place of pilgrimage for visitors to the relics of St. Cornelius, the patron saint of people with epilepsy.

The title of the video is a late High German spell against epilepsy. The performances taking place in the cellars are a scenic sequence which projects the monastery’s history and the healing power attributed to it ghost-like into the present day.

Kamen Stoyanov’s film Up and Through (2020) evokes the spirit of certain activities that never actually took place. Different actions occur around a planned new hotel whose remains testify to an investment failure in a nature reserve near Bulgaria’s Black Sea coast. These actions recall typical activities carried out in a hotel, such as the cleaning of rooms. They simultaneously quote in part other artists’ earlier historic performances, for example, Tomislav Gotovac’s Cleaning of Public Spaces, an ironic criticism of the Yugoslavian government in Zagreb in 1981.

Using such references, Stoyanovac also questions how to react artistically to political and economic friction. In Up and Through he does this in an almost allegorical manner, while the film Havalamani – New Istanbul Dream, referenced in Shooting Ghosts, contains a direct criticism of the reactionary Erdogan government.

Evamaria Schaller also draws on the history of performance in her work. In Seven Shades Red (2020), she begins to apply lipstick. By the end, her entire head is wrapped bondage-like in red thread. The uncut video in which only the artist’s face can be seen recalls the stark aesthetics of many early video performances. It is also an almost exemplary presentation of the spectrum of expression and meaning of the colour red through the A to Z of different emotional states shown.


Stella Geppert and Boryana Petkova

Stella Geppert and Boryana Petkova use the medium of video only in connection with other artistic means of expression, with drawing and performance.

The investigation of the human body and the choreography of its movement, as well as the exploration of its somatic and psychic condition, play a central role in Stella Geppert's work. InsideT (collective) is a performance on a white ground in which three dancers follow the energetic and emotionally charged actions of the artist. Their patterns of movement are determined by costumes specially designed by the artist, which become a kind of drawing instrument. Tentacle-like strips hang from head to foot and have carbon rods attached to the ends. The dancers' bodies tumble, swing, turn, fall, touch each other and communicate with each other. Their actions result in traces of carbon on the white ground, which produce a – 'blind' and unconsciously created – complex linear drawing.

Boryana Petkova
also subjects the drawing process to strict experimental arrangements or guidelines. From the physical actions carried out mainly by the artist herself, only the drawing hand reaches into the fixed-position camera shot.

In 31.41.07 a sheet of drawing paper hangs from a wooden construction, which swings the paper back and forth so that the drawing hand reaches it only with difficulty. The traces the artist leaves on the paper and the wall are thus a manifestation of the unattainable and cannot be fully controlled.

In 2hands drawing, two hands from different people draw on two off-set walls simultaneously. From the camera's position, they are beside each other, drawing two halves of a circle, which eventually fit together optically.

In Stella Geppert's work, the drawings result from the loss of control that occurs, not least when the performers shift their bodies' centre of gravity. Boryana Petkova, on the other hand, concentrates on the reach of the body and what 'emerges' when it tends to lose control of the hand, which also deprives it of coordination with the eye. Both artists work with the conscious restriction of movement in drawing, which becomes an externally controlled and mostly blindly executed activity. They both thereby succeed in letting the body and movement qualities of a drawing process become an expression of drawing itself.


Teboho Edkins and Nadezhda Oleg Lyahova

Although Nadeszhda Oleg Lyahova and Teboho Edkins each produced a video in entirely different cultural contexts, they pose a similar question: how are biographies remembered through images?

Nadeszhda Oleg Lyahova's film A Made-up Story (see also Shooting Ghosts) takes us through an abandoned house in the countryside. The camera focuses first on the partially rotted furniture and equipment, including an old camera, of the previous owner. There are old photos and postcards covered in dust lying around in a drawer. After cleaning them in water, the bleached and dusty outlines of the subjects are visible. The photos show family members, travel pictures, a newly married couple or a man on his death bed. But there are also scenes that appear to follow the official propaganda of socialist Bulgaria. The artist, who does not know the people and their life journeys, ‘invents’ possible stories behind the images and brings them to life. The forgotten biographies behind the forgotten pictures could actually have happened. Preserving lived lives in a collection of photos in an album was a collective ritual in all European or Europe-influenced countries for a long time. Even individual photos found by chance always say something about society as a whole.

Teboho Edkins' film Initiation also begins with a photo that could come from a family album. It shows a white child in the traditional shepherd's dress of Lesotho, where Edkins grew up. It is in fact a photograph of the artist himself as a 6 year old.

The film is the documentation of an intuition ritual in the mountains of Lesotho. Traditionally every young man of the Basotho, the people who constitute most of the population, becomes an adult through this ritual. However, Edkins does not show the months-long ritual itself but at first the younger brother of the initiate who discusses his feelings while waiting, and then the group's return after successfully completing the ritual. The stages of the initiation are private and undocumented in images. Although photo albums are also common in Lesotho, they would only contain the performative staging of the ritual, which Edkins shows at the end of his video. The young men celebrating the successful initiation wear traditional robes but add sunglasses and imitation jewellery, external cultural influences that are penetrating this ritual practised over generations.


Kirstin Burckhardt and Sevda Semer

Kirstin Burckhardt's moving-image portrait A body that only embodies oscillates between the poles of aggression and sensuality. The focus lies on the mouth, lips, gums, and tongue, which become the site of a subtle and intricate drama in the artist's video installation. On this corporeal stage, the simultaneous monologue and dialogue revolve around opening and sealing the body, around vulnerability and self-assertion, attraction and repulsion, withdrawal and emersion, as well as around forms of embodiment and mediation fluctuating between internal and external spaces. The public display, exercise, and manipulation of sexualised power are juxtaposed here with the intimate, self-determined incorporation and appropriation of the individual body, which operates across the boundaries, functioning both as an interface and an agent.
(Belinda Grace Gardner)

How does it feel? is a video piece. It is accompanied by the fictitious Body Map Institute’s website on the psychological term ‘body ownership’ – As a whole, this project seeks to question the term body ownership and the interplay between ‘me’ and ‘mine’.

‘Do you have a body? Are you a body?’ – this is the question at the beginning of video, which starts out as an interview with a charismatic, middle-aged, Caucasian psychology professor. He compares ‘body ownership’ with a pearl sliding on a string – one end of the string representing total connectedness with the body (e.g. states of meditation) to partial disconnection (so-called out-of-body experiences) to body dis-ownership (states of severe trauma) at the other end.

But during the course of the video, the dynamics shift: the camera creeps closer, curiously scanning the skin, pores, and wrinkles of this speaking body that is talking about bodies beyond words. The visuals question how we identify with the body, from what point of view and from which position of power. The voice of the expert continues, the camera circles him like a tiger with locked eyes, and the question reverberates: Do you have a body? Are you a body?
(Kirstin Burckhardt)

Who is speaking? The psychology professor who is an invention of the artist, and into whose mouth she ‘puts' her own text, or the actor, whose body the camera steadily approaches?.
Who is speaking? can also be asked of Sevda Semer, even though it is she herself who is talking about her own diary and also about whether anyone should ever read it. Are there things in the diary that should not be revealed even to posterity? And who is speaking in the video, the private self or the public self? Is the artist not performing her self, standing outside herself here? The second film is part of a series in which Sevda Semer gives us a glimpse into another, drawn and painted, diary, in which there are only individual sentences written, such as: 'You said you're a body with a mind / I said I'm a mind with a body'.

In this way, Sevda Semer highlights an ambivalence similar to Kirstin Buckhardt's investigation of 'body ownership'. Both artists subtly demonstrate the depths hidden behind the idea of being identical to oneself or 'with oneself'. 'I is another' could be fundamental to both of them, as the French poet Arthur Rimbaud already documented around 1880, or as the psychoanalyst, Jacques Lacan put it: 'The I is not the I'.
(Ludwig Seyfarth)

Moving Images / Moving Bodies Curated by Ludwig Seyfarth

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