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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

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


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

The Thread and the Traces
a film program curated by Eline Grignard


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

Scratched images as though it was pouring down rain. The film seems wrinkled by contagion with the face of the spinners, captives of the Manákis brothers, those cameramen who ran from one end of the Balkans to the other at the dawn of the 20th century to film minuscule gestures and lives. Tentacular, they spin the wool into balls of yarn. I grope about blindly over the parchment face of a woman from a time past, in a small Greek village in 1905. The uneven depth of these images brings me to a full stop: these are the first minutes of the film by Théo Angelopoulos, Ulysses’ Gaze (1995). We can hear the humming of the projector, the film unreeling and the scratching of the images. The spinners, these are the Parcae, the sisters Nona, Decima and Morta who determine the fate of men, emerging between their agile fingers.

Spinning out along a trace, filming the traces. What indications do these images give? The index, this is the pointed finger that indicates and identifies. It is said that images give access, allows us to attach to and enter into contact with something in the real. That, there, here. It is even said that the print is irrefutable, that it instils the real in the image, like an impregnated cloth. A trace that spreads, that blots, indelible. If these images are clues, if they are traces of something – a place, an event, a presence, a face, an instant –, they impose a investigative-like method. A way of doing things that is much like an object caught up in the spinning. A film in which sewing is presented, not so much as an unstitched film, as one in which the threads are being pulled, one by one, so to undo the knots, unfold what is involved and see if it leads somewhere.

It is about a visual methodology that involves darning the place where it is torn, there where it overlaps, or where some part is missing. Each film in this program invests the grade-related potential of cinema or, to speak like Carlo Ginzburg, make possible a model of knowledge using stories in which the clues and the traces brush over the surface of the images. A writing of the story, through the visual, that restores the individuality, the event while leading on with the investigation. The trace, it is both the piece of evidence of what once was and the presage of what is to come; filming traces, it is to conjugate to the past – always in past tense –, to the present and the future.

Let’s make a detour. Here, it is not about following up a clue, like the historian who takes on the role as both the detective and novelist, to write the fictitious true-false histories. The gesture of cutting, as terms of separation, is not far from that involved in sewing, which forms a scar: the film proceeds from the hesitation between separation and reconciliation, it is the art of framing that separates as much as it is the editing that stitches; a violent and Balkan art that becomes solves itself through the editing procedure. In spite of what Ginzburg would think, I swap the investigation for the knitwear.

The weaving of these contradictory, jerky temporalities evokes a seismic tremor that produces the autopsy of the images. With the magnifying glass, that which increases the visual acuity tenfold and allows us to see better, the images end up blurred. Where we were seeing contact, adherence, in short, coherence between the parts, there is suddenly a distance, like a standard deviation that authorizes doubt, suspicion. We become near-sighted. The circumflex eye brow succeeds the pointed index, the examination of the images takes place afterwards. Eureka, worried.

We know now of what importance these women were since the beginning of cinema, these “petites mains” or “unqualified workers” who colored the film by hand for Pathé or workshops in the rue de Bac, at the home of Mrs. Elizabeth Thuillier. These “petites mains” that the Hollywood industry reserved for editing – manual and precise technical work – but were not mentioned in the credits. In 1926, the Los Angeles Times ran as a headline that one of the most important positions in the cinema industry belonged to women: cutters or editors, the vagueness of the term used at the time tells much about the amplitude of the editing gesture. Edit refers both to cutting-pasting-assembling and to the editorial scope of this series of gestures. Weaving as editing and tools for patching replaces the spinning logic of the investigation. It is not so much to Sam Spade (Humphrey Bogart) in The Maltese Falcon by John Huston that this program gives tribute as much as to Margaret Booth, Irene Morra, Blanche Sewell and other Rose Smiths. The “cutter” that mends the films and whose ancestors include the Manákis brothers’ spinners. The thread and the traces with all of their knots, stitching, hem stitches and overcast stitches that weave the account of an alternative and reticular history.

The films in this program conduct an investigation along the thread of the true and the false, from the personal to collective stories, from a space that is both real and fictitious; however the intrigue does not involve so much the resolution as it does the cut-and-stitch method and its issues. This point of reprise, this mending of the void left between the images, is also a reprise or reshowing of the images: a double gesture of stitching and re-use. This reprise engages a detailed examination of an old-fashioned, deterministic, linear, historical model, the one with a one-way history. Cutting, stitching and scarring. In the mesh of the network, parallel stories, unpublished faces, an imaginary geography are easily read. The reprise suggests a protocol for examining the images using their very materiality. It is the entire thread, the film that is secreted by the spinning spider, and, as Ovid (1971/299) describes, “... the rest was belly. Still from this she ever spins a thread; and now, as a spider, she exercises her old-time weaver-art.”
Eline Grignard

The Thread and the Traces a film program curated by Eline Grignard

Marylène Negro
You I Tourneur

Artist Marylène Negro
Year 214
Duration 16:21 min
Edition 4 + 1 AE
Jocelyn Wolff Gallery
Jocelyn Wolff
78, rue Julien-Lacroix
75020 Paris

Phone: +33 1 42 03 05 65

About the video

Multiple faces of Jacques Tourneur’s actresses merging into an imaginary figure.

Marylène Negro - You I Tourneur
Multiple faces of Jacques Tourneur’s actresses merging into an imaginary figure.

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