The call for the IX edition of Magmart Festival is open!. Join us, now!
Read the rules and participate with your video artwork(s)!...
This week we launch a long series of interviews with international video artists, that will go under the title: "The artist behind the video".
All the questioned artists answer to the same eight question, so we can draw a wide overview over some defined themes. The interviews will be published weekly, and the order is simply that of reception.
We hope this will offer new sparks of reflections for all videoart lovers...
The interview of this week is with:
Silvia De gennaro
read the Interview
A new great new initiative by Magmart!
In view of a forthcoming international project focused on building a network of curators, we have launched an international campaign for the creation of a database on video artists.
This will be a useful tool for all curators that work with videoart. More, this database will be always open to your full worker management. At any time, you can access and modified the stored data, add new informations, or simply remove your presence. And, obviously, we'll never use your data for commercial purpose and don't transfer them to third part, neither for money nor for free.
Take part you too, linked to videoart database, check if your email address is already present, and enter your details. Otherwise, register and input your data!
Remember that you can follow the Magmart news flow even on social network: join Magmart Videoart Network on FaceBook or follow @MagmartFestival on Twitter.
Seed Space (in Nashville / United States / America)
(curator: Adrienne Outlaw)
Seed Space organize a full screening of F.I.V.E. project.
The screening will will start on 2014-08-02 and go on until 2014-10-24 at: Seed Space gallery (Nashville, TN, USA) located at 1209 4th Ave. South
Photon Gallery (in Ljubljana / Slovenia / Europe)
(curator: Vesna Bukovec & Metka Zupanič)
Photon Gallery organize a full screening of F.I.V.E. project at next Video Evening.
The screening will have place on 2014-10-28 at: Photon Gallery, Trg prekomorskih brigad 1, 1107 Ljubljana, Slovenia
Webster University Film Series (in St. Louis / United States / America)
(curator: Zlatko Ćosić)
Photon Gallery organize a full screening of F.I.V.E. project at Winifred Moore Auditorium, on 7.30 pm.
The screening will start on 2014-11-08 to 2014-11-09 at: Webster University Film Series Winifred Moore Auditorium (470 E. Lockwood, Webster Groves, MO 63119), St. Louis, Missouri (USA)
Octubre Centre de Cultura Contemporània (in Valencia / Spain / Europe)
(curator: Cristina Ghetti)
Octubre Centre de Cultura Contemporània screening a full screening of F.I.V.E. project within the INtramurs festival, that involve many city spaces.
The screening will have place on 2014-11-13 at: Octubre Centre de Cultura Contemporània, C/ Sant Ferran, 12 - 46001 València, Spain
American University in Dubai (in Dubai / United Arab Emirates / Asia)
(curator: Ani Atanasova and Flounder Lee)
Octubre Centre de Cultura Contemporània screening a full screening of F.I.V.E. project, with a talk of both curators, Dr. Ani Atanasova and Flounder Lee.
The screening will have place on 2014-11-18 at: American University in Dubai, near Dubai Internet City (E421), at 07.00 p.m.
The 100x100=900 catalogue (214 pages, A4) finally available!
100 artists, 57 partners, 40 curators from around the world, for the project which celebrated 50 years of video art.
Order now your copy of printed catalogue!
(posted on 2014-10-22)
A cura di Cristiana Perrella e Paola Ugolini
Un’occasione per riflettere sullo sport, un argomento che si dimostra sempre più rilevante per i suoi aspetti antropologici, sociali, educativi, economici, culturali.
Determinante per il benessere fisico, lo sport è uno dei mezzi più efficaci per sollecitare incontri, scambi, passioni, entusiasmi ma anche tensioni.
Il rapporto fra sport e arte, con modalità diverse e legami più o meno stretti a seconda dei diversi momenti storici, ricorre in tutto l’arco di sviluppo della cultura occidentale: l’arte adesso trova nelle discipline sportive un fecondo campo di suggestioni per una riflessione sui vari aspetti della società moderna.
Fair Play si concentra sul linguaggio video utilizzato dagli artisti dell’ultima generazione che ne scardinano le regole e che, alla ricerca di possibilità di narrazioni diverse, critiche o poetiche, giocano con i generi televisivi e li sovvertono.
I video sono presentati tutti insieme, visibili in un unico colpo d’occhio in un allestimento “aperto” che, pur rispettando l’individualità di ogni opera esposta, allo stesso tempo compone un mosaico collettivo di immagini.
In mostra opere di Hilla Ben Ari, Mark Bradford, Paolo Canevari, Stephen Dean, Douglas Gordon e Philippe Parreno, Nilbar Güres, Christian Jankowski, Ali Kazma, Annika Larsson, Marzia Migliora, Robin Rhode, Roman Signer, Florian Slotawa, Grazia Toderi, Salla Tykkä, Uri Tzaig, Guido van der Werve.
Inaugurazione 22 ottobre alle 19.30
Museo nazionale delle arti del XXI secolo - MAXXI via Guido Reni, 4a-Roma Lazio Italia
(posted on 2014-10-22)
A national juried exhibition of work on hue, saturation and value. Apply to Chroma at Gallery 263 with your most glowing, blushing, luscious artwork in any medium.
Selected by: Lynda Schlosberg (Boston-based artist, Kingston Gallery)
Open to all residents of the United States. Work must be created within the last 5 years and complete.
Online submissions only. Work in all media is encouraged!
See prospectus for 2-D and 3-D media size restrictions.
Deadline: December 7 2014
Exhibition date: January 15 2015 - February 14 2015
(posted on 2014-10-22)
The Foundation International Fund of Arts (FIArt) and the Institute of Dance “Alicia Alonso” , University Rey Juan Carlos, in collaboration with the Foundation of the New Latin-American Cinema start a new project for the conservation of the Audio-visual Heritage of the Dance by means of the creation of a circuit of exhibition that allows to promote the work of vídeocreadores, choreographers, interpreters and professionals of the dance generating a bridge of intercontinental exchange that assures the diffusion and the exchange between European ,Latin-American artists and the rest of the world.
EUROPEAN DANCE HERITAGE approved by the European Union in 2013, which aim has been to structure an European memory of the Dance that guarantees the conservation and preservation of the world heritage of dance. We aim to of promote an intercontinental initiative that allows the creation of the exhibition network of the audio-visual record of the choreographic creations of different authors from Europe, Latin Americans and of the rest of the world. Its main objective is the transmission of the values linked to the cultural inheritance of the different peoples that expresses across the dance and to stimulate and promote the inspiration of the young generations of artists at the same time that they acquire the conscience of the need to preserve the Dance as a cultural good of Humanity.
This project tries to group institutions from the continents of the world that would compromise in the exhibition of the audio-visual creations of the dance, establishing standardized guidelines that allow to share the information and to create institutional networks with the principal aim to form, promote and spread the dance in all its manifestations ,joining for this purpose Universities, Theatres, Festivals, Centers of Investigation, Museums, and other institutions compromised in the development of Dance.
In consequence, the International Foundation of Arts and the U Institute of the Dance “Alicia Alonso” ,University Rey Juan Carlos, in collaboration with the Foundation of the New Latin-American film, as well as the network of centers associated with the above mentioned institution invite vídeocreadores and professionals of the dance, choreographers, teachers, directors of spectacles of dance, producers, who possess works of Video Dance, with a window of time between 3 and 6 minutes, to take part in the Contest of Selection.
This First Itinerant Exhibition will be exhibited in countries of the American Continent (South, Center and North) Europe, Asia and Africa.
- Who can participate: vídeocreadores, choreographers, interpreters and professionals of the dance, producers and the directors of spectacles of the dance from any part of the world. Could be an individual or a group, and it has to be no more than 2 works per participant. If they present two works, each one has to have the registration form with all the requirements fulfilled.
– The videos can´t be from before September, 2012 and could have participated in festivals or other exhibitions.
-The duration of the works should not exceed 6 minutes or be less than 3 minutes
-The allowed language will be only Spanish or English. If the piece is created in another language it must be subtitled in spanish or english.
The format of the works will be of FULL HD and the format 16:9.
– The works will have to be accompanied with the chain of rights both of image and musical rights.
-The period of reception of the works will be from the day of the publication of the bases until November 10, 2014, no later than 19:00 hrs by mail.
-They should be sent by e-mail vía Drop Box , to the mail: firstname.lastname@example.org. On the Subject, should be the name of the Video and it also should be sent the Inscription card, signed.
-It could also be sent by post, in which case the date of the stamp is considered the date of reception. Also included the registration form, signed.
-The address is: Proyecto Videodanza
C/Infantas 27, 2do Izq.
28004 Marid. España
-In both cases the reception of the works will be communicated via mail.
-An international juror formed by 11 experts will select the 20 most representative videos. -If any of the requirements enunciated in the bases are not fulfilled, the work will be automatically rejected.
-The participation implies the acceptance of each and every of the points, without exception. –
-The participants exempt the organizing institutions and collaborators of any responsibility derived from the plagiarism or from any another transgression of the in force legislation for intellectual property which it could incur with the presented works.
-The results of the selection will be communicated via -email to the winners and also in the we page of the Foundation and Institute, from November 20th, also at the channel vimeo of the Foundation.
– The selected authors will have to grant the transfer of the copyrights and exhibition of the work in any activity related to this call and exclusively in relation to it.. –
-The first two selected will participate in the workshops – and residence at The School of Cinema, in Cuba, in 2015, with the cost of the plane ticket covered.
-The 20 selected pieces will belong to The First Itinerant Exhibition of the International Videodance Proyect that will be ,extended in the successive years. This First Itinerant will be exhibited in countries of the American Continent (South, Center and North) Europe, Asia and Africa. The selected works will be added to the secured consulting files in the Virtual Libraries of the European Union and Hispanic.
Source: International Fund of the Arts
Summons: The First international call of selection of video dance
Calls: Foundation International Fund of the Arts, University Institute of the Dance ‘Alicia Alonso’ of the University King Juan Carlos, Foundation of the New Latin-American Cinema
Endowment World: Exhibition and Workshop in the School of Cinema of Havana
Deadline: On November 10, 2014
(posted on 2014-10-21)
The evening's theme is curating. The curators of TABULA RASA exhibition Fernando Gómez de la Cuesta and Pau Waelder Laso will be present, as well as artists Irene de Andrés Vega, Lara Fluxà Garcias and Joan Cerdà Bennassar. The programme also includes screening of a series of video art from the Baleares compiled by Fernando Gómez de la Cuesta and Pau Waelder.
Hosts of the evening: Markus Renvall & Hanne Ivars
Series of video works from Balearics. Artists:
IRENE DE ANDRÉS | ARANTXA BOYERO | JAUME OREJUELA | JULIÀ PANADÉS | BARTOMEU SASTRE | NATXA POMAR | MARIJO RIBAS | LAURA TORRES BAUZÀ | MARTA PUJADES | ADRIANA PETIT | BEATRIZ REGUEIRA PONS | DAMIÀ VIVES | GUILLEM PORTELL
Curated by Fernando Gómez de la Cuesta and Pau Waelder. Presented by Pau Waelder.
After the presentation the evening continues with a video screening. Bring your own video for others to see!
“Finished and Last-Minute Videos” is a series of Monday night events in MUU Gallery that were started in 2012. The events consist of video screenings and commentaries from a variety of perspectives. During 2014 the evenings have also included selected video compilations.
27 October 2014, from 6-9 pm
MUU Gallery, Lönnrotinkatu 33, Helsinki
(posted on 2014-10-21)
VIDEO ART PROGRAM
December 14, 2014, NEW YORK CITY...
CYBERFEST's VIDEO PROGRAM comes to the city that never sleeps.
Curated by Victoria Ilyushkina
Below the list of works that were chosen for the Cyberfest’s The Other Home video art program.
The program presents the works of the artists from around the world (Italy, Indonesia, Japan, Russia, Lithuania, Chile, Austria, Denmark, Philippines, Greece, France, Germany etc.).
During evolution the fundamental idea of home has transformed many times: it has shifted from a comfortable cave to the heights of architecture and technical advance. As the result, the location of the house tends to be of less importance today. A person can travel freely and with an amazing speed and have all the information needed on his laptop or smart phone – a small digital model of the world.
Everyone has a home, each home is different. Home is a haven, a border of elements, a burrow; it is the body and the projection of its owner’s mind. But we are also interested in past and future: demolished house as a memory of past civilizations, smart digital home as a project of the coming new era. The scale of the subject is very wide: from private experience to the global scale: nature, planet, universe.
Technological gadgets, permanent communication and the ubiquitous media change the very structure of the person’s mind and actions. We often cannot figure out what is real and what is a fake, a media illusion. However, it is all inside our homes now, it virtualizes our reality.
The exploration of the transformation of the idea of home is what interested me in compilation of this program.
ARTISTS / WORKS:
1. Jermolaeva Anna (Austria) / IN/OUT, 2011 (3:30 min)
2. Francesca Fini (Italy) / WHITE NOISE, 2013, (6:00 )
3. Marcantonio Lunardi (Italy)/ Public Space, 2014 (03:45)
4. Mark Salvatus (Philippines) / Current Affair$, 2014 (1:12)
5. Aujik (Japan) / Plasticity Unfolding, 2014 (5:00 )
6. Rasmus Albertsen (Denmark) / Forest, 2011 ( 04:32 )
7. Vassiliev Yuri (Russia) / Last next winter, 2011 (4:42)
8. Alena Tereshko (Russia) / JUST MY OWN, 2014 (6:00)
9. Mauricio Sanhueza (Peru) / Calico, 2012, (3:38)
10. Sandrine Deumier and Alx_P.op. (France) / Un.reality , 2012 (0:55)
11. Yannis Kranidiotis, (Greece) / Ichographs, 2014, (6:00)
12. Arya Sukapura Putra (Indonesia) City of Lights, 2013, (2:06)
13. Jean-Michel Rolland (France)/ Training Doors, 2011 (5:53)
14. Eleonore Joulin ( Belgium ) / The House of Certainty, 2012 (5:09)
15. Maria Korporal (Germany) / Between Memory and Destiny, 2014 (4:29)
16. Liuda Kartoshkina (Russia) / Et cetera… 2011 (1:50)
17. Emilija Skarnulyte (Lithuania) / Aldona, 2011, (13:00)
18. Ryo Ikeshiro (U.K.) White Square, White Circle, 2013, (3:15)
(posted on 2014-10-21)
In the 20th Video Evening KOLEKTIVA presents another project initiated by international video festival Magmart | video under volcano from Italy.
With Magmart / video under volcano we already collaborated at the Video in Progress 5 festival (Photonic Moments 2014).
Video vecer / Video Evening #20
F.I.V.E. – Feelings International Videoart Experience
Participating: Enrique Lacorbeille (IT), Andreas Mares (AT), Nara Denning (US), Russel Chartier (US), Sylvia Toy (US), Silvia De Gennaro (IT), Francesca Amati (IT), Mohamed Harb (PS), Damon Mohl (US), Antonello Matarazzo (IT), Arya Sukapura Putra (ID), Clara Aparicio (UK), Steven Verstuyft (BE), Emre Onol (TR), Marc Neys (BE), Jamie Rodriguez (ES), Benna Gaean Maris (IT), Lelievre Lievre (FR),Willehad Eilers (NL), Dimitri Fagbohoun (BJ), Lino Strangis (IT), John Sanborn (US), Urszula Kluz-Knopek (PL), Gérard Cairaschi (FR), Danilo Rosini (IT)
F.I.V.E. project art director: Enrico Tomaselli (IT)
Total screening time: 1h 30 min
Previous Video Evenings:
Production: Kolektiva Institute
Co-production: Association/Gallery Photon, Magmart
Project coordinators: Vesna Bukovec, Metka Zupanic
Tuesday, 28. 10. 2014 at 7 pm Photon Gallery Trg prekomorskih brigad 1, Ljubljana
(posted on 2014-10-20)
Ash, a video broadcasted on a single channel made of two windows connected one another, is the latest of a series of artworks carried out by the MASBEDO in Iceland.
Shot during the eruption of the Eyafjallajokull volcano which paralyzed the skies around the world, the artwork is a metaphor of the sublime and utterly powerful, hostile and primordial nature, rebelling against man’s material whims, thus forcing humans to seek comfort in the act of hoping and praying. Ash stands for the ash compelling humans to physically “cover their mouths”, lower their eyes to the earth and gather together in a church (in fact it was the only structure in the small town of Vik, located on the hillside of the volcano, where one could find a shelter); it is ash as the indisputable warning concerning every man’s destiny; it is ash descending from the sky by obscuring the light and plunging us into the darkness, the pre-eminently image of the apocalypse. In Ash, the MASBEDO show how nature of such incredible beauty can overwhelm men and escape any human effort aimed at imposing meaning and rules; the feelings of powerlessness, danger and fear and the condition of submissiveness, as interior states of the human soul, stand out in Ash.
MASBEDO are Nicolò Massazza (1973) and Iacopo Bedogni (1970). They live and work in Milan. In 2013 they present at Leopold Museum Wien the video-installation “Ash” and in they exhibit in Pinacoteca Nazionale Bologna a solo show with videos and video-perfromance. In 2012 they held video-performances in several museums of contamporary art and in particoular locations such as the Italian Embassy...
(posted on 2014-10-20)
Preview: Saturday 1st November 1pm - 4pm
Exhibition continues Saturdays and Sundays 11am - 4pm until 4pm Sunday November 23rd
One Minute Volume 8 is a new series of shorts curated by artist/filmmaker Kerry Baldry. The screening is accompanied by One Minute Remix pt. 2, a selection of moving images from One Minute Volumes 1-7.
One Minute Volume 8 includes work by:
Paul Rooney, Nicky Hamlyn, Claire Morales, Nick Jordan, Gordon Dawson, Sana Ghobbeh, Tony Hill, Alex Pearl, Sam Meech, Greg Pope, Kayla Parker and Stuart Moore, Philip Sanderson, Martin Pickles, Guy Sherwin, Olga Jurgenson, Kerry Baldry, Tansy Spinks, Sam Renseiw, Katherine Meynell, Philippos Kappa, Kelvin Brown, Chris Paul Daniels, Stuart Pound and Rosemary Norman, Julia Dogra-Brazell, Marty St. James, Shaun Hay, Virginia Hilyard, Eva Rudlinger, Louisa Minkin, Steven Ball, Kate Jessop, Zhel (Zeljko Vukicevic), Riccardo Iacono, Karen Densham, Mary Stark, Nicolas Herbert, Michael Szpakowski, Max Hattler, Steven Woloshen, John Kippin, Daniela Butsch, Leister/Harris
One Minute Remix pt. 2 includes work by:
Laure Prouvost, Guy Sherwin, Nick Jordan, Gordon Dawson, Nicki Rolls, The Gluts, Emily Richardson, Tina Keane, Marty St. James, Katherine Meynell, Catherine Elwes, Tony Hill, Kerry Baldry, Alex Pearl, Martin Pickles, Louisa Minkin, Stuart Pound, Phillip Warnell, Steven Ball, Lynn Loo, John Smith, Nick Herbert, Chris Meigh Andrews, Kayla Parker and Stuart Moore, Mark Wigan Williams, Anahita Razmi, Lumiere et Son, Riccardo Iacono, Alexander Costello, Eva Rudlinger.
Furtherfield Gallery, McKenzie Pavilion, Finsbury Park London N4 2NQ
(posted on 2014-10-20)
Prima indagine fra musica e videoarte. A partire dall'Ottobre 2014, il Museolaboratorio di Citta' Sant'Angelo (Pescara, Italia) inaugura un affascinante progetto in cui il superamento del media 'musealizzato' rappresenta la necessita' di ri-scoprire la contemporaneita', concependo lo spazio per l'arte come luogo di sapere universale. James Elaine & William Basinski. Dal 1978, James Elaine e William Basinski lavorano a stretto contatto nella creazione di alcuni degli impianti visivamente e foneticamente piu' poetici del XXI secolo. Utilizzando partiture originali, suoni rubati, echi, tape loops, le composizioni di Basinski costruiscono un sognante nido per le tentennanti pitture in super-8 di Elaine. Utilizzando tecnologie obsolete ed analogiche, Basinski ed Elaine esplorano la natura temporale della vita. La ciclicita', stigmatizzata dalla loro poetica, e' forse la rifrazione dell'uomo asservito alla sovrastruttura, le sparute variazioni, effetto di carichi di malinconia strazianti, sono costrizioni al cambiamento, correzioni cromatiche nell'atmosfera generale. Un percorso di cinque 'contemplazioni' audiovisive attraversera' le cuniculari sale del Museolaboratorio rivelandoci i sogni dei due artisti americani.
Inaugurazione 18 Ottobre 2014, ore 19.
MUSEOLABORATORIO EX MANIFATTURA TABACCHI vico Lupinato, 1 Citta' Sant'Angelo (PE)
(posted on 2014-10-20)
THE MIDDLE SEA è un percorso sulle rive del Mare di Mezzo che tocca città, abitanti e territori, analizzati attraverso gli sguardi di alcuni tra i principali protagonisti dell’arte internazionale. Istanbul, Beirut, Nicosia, Tel Aviv, Alexandria, Tangeri, Palermo, Barcellona, Marsiglia, Atene, Napoli sono alcune delle città individuate, viste in un approccio interdisciplinare che coinvolge artisti, architetti, fotografi e teorici.
Tragitto verticale e orizzontale, fra il Mediterraneo e l'Europa, l'Oriente e l'Occidente. Un moto circolare di andata e ritorno, di arrivi, contatti, migrazioni,contaminazioni, propagazioni infinite. L’acqua è l’elemento naturale che unisce e contemporaneamente divide le terre che si affacciano sul Mar Mediterraneo. Il mare, che da sempre ricopre un ruolo fondamentale nella quotidianità delle città marittime, influenzandone colori e profumi, attività e relazioni, bene prezioso e punto di riferimento per la vita dei suoi abitanti, è al centro del progetto THE MIDDLE SEA/IL MARE DI MEZZO.
Le immagini e i racconti sono quelli che ci spiegano, attraverso l’arte, l’abbandono delle tradizioni e la crescita di nuove megalopoli, i crescenti flussi migratori e i capisaldi turistici,le antiche rotte mercantili e le grandi infrastrutture, il ruolo ibrido e complesso delle città e dei grandi porti sul Mediterraneo, con i loro cicli produttivi e ludici, le componenti sociali, le aperture e le connessioni al territorio circostante.
THE MIDDLE SEA/IL MARE DI MEZZO propone una sorta di video marathon nello spazio della biblioteca del Museo Madre, con letture di testi dal Mediterraneo. La città di Napoli si trasforma così in galleria di immagini e di racconti sul Mediterraneo, che potranno essere fruiti da un ampio pubblico.
IL PROGETTO É TRA I SELEZIONATI DAL FORUM UNIVERSALE CULTURE NAPOLI (UNESCO OFFICE)
Le opere sono state realizzate e raccolte nell’ambito del programma internazionale GOING PUBLIC, progetto decennale di valorizzazione delle culture e dei territori del Mediterraneo e dei Balcani.
MARSIGLIA: by Maria Thereza Alves (Brasile), il video The Seeds of Change (12’), un’opera che riflette sui confini geografici e sociali, sulla migrazione, sull’appartenenza e sull’identità nazionale, concetti analizzati attraverso le antiche rotte marittime mercantili e la loro relazione con la biodiversità della flora.
TUNISI: L’opera dell’algerina Zineb Sedia (Algeri/London) The Middle Sea (16’) racconta di un viaggio in nave nel Mediterraneo, di un uomo che diventa emblema del viaggiatore, dell’esule, del vagabondo, della speranza, attraverso quel mare che a tratti sembra unire e a tratti dividere popoli, Paesi e culture.
PALERMO: Il lavoro di Marcello Maloberti (Italia), Il mare e la superstizione dei marinai (21’), racconta il porto di Palermo attraverso una serie di interviste ai lavoratori portuali sullo sfondo di un telo blu mare; veri e propri ritratti della quotidianità in cui si percepisce, grazie alla tecnica di montaggio scelta, la realtà circostante con i suoi rumori e colori.
TEL AVIV: Al centro del video The Floating Simmetry (11,30’) dell’israeliana Ofri Cnaani (Tel Aviv/NYC)
si trova il Mar Mediterraneo, origine degli assi di quattro linee immaginarie che collegano Paesi coinvolti in conflitti geopolitici contemporanei (Cipro e Israele, Grecia e Turchia, Marocco e Spagna, Slovenia e Croazia). Una visione per nulla unilaterale, che apre nuove prospettive e nuovi angoli di osservazione.
TANGERI: Il lavoro di Yto Barrada (Marocco) è legato a La Cinematequr de Tanger (14’), uno spazio culturale d’artista nato sulle ceneri del Cinema Rif, una vecchia struttura degli anni Trenta nella Medina di Tangeri. Il progetto, unico nel suo genere sulle sponde del Magreb, propone una programmazione quotidiana di film d’autore, una raccolta di video d’artista e una piccola biblioteca pubblica.
BEIRUT:Il lavoro di Ali Hassoun (Libano) con Beirut Memories (3,30’),cerca di sovrapporre i confini tra la realtà e l’esperienza personale, esplorando i concetti di memoria e percezione spazio-temporale, attraverso una poetica ricostruzione della città che affianca ricordo e attualità.
ATENE: Zafos Xagoraris (Grecia) con Port AMPs(3’)
presenta una versione acustica del rapporto dialettico tra città e mare, spingendo la città di Atene ad ascoltare i suoi suoni e i suoi silenzi. Tutto questo attraverso una serie di sculture sonore create in loco con materiali semplici che amplificano i rumori del mare.
ISTANBUL: Deniz Gul (Turchia), racconta con poetiche e incisive istantanee la difficoltà di Istanbul, città cerniera tra est e ovest, crocevia di suoni, sapori e culture tra l'Oriente e l'Europa.
MADRE - Museo d'Arte Donna Regina via Settembrini, 79 (Palazzo Donnaregina) Napoli
(posted on 2014-10-19)
Walking into the Hiraki Sawa exhibit Under the Box, Beyond the Bounds, currently on at the Greater Victoria Art Gallery, is like walking into a familiar place you’ve never been to before. Throughout the exhibit, video screens and projectors, from the size of a wallet to the size of a wall, display images and landscapes, mostly spare interiors of apartments, that are instantly recognizable, and yet are populated by nothing less than the fantastic. Look closely and you see a herd of antelope swimming through a kitchen sink, airplanes taking off from a bed, a dancer who spins inside multiple copies of herself, and a toaster that sprouts legs and walks across the counter.
Sawa, a Japanese-born artist who now lives in London, England, is a master of his techniques, and in recent work the various styles of animation blend flawlessly into the landscape. Although his earlier works show more clearly the seams of his creative process (layering images together in a collage-like fashion), the effect is a heightened sense of the juxtaposition between the unreal and the everyday. In Elsewhere, salt shakers, scissors, and a tea kettle walk about the kitchen counter. (Sawa began the piece by asking, “What happens in my apartment when I’m not there?”) Video art has a reputation for being hard to understand, but Sawa’s work is instantly approachable. It begins in imagination, and the full possibilities of imagination blossom in each piece. Taken on their own, the videos are stunning examples of visual composition, light, shadow, and texture. When viewed together as an exhibit, they paint a picture of imagination at work on memory and time. Partly a result of his medium, these subjects have personal resonance for the artist. Lineament, which examines a man trapped inside bizarre and unravelling mechanisms, was inspired by the experience of a close friend who suffered sudden-onset amnesia. The interior void left by such an event is clearly of interest to an artist so preoccupied with the process of looking inside. This inversion of the gaze from outside to inside is a common theme in Sawa’s work. In Departures, his first video project, Sawa filled his apartment with miniature flying airplanes. The piece examines borders, both outside our domestic environment and within. The world at large becomes the world inside our homes, which ultimately becomes the world inside ourselves. Our day-to-day lives and domestic spaces contain the potential for exploration; Sawa’s work shows us how to penetrate the screen of the everyday and reveal the extraordinary that’s lurking behind. Along with exploration comes the potential for discovery. Sawa’s interior landscapes are not only analogues of the wider world: they are the jungles of possibility inside ourselves where self-discovery can happen.
Until January 11
Art Gallery of Greater Victoria
(posted on 2014-10-19)
International artist's video project
The project will be presented at the exhibition 'BIO50}hotel', at the BIO50 Biennale, Llubeljana, Slovenia.
It will be part of the 'one-question' video series, which consist of short interviews (2, max 3 min). Examples on www.facebook.com/onequestionproject.
The interview will be related to traveling and to crossing borders & personal boundaries. You can film yourself on your mobile phone and upload the video to me. A live screen recording while talking on Skype is also a possibility. And last but not least: if you live in/near the Netherlands I can make the video live.
Feel free to contact us for more info. If you decide to join the project you will receive detailed information about the specific question & instructions about how to record yourself on your mobile phone.
Hope to hear from you soon!
(posted on 2014-10-19)
By Amina Zoubir | October 2014
In Algerian society, the human body is subject to social and religious codifications that condition appearance and body language. To address the question of the body in videos made by artists in Algeria raises aesthetic and ethical issues that require elucidation and elaboration. Nevertheless, certain Algerian artists have not failed to initiate us to this subject in their videographic and cinematic expressions, although their work has rarely been brought together and exhibited in the context of a single curatorial program. In June 2014 at the Institut français in Algiers, I curated the video art exhibition, Le corps manquant (The missing body), which offered up this "video body" for experimentation. The distinct proposal of this exhibition leads me to present several additional works in which the video image testifies to an avowed interest in corporality, as much in the processes used as in the figured visual content. Why such apprehension about the body and fear of its reflection in the mirror of the video image? Do Algerian artists envision extricating this body from its socio-ethical codifications?
The Algerian public’s relationship to video art is virtually inexistent. Instead, a clear feebleness towards what shakes up traditions reigns and pictorial art remains ever attached to classical iconographic representation where Orientalist painting and different expressions cohabitate in their domination of Algeria’s artistic scene. A crisis of meaning persists after the observed decline during the black years when "priorities were elsewhere, due to the necessity of survival and, faced with this, art and its functioning could only be of secondary importance."  In taking refuge in the past by using these modes of expression and these kinds of painting models, Algerian artists repeatedly attempted to construct an original art. They did not succeed, however, because the model they chose was dated. Today, the evolution of contemporary Algerian art tends towards new media untested in the local artistic scene, such as photography, video, and different kinds of installation. These are being used thanks to a handful of artists who seek to confront them; at the same time, the Algerian diaspora benefits from extensive experimentation with these image processes. Consequently, the introduction of videographic expression to the artistic field corrects the prolific reorganization of Algeria’s artistic scene. It is decisive for freeing up aesthetic models for the figured body, particularly in the videos of Algerian artists discussed below, whose sensitivity and singularity of approach creates an incontestable foundation for video art in Algeria.
In Stridences Sangcommentaires? [Bloodcommentaries stridencies] (2001, 7 min), Ammar Bouras raises the painful memory of the civil war during the 1990s. Bouras "paints" the video image and speeds up the images that he renders imperceptible from the moment that they appear; he insists on the murdered bodies and "un-paints" the video image as an evanescent material, appropriating and integrating it in the process of making video images. We hear the noise of protestors in the street, unrest, speeches by fanatic Islamists, piercing sounds. Bouras reconstructs a tragic reality, with the movement of the image matching the violence of vivid colors that engender a feeling of dread. Appearance, disappearance, metamorphosis: the video image is constructed and deconstructed, pixel by pixel. According to Bill Viola, in video, "the fixed image does not exist. At every moment, electrons sweep across the monitor’s surface. Even a blank screen reproduces this rhythm. Silence and immobility only exist when the system is turned off and unplugged." 
Rachida Azdaou’s Trio déprimé [Depressed trio] (2009, 2 min) presents the superimposition of two bodies belonging to one individual. The video indicates a doubling of the personality that provides information about a psychological state. This individual contemplates a wall, then he tries to go over it. The soundtrack is cadenced with his worn out breathing. The echo in the empty room amplifies the sound. We perceive it as a cry of exhaustion: an enclosed individuality in his (private) space. He tries multiple times to confront the wall, an insurmountable obstacle that he continually tries to get past, but in vain. Melancholy settles in when he crushes himself. The sound offers a spatial projection of the melancholic body and struggles through the video image that materializes it. Recall Bergson, according to whom, "perception disposes of space in the exact proportion that action disposes of time." 
Video art irrefutably joins together with the performance of the body as an object of exaltation and repression. Mustapha Sedjal’s filmed action implies this performative model. It was at the Karima Celestin Gallery in Marseille where he wrote on the wall, Un seul héros le peuple [The people, a single hero] (2012, 5 min), and where he crossed out the word "people" to write instead "my father." Sedjal refers to filiation, to the transmission of the memory of the Algerian Liberation War from father to son and thus from mother to daughter. History is written by individuals who form an entity, a nation. Here, it is a question of the corporeal action through which Sedjal enters into a relationship with his own memory and with the personal history of his father. A way of inscribing and affirming his individuality when digesting colonial history.
Nevertheless, a primordial concept was missing in Algerian artists’ aesthetic and artistic reflection: love between men and women. Sexuality as a taboo is clearly dissipated thanks to Zoulikha Bouabdellah’s video slide show, Al-Attlal (2009, 2 min), which depicts illustrations from the Kama Sutra. Bodies entwine together under the calligraphic Arabic word for love (hūb) that appears over female as well as male bodies in geometric positions. This carnal moment is accompanied by a monotonous chant formed by velvety voices that murmur along with Middle Eastern music that was recomposed and adapted for the slide show segment. Bouabdellah proceeds using diversion, superimposing an aggrieved love song over erotic images; she modifies the singer’s lamentations, which become ambiguous sighs, verses about an amorous relationship that go through excitement, deception, love and death, becoming confused with the effigy of colorful decoration. These video images do not fail to refer to the poetic age of Arab erotology from the 8th century, when the sulfurous poems of Abu Nuwas exalted the ears of his amazed audiences.
The appearance of these bodies that move around on screen leads to an intrusive art of "repressed bodies" that video art exalts by way of an aesthetic of the stolen instant where Algerian artists’ intentions tend to inverse the process of the watched watcher by proposing a connected video image: "here, it is rather a question of a looking that is worked by time, a looking that would allow appearance the time to deploy itself as thought." 
In Algeria, video art is not exhibited in structures like festivals or galleries. Among new generations in Algeria and since Internet networks made video available to novices, we sense a need to experiment with this medium. Henceforth, digital art, such as interfaces of the interactive videos for the web documentary, Un été à Alger [A summer in Algiers], have become available without needing to diffuse them in an exhibition space which would be susceptible to the burdens of censorship and society.  Nevertheless, to amputate the artwork from its confrontation with the place where it was created is frustrating for the artist because it reduces his or her field of action. The artwork finds its affirmation in the experience that its viewers experience, whatever their origin; its force lies in its essential ability to touch feelings and spirits. The more the artwork closes in on the universal dimension that belongs to human beings, to their suffering, their joy, their fears, and their existence, the more it will be appreciated or rejected. The absence of valid cultural structures in Algeria forms a kind of stumbling block: generally, the public does not have access to the video creations of Algerian artists who remain disparaged and dispersed. Undoubtedly, video art has a more immediate quality than sculpture or painting. It is urgent to create cultural events in Algeria so that the local public can encounter this experimentation in real time and as it is conveyed by Algerian artists. Now that Le corps manquant has surmounted the body of exhibition’s absence, it is up to us to continue to resist the void by developing even more the ethical issues that are inherent to the creation of spaces and to attracting audiences for video art’s integration in Algeria.
1] Ramon Tio Bellido, Ed., Le XXe siècle dans l’art algérien [The twentieth century in Algerian art] (Barcelona : AICA/ AFAA, 2003): 12.
2] Quoted in Florence de Meredieu, Arts et nouvelles technologies [Art and new technology] (Bologna: Larousse, 2003): 92.
3] Henri Bergson, Matière et mémoire [Matter and memory] (1896) (Paris: P.U.F, 1993): 29.
4] Georges Didi-Huberman, Ce que nous voyons, ce qui nous regardent [What we see, what watches us] (Paris: Editions Minuit, 1992): 105.
5] See www.un-ete-a-alger.com
(posted on 2014-10-19)
A cura di Saretto Cincinelli
Arrêts sur images si propone di valorizzare la ricerca di giovani artisti toscani, o che operano nelle nostra regione e nel contempo di mantenere aperto un rapporto con le precedenti edizioni della rassegna L’evento immobile, tenutesi dal 2007 al 2012. In esse, sin dalla prima edizione, l'indagine della dimensione incoativa dell'evento ha consentito di indagare quella zona intermedia, nata dalla separazione disciplinare tra fotografia e cinema, in cui sono fiorite sperimentazioni fondate su scambi reciproci fra stasi e dinamicità, divenute cifra costitutiva della ricerca artistica contemporanea.
Lo sviluppo delle tecnologie digitali non consente più di stabilire rigidi confini tra immagine statica e immagine in movimento, e ha reso definitivamente obsolete le distinzioni moderniste che contrapponevano il mondo dell’immagine fissa (fotografia/pittura) a quello dell’immagine animata (cinema/video). Stasi e movimento sono divenute delle semplici possibilità, alternative e mutevoli, di un unico segnale, che ha trasformato l’opposizione di principio (tra immobilità e movimento) in una semplice modulazione. Si è così dischiuso per la percezione contemporanea il paradosso di nuove immagini: immagini di un’era caratterizzabile, al contempo, come ‘post-fotografica’e ‘post-cinematografica’.
Ad essere cambiata, radicalmente, oggi non è tanto la possibilità di modificare l’immagine (le manipolazioni rese possibili dalle procedure di intervento digitale erano già praticabili, grazie a procedimenti chimicomeccanici) quanto la disponibilità ad accettare, in fase di ricezione, questa intrinseca plasmabilità, ad accettare che una foto o un video contemporanei possano non solo registrare tempo spazio movimento ma anche costruire il proprio tempo-spazio-movimento. L’immagine contemporanea plasma oggi il proprio tempo, esattamente come un materiale, ed è questa materia-tempo dell’immagine che si offre direttamente alla percezione dello spettatore che Arrêts sur images si propone di declinare, a partire dalle suggestioni derivate dalle opere di Vanni Meozzi, di Anna Rose e Chiara Bettazzi.
L’acquisita consapevolezza della plasmabilità della materia tempo, magistralmente utilizzata nei video di Anna Rose, sembra agire anche retroattivamente ripercuotendosi su immagini legate a pratiche fotografiche ed installative: l’opera tende così a trasformarsi esplicitamente in operazione, come nel caso di Rear Window di Vanni Meozzi e l’immagine in evento, rivelando esplicitamente le proprie stratificazioni e incorporando e ri-giocando, sempre di nuovo, le proprie potenzialità come, ed esemplarmente, in Still Life di Chiara Bettazzi.
Chiara Bettazzi vive e lavora a Prato. Dopo aver frequentato il Dams di Bologna, ha partecipato a vari workshop, tra cui si ricorda Manuale per autostoppisti dell’arte”, a cura di Lorenzo Bruni e Dryphoto, 2009 e “Ghiaccio” con Marcello Maloberti, a cura di Pietro Gaglianò, 2009. tra le esposizioni, ricordiamo 2014 ni Haut ni Bas a cura di Alessandro Gallicchio, Galleria Lato, Prato, 2014 ; L’Economia del dono, Dryphoto Prato, 2013; WONDER OBJECTS, Galleria MOO, Prato2013; XXV. XII Florence Design Week, MLab Architetti Firenze 2013; 54 Biennale d’arte. Padiglione Toscana, a cura di Marco Bazzini, Museo Pecci Prato, 2011; Gemine Muse,Trame d’arte identità e inganni, a cura di Stefano Pezzato, Museo del Tessuto Prato, 2010.
Anna Rose nasce nel 1982 nel Massachusetts (USA) e si laurea in arte (Master of Fine Arts, M.F.A) presso il San Francisco Art Institute. Dal 2004 vive e lavora a Firenze. Tra le sue ultime mostre, Detroit Center for Contemporary Photography, Frame/s, selezione di artisti video emergenti, July 2014; Incubarte Festival Internacional de Arte, Valencia, Novembre 2013; -Proyector 2013 Festival Internacional de Videoarte, Madrid, Novembre 2013. Ha ricevuto inoltre la menzione speciale al premio TFHMF, January 2014; la Borsa di Studio Murphy e Cadogan per l’Arte Contemporanea, 2013, e il premio ArtSlant Showcase, Vincitrice, 2013.
Vanni Meozzi (Prato, 1984), architetto e artista visivo, dopo diverse esperienze professionali in Svezia, Australia e India, vive e lavora tra Prato, Milano e Mendrisio. La sua ricerca muove intorno ai temi della scala, della riproduzione, della rappresentazione, dell’entropia. Selezione esposizioni personali e collettive: 2013 Rear Window, Qahwa, Prato 2013; Casabella: Selezionato per la mostra Giovani architetti grattano il cielo, 2012; TUM-Project: realizzazione di opere Site Specific che escono dagli spazi tradizionalmente adibiti alla produzione artistica; per la provincia toscana, 2011 - 2012 ; Private Flat #06, Firenze, Italia, 2010; Videominuto #17, Finalista selezionato, 2009; RMIT, University Melbourne Australia, 2008-2010; Digiarte, Firenze, Italia, 2008 ; Primo premio al concorso ArchArt Firenze con il video O.dio, 2007.
Il progetto sostenuto dal Comune di San Giovanni Valdarno, Provincia di Arezzo e dalla Regione Toscana è promosso da Casa Masaccio centro per l’arte contemporanea nell’ambito di Toscanaincontemporanea 2013 e di COOLT Settimana della Cultura in Toscana.
Inaugurazione 18 ottobre 2014, ore 18,30
Casa Masaccio Arte Contemporanea corso Italia, 83 - 52027 San Giovanni Valdarno (AR)
(posted on 2014-10-18)
Sentido del lugar, lugar del sentido
Por. Victor Hugo
Hasta el 27 de este mes estará abierta la convocatoria de la 18o. edición de Traverse Vidéo que se celebrará en Toulouse, Francia, a partir del 18 de marzo de 2015.
En el certamen pueden participar artistas visuales de cualquier nacionalidad o lugar de residencia con su propuestas de cine, video, fotografía, performance e instalaciones.
La convocatoria exigue enviar las películas y vídeos en soporte DVD (Formato DVD –Vídeo reproducible en un lector DVD) acompañado de la ficha de inscripción con su respectiva sinopsis.
Por su parte, las películas seleccionadas en la segunda fase, requerirán archivos de datos (Vídeo en formato HD Códec H264 a ser posible). En lo que respecta a los performances e instalaciones, hay que añadir un cuaderno de especificaciones técnicas (describir el peso y las dimensiones de los diferentes elementos); así mismo, las fotografías, deben indicar el formato original.
“La obra considerada en relación, incluso en interacción con el entorno, se concibe en función a ese entorno en particular. Algunos artistas enfrentan así su trabajo al lugar, lo articulan al lugar, lo piensan con el lugar que se convierte en uno de sus componentes integrales”, puntualizan sus organizadores.
Además, añaden que: “De este modo, el espacio no es un joyero vacío que se llena impunemente, sino un elemento a tener en cuenta para le concepto de ser-obra, no se trata de borrar la obra ya que su resistencia al espacio la hace obra. Cuanto más pueda despejar el espacio, más posibilidades otras le abre a este… La interrelación puede modularse o provocar un contrapunto”. Y finaliza sentenciando: “La inclusión física en el lugar despierta lo sensorial de manera diferente. La inclusión en el lugar despierta el acercamiento de manera diferente”.
Mayores informes: Traverse Vidéo, 17 avenue des Mazades 31200 Toulouse - France.
(posted on 2014-10-18)
Peripheral ARTeries is inviting entries for the competition to find the most interesting emerging worldwide artists in various fine arts disciplines.
The contest, on its 6th edition, comes under the sign of collaborative networking and will once again explore and show current trends and tendencies in Contemporary Art.
All we aim to is to encouraging artists to innovate and create. Accordingly, artists worldwide at any career-stage can submit their works. Several kinds of art are welcomed, even though we use to focus on visual arts. Each artist may submit a maximum of three works made in any technique:
Video Art & Short Film
Fine Art Photography
Even though we are open to all proposed forms of art and media, we use to focus to works which causes people to reflect on the larger community and a kind of art capable of changelling the viewers’ traditional perspective on art itself.This competition aims to give the impetus and opportunity to artists to work between the boundaries of Contemporary Art.
ou can send related materials, such as your CV, photoportrait, photos of your works, -or, if you are a videoartist - links at the works you want to submit to email@example.com
Personal statement incuding also biographical informations are welcomed too
In order to submit one of more works please fill the form on our website.
(posted on 2014-10-18)
Un progetto di Marisol Malatesta e Simona Da Pozzo con il supporto di Ex-voto (Radical Public Culture), screening in collaborazione con AUB Art University Bournemouth e NABA Nuova Accademia di Belle Arti Milano.
Tavola rotonda in collaborazione con The Blank, Ellecontemporary e Visualcontainer Distributor.
Artisti: Laura Bianco, Monica Bonomo, Emily Ciccarelli, Rachel G Howard, Virginia Garra, Giulia Pellegrini, Cat Smith, Sirio Vanelli.
Camouflage nasce dalla voglia di creare una occasione di confronto tra coloro che praticano, insegnano ed esplorano la dimensione video della produzione artistica in diversi Paesi e contesti.
Durante il pomeriggio del 18 ottobre, dalle ore 16.00, verranno proiettati i video di otto video artiste provenienti dalla AUB Art University Bournemouth e NABA Nuova Accademia di Belle Arti Milano intervallati da momenti di confronto informali.
Attraverso una tavola rotonda, i presenti affronteranno le questioni artistiche e professionali correlate alla dimensione della produzione di videoarte. La finalità dell'operazione è quello di aprire un network per gli studenti attraverso cui avvicinassi ai circuiti di distribuzione indipendente.
Alla tavola rotonda saranno presenti: Richard Waring, direttore della Art University Bournemouth; Maresa Lippolis, Course leader BA Media Design Naba; Alessandra Arnò, cofondatrice del distributore italiano di videoarte Visualcontainer e direttrice del [.BOX] (Milano); Cristina Rota, Project Manager di The Blank Residency (Bergamo); Francesca Solero e Elisa Lenhard curatrici di Ellecontemporary (Torino).
16:30 : prima proiezione dei video
17:30 : inizio della tavola rotonda.
18:00 : seconda proiezione
19:00 : aperitivo e proiezione dei video.
21:00 : chiusura
VENSON || Garra Virginia
IL CIELO E' UN TAPPO BIANCO SU SHANGHAI || Laura bianco
BLINDVIEW || Sirio Vanelli
ECIDAR || Giulia Pellegrini
MARE CESENA || Monica Bonomo
37 1769° N 3 5900° W || Cat Smith
SLEEP SERIES || Emily Ciccarelli
ARTWORLD VS REALWORLD || Rachel G Howard
Prossime tappe del progetto:
Inverno 2015 : proiezione a Bergamo in collaborazione con The Blank
Primavera 2015: proiezione a Bournmouth, in collaborazione con AUB
Sabato 18 ottobre dalle 16:00 alle 21:00
Vegapunk via Palazzi 9, Milano
(posted on 2014-10-18)
Delfina Foundation presents The Otolith Group’s In the Year of the Quiet Sun (2013) as part of a programme of film cycles over 2014-15. In the Year of the Quiet Sun will be complemented by videos and films curated by The Otolith Group.
In the Year of the Quiet Sun
This video essay takes its name from the solar phenomenon that occurs every eleven years when the sun’s surface cools enough to allow observatories to study solar activity. From November 1964 to November 1965, the countries of the world, including many newly independent African states, issued stamps to commemorate the first scientific expedition to study the surface of the sun.
As these stamps turned their face towards the sun, they overlooked the instability on the ground: the military coups planned by soldiers against the governments of Nigeria and Ghana, the popular and murderous uprisings in Zanzibar, the crisis of sovereignty in the Congo instigated by the Force Publique, sustained by Union Miniere de haut Katanga and worsened by the intervention of the United Nations.
In this work, the astronomical time of the quiet sun converges with the political calendar of conferences that took place in cities such as Bandung, Cairo, Belgrade, Accra, Addis Ababa, Saniquelle and Casablanca throughout the 1950s and 1960s, when politicians, activists and journalists gathered to debate and plan the continental programme of Pan Africanist policy.
In the Year of the Quiet Sun proceeds through scenes that allude, often indirectly, to the making and the unmaking of polity on a continental scale. It focuses upon magnified details of postage stamps, generating a digital monumentality that pays attention to the anonymous verdict of inadvertent iconoclasm visited upon the political ceremony of Independence by an unattributable postal history.
In the Year of the Quiet Sun was co-commissioned with Haus der Kulturen der Welt, Berlin and Casco-Office for Art, Design and Theory in partnership with Artsonje Center.
To complement their film In the Year of the Quiet Sun, The Otolith Group has curated a programme of videos and films:
1. Afrique 50, Rene Vautier, 1950, 17mins
2. J’ai huit ans, Yann le Masson and Olga Poliakoff, 1961, 9m. 10 seconds
3. Die Worte des Vorsitzenden, Harun Farocki, 1968, 2 mins
4. Rat Life and Diet in North America, Joyce Wieland, 1968, 16mins
About The Otolith Group
The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London.
During their longstanding collaboration, they have drawn from a wide range of resources and materials, exploring the moving image, the archive, the sonic and the aural within the gallery context. Their work is research-based and has focused on the essay film as a form that seeks to look at different conditions, events and histories.
The Group have exhibited, installed and screened their works nationally and internationally. They have been commissioned to develop and exhibit their art works, their research, installations, and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies.
The Otolith Group were nominated for the Turner Prize in 2010.
Delfina Foundation 29/31 Catherine Place London SW1E 6DY
(posted on 2014-10-17)
MIA is pleased to present Imaginal Fiction, a diverse selection of eight recent artists’ videos linked by a style of story telling that is akin to the process of active imagination. Each video uses enigmatic imagery and an oblique approach to create new, emotionally communicative mythologies.
Ved’ma (2012) by Cornelia Eichhorn [France] is a 3-channel installation which follows three women simultaneously as they experience wildly dream-like situations rooted in Russian fairy-tales.
Native American (2012) by Giulia Grossmann [France] hovers on the edge between art film and documentary, following the inhabitants of a French resort where guests dress and behave as if they were living in the fabled American West.
21 Chitrakoot (2012) by Shambhavi Kaul [NC] is a landscape film which uses backdrops pulled from a mythological Indian television series to trace a narrative.
The Arrival (2013) by Solimán López [Spain] is an allegorical piece working with our collective relationship to communications technology.
The choir (2013) by Marcantonio Lunardi [Italy] features a group of choral singers who perform in a church with monitors over their faces which simultaneously broadcast images of their own heads singing the same piece.
Dove (2011) by Santiago Parres aka EZO [Spain] is a review and appropriation of a classic Spanish song.
ANXIETY (2013) by Elliot Storey [NY] plays with dancers, sculpture, and architecture to illustrate the emotional state.
Hunter/Hunted (2012) by WE (Kye Wilson and Helena Eflerová)[UK] is a two-channel installation, which follows the performance of Eflerová as both the huntress and the prey.
Wednesday, 29 Oct 2014 – 8pm
Armory Center for the Arts 145 N Raymond Ave Pasadena, CA 91103
presented by the Logan Square International Film Series
Wednesday, 12 Nov 2014 – 8pm
Comfort Station Logan Square 2579 N Milwaukee Ave Chicago, IL 60647
(posted on 2014-10-17)
"Descent Into Darkness" features new video works by Coriana Close using her trademark "video weaving" technique. Her video installation appropriates YouTube videos to examine the relationship between corporate control and state violence, along how those forces affect people, their bodies, land and the environment.
As a part of the exhibition, corresponding public programs will occur throughout the duration of the exhibition, including a lecture by Close at 5:30 p.m. Thursday in Room 62 of Krannert Art Museum, 500 E. Peabody Drive, C. Close is an assistant professor of photography at the University of Memphis.
"Descent Into Darkness" will open Friday at Figure One, 116 N. Walnut St., C, the project space of the University of Illinois School of Art + Design.
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