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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

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


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

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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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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