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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

Daniel Laufer
Fifth Wall

Artist Daniel Laufer
Year 2011
Duration 8:13 min
Technical info Colour, Sound, Single Channel, 4:3
Contact
KM Galerie
Jens Mentrup
Martin-Opitz-Strasse 23
133571 Berlin
Germany

Phone: +49(30)99 25 63 64
E-Mail: info@km-galerie.com

About the video

“Fifth Wall” is based on a Chassidic parable. It tells of two men who were each given the job of decorating one half of a house. While one of them carries out his task conscientiously, the other is lazy and takes his time. In the last moment however, he manages to paint his half of the house with pitch, and this reflects the other’s work in its glistening surface. The text is interrupted by film sequences. Laufer carries the viewer off to a mediterranean villa. Switching between views of the landscape and the interior of the villa, the camera follows the actors as they move through the house or its surroundings. But what their actions and conversations mean is not clear. The figure of a writer, who writes down the story as it unfolds, acts as a direct bridge to the parable. The reflection motif can be seen at many places in the video. With the work’s title, Laufer is making a word play on a similar term used in film and theatre studies – the Fourth Wall: An imaginary wall which, in the theatre, stands between the stage and the auditorium. In the world of video an additional fifth wall, the projection, forces itself between the observer and the image. Laufer comes dangerously close to this wall by interlacing the levels of reception and action. Just as the reflecting wall of the parable is able to project the work of the other man into the newly opened dimension of a fifth wall, enabling it to be perceived in a new way, so does Laufer explore the possibilities of the artistic medium video in his work.

Stefanie Krämer

Daniel Laufer - Fifth Wall
“Fifth Wall” is based on a Chassidic parable. It tells of two men who were each given the job of decorating one half of a house. While one of them carries out his task conscientiously, the other is lazy and takes his time. In the last moment however, he manages to paint his half of the house with pitch, and this reflects the other’s work in its glistening surface. The text is interrupted by film sequences. Laufer carries the viewer off to a mediterranean villa. Switching between views of the landscape and the interior of the villa, the camera follows the actors as they move through the house or its surroundings. But what their actions and conversations mean is not clear. The figure of a writer, who writes down the story as it unfolds, acts as a direct bridge to the parable. The reflection motif can be seen at many places in the video. With the work’s title, Laufer is making a word play on a similar term used in film and theatre studies – the Fourth Wall: An imaginary wall which, in the theatre, stands between the stage and the auditorium. In the world of video an additional fifth wall, the projection, forces itself between the observer and the image. Laufer comes dangerously close to this wall by interlacing the levels of reception and action. Just as the reflecting wall of the parable is able to project the work of the other man into the newly opened dimension of a fifth wall, enabling it to be perceived in a new way, so does Laufer explore the possibilities of the artistic medium video in his work.Stefanie Krämer

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