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

For artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

Nadja Verena Marcin - OPHELIA
Stadtgalerie in Saarbrücken, Germany. 2019

OPHELIA is an interdisciplinary performance that is presented in the Stadtgalerie Saarbrücken as a live action and subsequently as a video installation. It reflects the human-induced destruction of nature and creates references to art, literature and science. Dressed in "Ophelia's" dress and equipped with a diving device, Nadja Verena Marcin will climb into an aquarium and try under water to read the text "The Werld" by Daniil Kharms about human perception.
Image: © Nadja Verena Marcin

Igor Simić - WELTSCHMERZ 
at Galerie Beckers, Frankfurt

The exhibition WELTSCHMERZ shows new works by Serbian artist Igor Simic, which he created in connection with his iOS game Golf Club: Wasteland. For this game he and his award-winning gaming and film company Demagog Studio developed a whole world — a storyline with characters and various landscapes — in a post-apocalyptic scenario. The eerie atmosphere of the carefully crafted visual scenery is accompanied by slow paced, nostalgic, sometimes almost chilling music that evokes the feeling of longing for something lost.
Image: © Igor Simić

Fuzzy dark spot
Video art from Hamburg

The exhibition FUZZY DARK SPOT curated by the Hamburg-based video artist Wolfgang Oelze, at the Falckenberg Collection brings together 56 video works by over 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups.
image: © Stefan Panhans

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

Featured videos

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

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

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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

A MODEL OF THE WORLD
a film program curated by Simone Menegoi

Works

Galerie Jocelyn Wolff
78, rue Julien-Lacroix
F-75020 Paris
T + 33 (0)1 42 03 05 65
www.galeriewolff.com

January 10 - February 14, 2015

The Doctor never leaves the house. Walking is a major effort for him. He’s big and stout, and his legs are shaky. Even at home, he rarely budges from his armchair. Most of the time he sits at his desk, sipping brandy and gazing out the window at whatever happens in the village. He watches and takes notes. He writes and sketches. His drawings are simple yet precise, perspective renderings of what the Doctor sees from his window. They put order into the chaos of what lies outside: the mud, the animals roaming through the streets, the hanky-panky, the scheming, the money changing hands.

The Doctor is a character from Béla Tarr’s film Sátántángo . I thought of him as I watched the videos that Zbyněk Baladrán has shot using a fixed camera pointed at a tabletop. On it, two hands draw diagrams, write words, cut geometric shapes from sheets of paper, stack books. Sometimes the images are accompanied by a voiceover, like the Narrator in Sátántángo. The voice comments on what the hands are up to, or else ponders universal questions: the number of instants making up a life, the structure of society, the structure of reality. These are obsessive, solipsistic monologues. Reasonings that follow a logical thread, ignoring how this thread leads them, step by step, into a sphere of abstraction that no longer bears any resemblance to the world we know.

The Czech artist’s videos serve as mileposts throughout the program. Between them, other images flow: videos by Katinka Bock, Guillaume Leblon, Ulrich Polster, Clemens Von Wedemeyer. I suggest imagining, as one watches, that the nameless, faceless character in Baladrán’s videos has lifted his eyes from the table and is looking out the window, like the Doctor in the film by Béla Tarr. What he sees, what we also see, often seems incomprehensible. A man walks around a room whose floor is covered in mud. Objects come flying out the windows of a country house. In a dimly lit room, in the heart of a deserted, snowbound neighborhood, a TV set shows an Italian movie from the Sixties. Effects whose causes we do not know, causes whose effects we will not see. In choosing the videos, I tried to put myself in the position of someone seeing them for the first time, who knows little or nothing about the artists who made them. In some cases this was not hard at all; I really was seeing the videos for the first time, and I really did know little about the artists. I held onto this ignorance. I did my best to look at these images in and of themselves, like views of the world paraded before us, each bearing its own strangeness, and disappearing as mysteriously as they appear.

Since the liquor has run out and his maid seems to have vanished, the Doctor is eventually forced to leave the house. His long wanderings through the muddy streets of the village culminate in a terrible collapse. He is taken to a hospital in the nearest town. When he comes home, some time later, he settles down in front of the usual window, opening his notebook. He patiently waits for someone to come by. Time passes, no one in sight. They must be gathered somewhere in the village, plotting, fornicating, stealing each other blind, the Doctor thinks. They’ll turn up.

What the Doctor doesn’t know is that the inhabitants of the village have all gone away, lured by a swindler’s false promises of work. No one is left, not a soul. But he waits, pen in hand, notebook open. He waits for someone, or something, to appear in the space framed by the window.
And we wait with him.


Zbyněk Baladrán

Night of the World, 2010, video, with Czech audio and English subtitles, 4:04 min

The film begins in darkness. A voice is heard questioning the moment of creation, this unpredictable moment connecting a before and an after, between the darkness and the light. The film ends in darkness.


Guillaume Leblon

Notes, 2007, video, color, sound, 7:22 min

In a mixture of water and dirt, Notes captures the landscape that infiltrates the artist studio. The camera records the state of the matter, the image becomes like a fossilized memory.


Zbyněk Baladrán

Moment, 2007, video on DVD, in Czech with English subtitles, 4:14 min

The moment that is being questioned is the emergence of language, the the words themselves as matter that come about through the process of writing. The hand returns to the center of the image, writing is a manipulation. The commentary replicates the writing gesture, reading each word aloud, one by one.


Ulrich Polster

Frost, 2003, 2004, video, 5:19 min

The night city. Industrial ruins filmed in contre-jour. 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.

Zbyněk Baladrán

Model of the Universe, 2011, video, color, sound, in English with French subtitles, 2:50 min approx.

To visually transpose a theoretical discourse, the method of the film borrows its vocabulary from graphic design logic. The graphics and geometrical shapes follow, one after another. Rather than the visual products and results, the film takes an interest in the process, the gesture itself and the trajectories in movement.

Katinka Bock

Raus I + II, 2006, Raus I, super 8, black and white, 0:24 min, Raus II, dv, black and white, 0:32

A study on landscape and a reflection on movement.


Zbyněk Baladrán

The Long-ago Death of a Fly, 2010, HDV, color, sound, audio in Czech with English subtitles, 3:16 min

A methodology of writing related through the flight of a fly. Guided by the nervous trajectory of the insect, the film functions as an epistemological form where the theoretical discourse visually translates through a method, a gesture.

Clemens von Wedemeyer,

Silberhöhe, 2003, 35mm transferred to DVD, 10 min

In Halle-Silberhöhe in East Germany, the camera records peri-urban area architecture, prefabricated buildings that are deserted and destined to be demolished. The commentary evokes a film editing technique used by Michelangelo Antonioni in his film, L’Eclisse (1962).

Zbyněk Baladrán

All for no reason , 2011, HDV, color, sound, with Czech audio and English subtitles, 4:06 min
The artist films himself in a space under construction. In the background, workers are busy with their work. Zbyněk Baladrán reads a dialogue between two fictive characters whose intonations become absurd; all communication is in peril, all meaning suspended. The noise from the construction work parasites and contaminates the dialogue.

A MODEL OF THE WORLD a film program curated by Simone Menegoi

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