The call for the IX edition of Magmart Festival is open!. Join us, now!
Read the rules and participate with your video artwork(s)!...
Look at the videos of this edition!
(76 until now)
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:
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 2014-10-30)
This is the second edition of GNARL fest, the East Midlands Platform exhibiting International and National Live Art. This year's schedule is even bigger, more experimental, more provocative and more International. With practices as distinct as song lecture, digital performance, new media punk rock, trash spectacles and a dog show, there is certainly something for every performance lover who is interested in finding fresh approaches to art and performance. Get ready for an intensive week of performances, installations, screenings, workshops and discussions over drinks led by emerging and acclaimed UK and international artists. From burlesque to trash, and from transgressive to guerrilla acts, GNARL Fest promises to create an unprecedented event. The festival includes artists from more than 20 countries with 2 International and 5 UK Premieres and more than 40 videos & films.
The artists and the organizing team are all very excited to welcome you and challenge you to a journey of new experiences.
Artistic Director of GNARL fest
(posted on 2014-10-30)
CALL FOR APPLICATIONS: Master's Degree - Artistic Research in Film (MA)
Are you a talented filmmaker, sound designer, scriptwriter, producer, camera man, art director, …? Or a visual artist, digital media specialist, performance artist or in any other way involved in moving images and sounds? Would you like the time, space and support to undertake your own artistic research project?
Every year, the Netherlands Film Academy in Amsterdam offers a select group of film and media makers the chance to further develop themselves and their profession in a setting that is investigative, demanding and international.
Read more about this unique two year master's course, come to one of the information evenings and how to apply for course 2015-2017 on www.masterfilm.nl.
DATES and DEADLINES for course 2015-2017
Information evenings: 10 October & 14 November 2014 (19:30-21:30)
Applications deadline: 9 January 2015 (12:00 p.m.)
Interviews with selection committee: 25, 26 and 27 March 2015
Start of course: September 2015
(posted on 2014-10-29)
Sexual temptation and cruel violence come face to face in the videos and installations of Nathalie Djurberg, who uses clay figures that stage nightmarish stories. The Goetz Collection invites you to an encounter with the work of the Swedish artist in Base 103.
Nathalie Djurberg is best known for her stop-motion films, which she has been creating since 2003 with dolls made of Plasticine, fabric and synthetic hair. The colorful, childlike figures stand in a strong contrast to the films’ brutal content that focuses on sadism, sexuality and abuse. The artist is the director, scriptwriter and set designer of her films. The soundtracks are composed by her partner, Hans Berg.
Ingvild Goetz became interested in the artist’s work early on. In addition to her films, the collection now includes the installation The Experiment, for which Djurberg was awarded the Silver Lion at the Biennale in Venice in 2009. The work presents a surreal garden containing wondrous artificial plants, in conjunction with three videos. Presented in Base 103, the multi- media installation is accompanied by a film program.
Opening 29 october
Goetz Collection Oberföhringer Straße 103 81925 Munich
(posted on 2014-10-29)
VA (Videoartistas Asociados) inagura el nuevo curso de la Muestras Abiertas el viernes 31 de octubre a partir de las 20h. Estáis de nuevo invitados al encuentro mensual con el mundo del videoarte con la proyección abierta de piezas y posterior diálogo entre artista y público, promoviendo así un acercamiento de todos los agentes que forman parte de este universo: productores, directores, actores, montadores, músicos, equipo técnico…
PIEZA 1. Madrid se Apaga
VIDEOARTISTA Cristina Tovar Raffalli
SINOPSIS La ciudad de Madrid atraviesa por una crisis eléctrica, quedándose sin luz de manera progresiva.
PIEZA 2. Parkour night
AUTOR Adrián Pueyo
SINOPSIS Intersección entre libertad y soledad, en un recorrido de parkour durante una noche cualquiera.
PIEZA 3. EL ARTISTA QUISO DECIR…
VIDEOARTISTA Luis Lamadrid
SINOPSIS Vi´deo-collage que explora distintos aspectos del arte en la calle.
PIEZA 4. Chi Kung a la andaluza
VIDEOARTISTA Manuel Onetti Delgado
SINOPSIS Chi kung a la andaluza es una pieza que fusiona la práctica del Chi kung, una disciplina china enfocada a la salud, con el folclore andaluz, en este caso a través de las sevillanas, queriendo provocar una reflexión sobre la integración y sus efectos de otras culturas en la propia.
PIEZA 5. DOLO
VIDEOARTISTA Virginia Rota
SINOPSIS Ejercicio de found footage sobre el dolor.
Las piezas se mostrarán en el Centro de Arte de Vanguardia La Neomudéjar. C/ Antonio Nebrija, s/n 28007 Madrid
Viernes 31 de Octubre
(posted on 2014-10-29)
another thought, think again
October 30 – November 23
Information-overload is a condition today. No matter where we turn, new information awaits. A tremendous number of information channels are feeding our everyday lives. The result is potentially new knowledge and insight, but often the overload means that information is merged into a buzz, where everything has the same meaning. That we find ourselves in a situation, in which the world looks the same - no matter what our channels are reporting. The question is: Could the information be transformed into new ways of seeing the world - or are we stuck in a pre-programed limbo?
“Another thought – think again” explores different ways of seeing the world. The exhibition challenge our habitual thinking and thus frame a study of the reality, our conception of reality and the our “fixed truths” – for example in relation to themes such as sustainability, mental processes, political events, reality, perception of brands and economic systems.
The exhibition contains a critical angle in relation to our tendency to prefer the well-known, and also in relation to our mental “automatic pilot”.
Sidse Carstens (dk)
Søren Thilo Funder (dk)
Albert Merino (es)
Ciprian Muresan (ro)
Cristina Picchi (it)
Gabriela Vanga (ro)
DIAS - Digital Interactive Art Space, 2665 Vallensbæk Strand Vallensbæk Stationstorv 40
october 30 2014
(posted on 2014-10-28)
Q.I. VEDO SOSTENIBILE, curated by Adriana Rispoli, is a video art exhibition in which 11 national and international artists interpret environmental issues, ecological sustainability and the relationship between man and nature. The artwork is, in essence, a collection of visual messages projected on a monumental wall, transformed into a permanent video screen, in the heart of the popular district of Montesanto in Naples. Q.I. VEDO SOSTENIBILE is a project produced by the Forum Universale delle Culture, in collaboration with the Goethe Institut, Academy of Fine Arts in Naples and under the Matronato of Donnaregina Foundation.
Q.I. VEDO is the visual format specifically conceived for Quartiere Intelligente (Q.I.) which is a pilot project of regeneration and re-use of urban spaces, a work in progress in the neighborhood of Montesanto. Q.I. aims to become a place of experimental practices, a lab of proposals on issues of sustainability and ecology through the synergy of local, national and international interdisciplinary competencies. Emerging artists interpret the environment, sustainability and the relationship between man and nature while exploiting main stream advertising strategies by projecting visual messages on a WALL. This anonymous wall turns into a magnetic attraction for aesthetic and cognitive capital aiming to strike the imagination and the fantasy of even a transitory audience. The language of the moving image thus enters into the urban space in order to develop a collective consciousness, to co-create a new type of community respect and awareness towards natural resources and its own territory(environment).
Cynthia Beatt with Tilda Swinton.
Cycling the frame
Soundscape: Simon Fisher Turner
Courtesy Goethe-Institut and the Ministry of Foreign Affairs
The invisible frame
Courtesy Goethe-Institut and the Ministry of Foreign Affairs
Beatt’s ‘Cycling the frame’, is a real poetic journey, undertaken before and after the fall of the Berlin wall. The first video shows an alienating look, that from the west spies on the east. The second, tells a sticking story between two different landscapes, cultured from both sides of the wall. On the year of the 25th anniversary of the fall of the berlin Wall, this film raises questions about the collective pain felt, and how one could stop history, capturing on film what is invisible to the eye.
Cynthia Beatt was born in Jamaica in 1949. After studying at London’s Arts Academy, Beatt, travelled extensively through the Middle East, Iran, Afganistan and India. Since 1975 she has lives and worked in Berlin. Beatt also produced the film “The Party – Nature Morte” (1991) with Tilda Swinton.
and the ship sails on
Courtesy Franco Soffiantino Art Production
A ghostly image of the ship Jolly Rosso, also known as “the ship of poisons” in the waters of the port of Genoa. A silent and obsessive “hologram” that became the starting point for the memory of the mysterious incident that happened on the beaches of Calabria in 1990, and that leads us to reflect back on the institutions involved in organised crime, referring to the disposal of toxic waste.
Andrea Nacciarriti was born in Ostra Vetere, Ancona in 1976. He lives and works in Milan. He is amongst the most brilliant Italian artists, winning the Terna Prize in 2010 and the Celeste Prize in 2011. For a number of years Nacciariti has confronted events and processes that trigger the natural environment. His most recent solo exhibitions include “and the ship sails on” at the Visual Arts Center, Fondazione Pescheria, Pesaro in 2013. He has participated in group exhibitions at the Gallery of Modern Art in Monfalcone, at the MAN in Nuoro, at the PAC in Milan, at the MACRO in Rome, at the Fondazione Casoli di Fabriano and the Maison Rouge in Paris.
Foggy – Resistance – Prohibitions – Liberated Zone
Courtesy of the artist
The adaptation of the installation created for the exhibition Global Activism at the ZKM in Karlsruhe, is a video that summarised the highlights of the violent events that took place last year in the heart of “modern” Instanbul. As it is known the protest movement, Occupy Gezi, opposed the coercive military attempt of the government to evacuate the area adjacent to the famous Taksim Square to allow the start of the construction of a shopping center, at the expense of the green lung of old Istanbul, the Gezy Park. The movement quickly became global and is now a symbol of the rebellion of the younger generation, that were restricted to individual freedoms by the turkish government.
Osman Bozkurt was born in Istanbul in 1970. Through photography and video he intends to produce a civic memory to witness the complexities and paradoxes subliminally forgotten in the life of the metropolis. Mapping the spaces between the public and private collections of scenes from everyday life Bozkurt creates “portraits” loaded with political resistance. His works have been exhibited amongst others at the Platform Garanti Istanbul, the Tate Modern in London, Villa Manin Centro d’Arte Contemporanea, Udine, at the Palais des Beaux-Arts de Lille and at the Museo Madre in Naples.
Still in life
Courtesy of the artist
A silent and poignant tale shot a few days after the disastrous fire that devastated La Città della Scienza in Naples, located in the former industrial area of Bagnoli. The video represents the artist’s contribution to the reconstruction of images and statues that were left amongst the rubble of the Science Center of Naples, that was once the pride of the city, but today is an unfinished burden as that of the surrounding area.
Raffaela Mariniello was born in Naples in 1965. She is amongst the most famous artists of our country. Her research and revolt in social and cultural issues, with particular attention to the transformation of the urban landscape and the relationship between man and his objects from his every day life and the places he inhabits. She has participated in numerous group exhibitions in Italy and abroad, such as: XII Quadriennale d’arte of Roma, la VIII Biennale of photography in Torino, la XI Biennale of architecture in Venice, the Festival of Photography in Roma, and has shown works amongst others at the MOCA in Shangai, Museo MAXXI of Roma and the Madre Museum in Napoli.
Walk on Yamuna
Courtesy the artist
The physical and metaphorical journey that took the artist five days along what remains to be the walk of Yamuna, the main tributary of the Ganges, one of the most polluted rivers in the world. A slide show interrupted by short and poetic texts that covers the city of New Delhi, following what was once the central nerve to the development of society, practically nonexistent and invisible population and on which, however, still arise the micro-economies.
Atul Bhalla was born in New Dehli in 1964. His research has always been on the environment and on ecology. The presence of water is especially central to the importance of the physical, historical, religious, and political development of urban environments, especially in his hometown. He has participated in numerous exhibitions and residencies including “INDIA: Public Places, Private Spaces” at the Newark Museum’s “Watching me – Watching India: New Photography from India,” Frankfurt’s Photo Forum ‘ECO + ART’ New Delhi and the National Portrait Gallery in London.
Ladies and Gentlemen
Produced by: Lo schermo dell’arte Film Festival
In collaboration with: FST Mediateca Toscana Film Commission
The film is proposed as a disclosure document for the main themes addressed by independent scientist, Sir James Ephraim Lovelock, who is played by Clive Riche, and is best known for the formulation of the Gaia theory, that sees the Earth as a single vast living organism. The issue of global warming is seen as an inevitable and imminent danger to the survival of human civilisation, whose only salvation lies perhaps in learning what their role on the planet is, and what the most effective resources to survive are. The dramatisation of the piece is inherent in the title and in the narrative plot of the monologue that gives to this intrinsic irony, but in no way does it demean the importance of the message.
Luca Bolognesi was born in Ferrara in 1978. He lives and works in Milan. Winner of the prize ‘Lo schermo dell’arte Film Festival 2010’ for the film Ladies and Gentlemen. In 2007 he participated at the 10th Biennale of Istanbul, He also showed work at the 4th Onufri Prize at the National Gallery in Tirana as well as exhibiting at the New Chinatown Barbershop in Los Angeles and the MASS of Seoul, Korea. In 2008 he was invited to the 37th International Film Festival of Rotterdam and the 1st Festival dell ‘Arte Contemporanea of Faenza.
In 2011 Bolognesi took part in the fifth edition of the Prague Biennale and the exhibition “Ceci n’est pas du cinema” at the National Museum of Cinema in Turin. In 2012 he exhibited at the Pecci Museum in Milan, the Galleria d’Arte Moderna in Milan and at the Hausfür elektronische Kunst in Basel, and in 2013 at the DOCVA of Milan, the Pilot Gallery in Istanbul and the Victoria Art Centre in Bucharest.
Courtesy of Galleria Zero, Milano
Shot in the unusual and fascinating backdrop of the Apuan Alps, between the blinding white of the quarries and inaccessible crevices, the documentary film by Yuri Ancarani ‘Il Capo’, tells the story of the heroism and elegance of the boss of the cave. Directing his orchestra to work, looking out over the dangerous yet sublime cliffs and peaks of the Apuan Alps, the boss works only with the language of gestures and signs, in midsts of an overwhelming noise, which becomes paradoxically silent. The protagonist is therefore both man and nature, a lunar landscape almost impassable, an inaccessible place that makes the challenge with the mountain even more heroic.
Yuri Ancarani was born in Ravenna in 1972. He lives and works in Milan. Ancarani is a visual artist who has exhibited in many national and international museums including: the MAXXI in Rome, the Guggenheim Museum in New York, the 55th Venice Biennale and the Museo Marino Marini in Florence. He is the winner of the Talent Prize 2012, and also took part in many competitions at festivals including the last International Film Festival of Rome, in the Cinema XXI, devoted to new trends in world cinema with the film Da Vinci, concluding the trilogy dedicated to the work and the relationship between man and machine which also included Il capo e Piattaforma Luna.
Courtesy of the artist
This video explores the growth and expansion of plant and animal organisms, compared to the expansion in the space of drawing as an artistic medium. Through the installation of drawn images, which overlap real footage in marginal and naturally wild places, the video is developed by the alternation of light and shade, expansion and contraction, growth and death, in which natural time, color tones and real elements are changed, resulting in an ever changing kaleidoscopic vision.
Dacia Manto was born in Milan in 1973. Her research focuses on mapping of spaces and landscapes, in particular territories such as rivers and marshland, plain woods, marginal suburbs and the semi-wild. Structural and poetic observations on nature, her works construct open and fragile images and architectures, which become witnesses to the elusiveness of the environment and the difficulty of returning the reality of the vision. She has exhibited in major museums including the Park of Living Art in Turin, the Mart in Rovereto, the Remotti Foundation, Galleria Civica of Trento, the Pecci of Prato, the PAC in Milan, the Strozzina of Florence, the Museum of Modern Art in Saint-Etienne. With the video Planiziaria, 2012 she won the Eco Art Project Prize. At the moment there is an on going solo exhibition at the Museum of Natural History in Ferrara.
Courtesy of the artist
The video draws up a reflection of evolution by comparing the dynamics of the animal world with the human world, in relation to food and habitat in which they develop. At the starting point of this route are two places as different as they are the same: the Berlin Zoo and the 25 Hour Hotel that looks over the inside to allow guests to observe the animals up close and at any time. The contiguity between these two universes highlights the critical points of both systems by bringing out the artificial side of the two situations and on the other hand their paradoxical closeness.
Diego Cibelli was born in Naples 1987. Interested in the effects of the geographical environment on the behavior of people and the educational system or the analysis in its possibilities and contradictions. His practice involves a period where he collects materials, documents and images that are then translated into complex projects, articulated on various levels. His work has been exhibited among others at the Auego Art space in Rimini, the PAN and Castel Sant’ Elmo in Naples at the Bethanien in Berlin and at the Atelier 35 in Bucharest.
White Sub Limen
Courtesy of the artist
This video disrupts the typical composition of the tv commercial spacing every 10 seconds with 12 positive and 12 negative messages. Taking up the methodology of advertising that since the 60’s has been rampant in our daily visual lives, it overturns the dynamics of consumerism inserting between Apollonian and static frames of trivial packaging – branded in a barely legible white-on-white – real and dynamic images that interfere with the fluidity of vision, and that act like subliminal messages. A reflection on the consumerist society, the central theme in the artist’s production, which, however, in the ‘illusory balance of the message, leaves the viewer in free will.
Andrea Francolino was born in Bari in 1979. He lives and works in Milan. His research revolves around environmental issues in relation to the developments of modern Western societies. The packaging serves as a symbol and icon of consumerism, as concrete and cement have become a specific stylistic feature over the years. Francolino’s major solo exhibitions include London’s Kristin Hjellegjerde Gallery, ABIOTIC, Bologna’s Space Testoni, Journey into reality, Milan-Fabbrica Eos, Spamming in Paris and Show Off. In 2014 he won the Premio San Fedele of Milan.
Courtesy of the artist
The work of Raffaella Romano was produced specifically for the exhibition QI VEDO SOSTENIBILE invitation of the duo Moio & Sivelli, former protagonists of the project QI VEDO SOSTENIBILE in 2013, and now teacher of digital image processing and video installation at the ‘Accademia di Belle Arti in Naples. Romano’s work seeks to highlight the correlations between the natural wave of thoughts and of vibrations through Risonanze, showing nature’s ever changing and microscopic structure that responds to our every day actions and solicitations. The actual echo of the work, is an attempt to empirically represent the First Law of Thermodynamics for whom nothing is created and nothing is destroyed, everything is transformed, reminding us that everything we do, can change the structure of the nature to which we belong. Inside the old factory mill of the Quartiere Intelligente from 11th October to the X Contemporary Art Day will be simultaneously projected throughout the entire exhibition until 19th October.
(posted on 2014-10-28)
INTERIORA è il Festival Horror Indipendente italiano, progetto dell’Associazione Culturale IMPULSI Onlus, e nel 2014 festeggia la sua V edizione. La manifestazione, organizzata in collaborazione col c.s.o.a. Forte Prenestino e con il sostegno del C.A.R.M.A. (Centro di Arti e Ricerche Multimediali Applicate), si propone come il più importante appuntamento italiano per l’horror indipendente.
INTERIORA estende lo sguardo alle varie possibilità comunicative, esprimendo tutte le declinazioni artistiche dedicate al tema dell’orrore: cinema, arti visive, musica, arti performative e letteratura, cinque sezioni aperte agli artisti tramite bando. Lo scopo principale del festival è dare visibilità e sostegno alle eccellenze della creatività horror, promuovendo opere che ne esplorino stile e contenuti, confrontandosi con i linguaggi attuali. INTERIORA mostra ciò che hai dentro nasce infatti per sondare le nuove tendenze artistiche del panorama internazionale ed individuarne i talenti.
L’evento vuole essere un’occasione per stimolare la collaborazione tra i giovani artisti internazionali, proponendosi come momento d’incontro e di scambio per le produzioni indipendenti.
Il Festival lavora in un ambito di apprendimento non formale, dove i partecipanti sono collaboratori e corresponsabili dell’organizzazione. L’obiettivo è realizzare un contesto espressivo dove ciascuna delle persone coinvolte possa esprimere le proprie potenzialità creative e organizzative. Il risultato è un evento che ciascuno sente proprio, perchè caratterizzato dalla collaborazione.
Per tutta la durata del Festival, nella Sala rossa:
Esposizione Arti visive a cura di Veronica D’Auria, Direzione Artistica di Lino Strangis (C.A.R.M.A. Centro di Arti e Ricerche Multimediali Applicate) di Alessandro Amaducci, Boris Labbé, Lino Strangis, Guido Airoldi, A. Bonaçion, Silvia De Gennaro, Igor Imhoff, Maria Korporal, Eleonora Manca, Claudio Marani, Cristina Pavesi, Pinina Podestà, Giacomo Verde.
31 ottobre/ 1 novembre CSOA Forte Prenestino, via F. Delpino, Centocelle, Roma
(posted on 2014-10-28)
Per la nuova stagione di Extra Dry, l'artista presenta i video Monocromi (2011-2014), Gold Wated Time (2008) e Syd Tucano (2007).
Affascinato dagli aspetti tragicomici e banali del quotidiano, Marco Belfiore ne restituisce una visione ironica e straniante. I suoi lavori - realizzati attraverso tecniche espressive diverse che vanno dal disegno alle animazioni, fino alla personale ricomposizione di found footage e di materiale trovato in rete - contestualizzano situazioni ordinarie e personaggi radicati nell'immaginario collettivo all'interno di scenari inconsueti, rimettendo in discussione stereotipi e cliche'.
I video, installati nei diversi ambienti in cui si articola il locale, sono visibili durante gli orari regolari di apertura mettendo cosi' in campo un'altra modalita' di fruizione dell'opera.
Extra Dry e' un progetto a cura di Peep-Hole.
(posted on 2014-10-28)
Protagonista dell'opening night del Festival al Cinema Odeon, mercoledì 12 novembre alle 21:00, il regista Zachary Heinzerling presenterà il suo film candidato come miglior documentario agli Oscar 2014 Cutie and the Boxer, commovente racconto della caotica vita della coppia di artisti giapponesi Ushio Shinohara e Noriko “Cutie”, che vivono da outsiders a New York da oltre 40 anni; preceduto in apertura alle 18:00 da Watermark, che documenta con immagini sorprendenti l’impatto dell’uomo sul nostro pianeta, firmato dalla pluripremiata regista Jennifer Baichwal e dal noto fotografo canadese Edward Burtynsky.
Tra i film d’artista in anteprima italiana, Hamilton: A Film by Liam Gillick, realizzato in occasione delle retrospettive che la Tate Modern e l’ICA di Londra hanno dedicato al grande maestro della Pop Art scomparso nel 2011, Richard Hamilton; Parade di Shahryar Nashat trasposizione cinematografica della performance che il coreografo Adam Linder ha realizzato come propria reinterpretazione del celebre balletto omonimo ideato da Jean Cocteau nel 1917 per i Balletti russi di Sergei Dialighev, con i costumi di Picasso, presentato in collaborazione con Fondazione Palazzo Strozzi. E ancora, Apicula Enigma di Marine Hugonnier, poetico film saggio sul mondo delle api, e Ming of Harlem di Phillip Warnell, vincitore del premio G. de Beauregard al FID Marseille 2014, che racconta la convivenza di un uomo con una tigre e un alligatore in un appartamento di Harlem.
Il Focus On di quest’anno sarà dedicato a una tra le figure più significative del panorama internazionale che lavorano con le moving images, l’artista tedesca Hito Steyerl. Sabato 15 novembre alle 15:45 al Cinema Odeon, l’artista terrà una lecture/performance dal titolo The Secret Museum, e a partire dalle 18:00 verranno presentati quattro film scelti tra la sua produzione recente.
La VII edizione del Festival sarà inoltre l’occasione per presentare in anteprima mondiale il film vincitore dell’edizione 2013 del Premio Lo schermo dell’arte: The Mesh and the Circle di Mariana Caló e Francisco Queimadela, domenica 16 novembre alle 18:20.
Il programma dei Festival Talks prevede:
Giovedì 13 novembre a partire dalle ore 10:00 all’Institut français Firenze, la prima italiana del nuovo film di Alain Fleischer Naissance d’un musée, Le Louvre Lens, straordinario documento visivo che segue le fasi che hanno portato alla creazione di questo nuovo museo situato in una regione di vecchie miniere di carbone nel Nord della Francia. Fleischer presenterà il film in conversazione con Isabelle Mallez, direttrice dell'Institut français.
Sempre giovedì 13 novembre al Cinema Odeon ore 15:45, il programma Opere dalla Collezione Pinault, realizzato in collaborazione con Palazzo Grassi - Punta della Dogana - Pinault Collection e Gucci Museo, che presenta tre lavori cinematografici e video della collezione François Pinault, realizzati da artiste di fama internazionale quali Yael Bartana, Cinthia Marcelle e Shirin Neshat. Il programma sarà introdotto da una conversazione tra Martin Bethenod, direttore di Palazzo Grassi-Punta della Dogana-Pinault Collection, e Philippe-Alain Michaud, direttore del Dipartimento di cinema sperimentale del Musée National d'Art Moderne, Centre Pompidou.
Alle Murate. Progetti Arte Contemporanea verrà presentato nei giorni 13, 14 e 15 novembre (14:30 - 19:30) il progetto video realizzato per la Biennale di Architettura di Venezia 2014, 99 Dom-Ino di Space Caviar.
L’ideatore del progetto, l’architetto e teorico Joseph Grima, incontrerà in conversazione Giacomo Pirazzoli, coordinatore iCad International Course on Architectural Design dell’Università di Firenze, venerdì 14 novembre alle 15:45.
Dall’ 11 al 16 novembre si svolgerà infine la IV edizione di VISIO - Workshop on Artists’ Moving Images. L’inaugurazione si terrà a Villa Romana martedì 11 novembre alle ore 18:30, durante la quale verranno presentati i lavori dei dodici partecipanti.
VISIO si arricchisce quest’anno di una nuova sezione VISIO - Residency Program, una residenza di due settimane nella quale l'artista francese Jean-Baptiste Maitre, scelto tra i partecipanti ai workshop delle scorse edizioni, produrrà un’opera site-specific per il Palazzo dei Guidici e Notai a Firenze.
Firenze, 12 - 16 novembre 2014
Cinema Odeon, Villa Romana, Institut français, Palazzo dell’Arte dei Giudici e Notai, Le Murate. Progetti Arte Contemporanea
(posted on 2014-10-27)
Friday / Cuma
Meet Video Vortex
14.00 Opening @ SALT BEYOGLU
14.15 Natalie Bookchin and her project LONG STORY SHORT, with Natalie Bookchin introduced by Vasif Kortun
“My current project in-progress, Long Story Short will be a film, an installation, and an interactive website. The film takes form as a composite group interview, drawn from and linked to an archive of 75 video diaries.
The interviewees are all are residents of Los Angeles and the San Francisco Bay Area. Some are homeless, some are unemployed, and some are working at minimum wage jobs, and all are striving to escape from poverty. Most have never before shared their views and stories in public, let alone on video.
Instead of a single narrator, there are dozens, appearing in multiple frames of videos across a screen. This composite space – filled with speakers – suggests the scale and multiplicity of poverty in America – for every speaker, there could be numerous others. By imagining collectives and social bodies that may not yet exist, or are difficult to see in single video diaries alone, Long Story Short suggests political linkages, reveals affinities, and makes connections between unique experiences and points of view, revealing many of poverty’s narratives and the psychological states it can produce to be fundamentally shared.
Long Story Short makes a link between the rise in digital network culture and the drastic increase in poverty. Video diaries were made using webcams and laptops, and have the markings of that genre: its direct address, intimacy, informality, faces illuminated by the screen. These are some of the same technologies – high tech and digital – that ushered in hardships for low-skilled workers and their families in the first place, but here these tools amplify their voices.
Long Story Short draws inspiration from one the more promising aspects of network culture and social media – the shift away from a focus on single voices to that of many, and the expansion of who gets to speak in public and of what we consider to be expert knowledge. Yet social media has also produced a class of overly visible and a class of unseen – those whose stories and data are not worth much. Long Story Short provides a critical corrective, by creating a missing archive, jarring expectations, and making visible the limits of who we typically find speaking to us on our screens. It responds to our current moment of increasing and dramatic economic inequality, and explores how depictions of poverty and inequality might benefit from, as well as reflect on, current modes of digital and image mobility, dissemination, and display. It gives a platform to those who are mostly unseen, misrepresented or not represented in public, especially not in digital form. In doing so, it proposes a more social media.”
Natalie Bookchin will give an introduction, show about half an hour video of this work-in-progress and then discuss it further with the audience at Video Vortex.
15.30 SCREENING – Rabih Mroué’s “Pixelated Revolution”, introduced by Ozge Celikaslan (Koza Visual)
Syria, 2011. In the streets, right in front of the eyes of the entire world, men are shot down and film their own deaths. Images of a revolution. Revolution of the image. A captivating theatrical lecture.
Rabih Mroué @ SALT
16.00 SCREENING – Peter Snowdon’s THE UPRISING and Q&A with Peter Snowdon
The Uprising shows us the Arab revolutions from the inside. It is a multi-camera, first-person account of that fragile, irreplaceable moment when life ceases to be a prison, and everything becomes possible again.
This feature-length documentary is composed entirely of videos made by citizens and long-term residents of Tunisia, Egypt, Bahrain, Libya, Syria and Yemen. The film uses this footage, not to recount the actual chronology of events or analyse their causes, but to create an imaginary pan-Arab uprising that exists (for the moment) only on the screen.
19.00 Meet Vortex (Place to be announced)
Saturday / Cumartezi
VIDEO VORTEX 10 – ROUND TABLE
Meetings & Talks & Discussions @ SALT GALATA
09.30 Intro – Framing Video Vortex
Open Doors – “Cay ve Simit” / VORTEX #10 / Introduction to the Round Table Format / The Istanbul-Ankara Team
10.00 – 12.00 Session I – Ways Machines See with Boaz Levin, Adam Kaplan, Daniel Herleth, Facilitator: Ekmel Ertan
For the occasion of Video Vortex #10 we would like to present a panel revolving around the subject of machine vision. The panel is set to explore the nature of this prevalent mode of vision, not as neutral, or given, but rather as a contested and dynamic sphere, prone to be influenced by a variety of elements
– philosophical, technological, political or economic. The conceptual infrastructure at the basis of digital video and images will be contextualised and historicised in order to further understand the biases and preconceptions they are inclined to.
Adam Kaplan and Boaz Levin will present last person shooter (working title), a performative videoessay which explores machine vision by way of a series of scene’s reconstructed as 3d architectonic models. The models are explored by an invisible protagonists, using the familiar yet antiquated aesthetic of a firstperson shooter. Accompanying the journey is a historicalessayistic narration.
The work starts with a reconstruction of the Assassination of Ahmed Jabari, a Palestinian militant who was killed by an Israeli drone, consequently launching the most recent war in the Gaza strip. The documentation of his assassination was filmed simultaneously both by Palestinian bypassers and by the IDF’s drone, these narratives were then uploaded to youtube and tweeted, in what was in effect a war of images.
What follows takes place in a dreamlike digital desert, where the case of the cuban missile crisis in the 1960s and it’s significance for the development of Satellite reconnaissance is evoked. The protagonists embodies a birdseyeview, exploring the blind spots and prejudices of such a varying perspectives. Finally, the film concludes with a model and reenactment of a video shot by an american soldier in Afghanistan in a first person perspective, which depicted the moments of his injury in battle. The dramatic moment spread virally online, reaching tens of millions of viewers, and mediating a distant war.
Daniel Herleth, who together with Boaz Levin wrote the text upon which the video is based, will contribute an essay titled Remote Images. The essay traces the development of the photographic image since the inception of satellite surveillance and until the digital turn, focusing on the role of photo analysis and interpretation in political processes. Herleth expands upon the historical context within which digital images and video gained prominence, exploring the implications of these “aesthetic” developments on the public sphere.
Finally, the panel aims to contribute an array of perspectives, from both artistic and theoretical standpoints, regarding the ways videos and images are conceived, perceived, disseminated and archived under contemporary conditions.
12.15 – 12.45 INTERVENSION I – Towards the clouding audiovisual aesthetics by Milena Szafir (Brazil via Skype)
This paper aims to examine the Brazilian mobile live streaming from street manifestations (2006-2013) to discuss part of these possibilities of affective memorable – or remarkable – “immaterial distribution of storage and means of retrieval” as online audiovisual aesthetic representations. We will be pointing the array of aesthetic possibilities that can be placed under the concept “clouding audiovisual aesthetics”, in our PhD current writing description and analysis in challenge through the cinema montage & reception studies.
An especific art of cinema in the Post Remix Era – ie the images movement montage practices through rhetorical stance resorting to the enormous [un]found database material which can be appropriated on the Internet –, by examining the affective memorable (or remarkable) political live streaming to discuss these possibilities of effective clouding dialogical-discourse through the huge flow of data sharing of storage as audiovisual aesthetic representations, the construction of meaning & senses. Thus, online databases and archives [memories' shadows in the 'public space' of the collective minds] provide “us with our stock figures, our subliminal points of reference, our unspoken point of address” and “serve as ready-made commentaries on our contemporary and political lives”.
These abundant audiovisual clouding live production – that institutions have classified pejoratively (ideologically) as ‘amateurism’ – wouldn’t it be a symptom of a change of roles (against those who are authorized to speak whereas others are condemned to hear)? There’re some receivers’ waves which are crafting the response forms to break the mainstream media monologue. In other words, beyond Aaron Koblin and Chris Milk (the Google Labs) database interactive video or the found footage, essay film, telematic or remix aesthetic discourses, isn’t there a lack on the “new” audiovisual formats to face the complexity of clouding appropriation experiences? What about these chaotic-fuzzy TV & cinema’s grandchilds, the enunciatives subjectivities through intensive dataflow?
Therefore, towards the emergent clouding video aesthetics – with their immaterial and cognitive gestures through the live streaming political images and sounds as well –, how could we analyse these audiovisual online dialogues which manifest “the desire for immediacy”!? What does actually happen with this emergent aesthetics after the found footage & essay film, telematic & database aesthetics!? What’s about this chaotic-fuzzy cinema’s grandchild as enunciative subjectivity through the intensive flow data?
12.45 – 14.30 Session II – The Spectacular & The Power of Images with Oliver Lerone Schultz, Adnan Hadzi, Ersan Ocak, Paola Barreto, Facilitator: Ebru Yetiskin
Spectrals of the Spectacular (Oliver Lerone Schultz & Adnan Hadzi)
We know by now, that the social is also visually constructed, that there is a struggle for ‚The Right to look‘ and that social visions are projective, contested as well as fractal. We want to present the outcome of the ‘Spectrals of the Spectacular’ workshop, held at the Brazilian BTS (http://www.bts.re) conference, discussing how centralized visual event streams and orchestrations are producing alternative visual splinters, fractions and specters that also travel in fragmentary ways across the globe, making visible new landscapes and hidden horizons of meaning, i.e. ‚specters‘ to the current system and ‚mode of projection‘.
While we are interested in the geopolitical aesthetic of a (to be) pirated reality of the ‘non-territories’ which resist the address of the ‚national (interest)‘ and subsumption to the current globalized society of control and spectacle, we present some results from the ‘Spectrals of the Spectacular’ workshop, reviewing in an exemplary fashion the particular resistancies to the FIFA World Cup 2014, how they travel around and haunt the global imaginary and feed from and back to the non-aligned social intellect.
In this presentation/talk we aim at introducing some conceptual entry points into this longer term project, which in future engagements also wants to engage with the topic of pirating and (broken) projections around the New Global Spectacle and their relevance to a contemporary theory of the ‘moving image’.
Part of the reflection will be a discussion around reasons to organize this theoretical engagement by building a trans-local repository around ‚Spectrals of the Spectacle‘. We hold that a theoretical reflection of these spectralities is itself to take on the form of a decentral project, engaging with fleeting images and spectralities.
The Power of Images: Non-ficition Storytelling of the Gezi Resistance within a Co-Creative Act – Ersan Ocak
As an aftermath, several Gezi Documentaries are produced in Turkey. Most of them are screened in film festivals and activist/NGO meetings. Some of them are broadcasted online, i.e. online video documentaries of Gezi Resistance. The problem with these films is that, they could not satisfy the viewers, especially the ones who were in the Gezi Resistance as protesters. In this presentation, I will critically elaborate the reasons of the unsatisfactory position of Gezi Documentaries. Parallel to that, I will try to constitute a framework for the Nonfiction Storytelling of Gezi Resistance.
Video Interventions – Paola Barreto
Ghost Cinema is a series of site specific video interventions occurring in urban spaces menaced by capitalistic speculation and gentrification processes. It is conceived as an assemblage of audiovisual materials such as video footage, photographs, newspapers, testimonies, drawings and others, promoting a remix in order to awake the spirit of the place in question. In this way it can be understood as a collaborative media ritual, in which the force of shared memories has vital effects.
In Video Vortex I will present documentation of some interventions, particularly the one held in May at Aldeia Maracanã, an indigenous terrain in Rio de Janeiro under dispute since the preparation for FIFA World Cup 2014. On the one side, we have groups interested in the maintenance of a symbolical and historical place; on the other, the new administrators of Maracanã Stadium and its surroundings, claiming for the indigenous terrain to be theirs, planning the construction of a parking place at the space.
The building supposed to host an Indigenous University, or Multiversity, as proposed by its inhabitants, was brutally evicted by State Military Police, which occupies it since the end of 2013. Its destiny remains uncertain.
Projecting and performing around a camp fire, singing and dancing to the ancestors, among smoke, images and spirits, Ghost Cinema celebrates the political potencial of open air live cinema, as a contribution to the urgent indigenous debate in Brazil.
14.30 – 15.00 Snacks & Chats
15.00 – 15.30 INTERVENSION II – Albert Figurt
What exactly is a music video?
A visual stream that “illustrates” a pre-existing audio content? A short cut that follows the pace of a song? An emotional trip evocated by sounds? A videorecording of people playing instruments in unusual locations?
And what happens to this already slippery balance in the era of proliferating DIY videoproduction (where a lot of famous youtube stars are somehow musicians or music- related)?
A reflection on the fruitful match of multi-tasking and multi-instrumentalism, the helical proliferation of audiovisual mash-up, the rise of videosong (as opposed to the ordinary videoclip, where narration or look is more important than pure expertise or creative cleverness), and ultimately on what loop-stations / audio sampling procedures / standards & covers / renovated love for theremins & ukuleles can metaphorically teach us about life [on the web?] in 2014.
15.30 – 17.00 Session III – Video Generations. Artists Round Up with Baris Dogrusöz, Hale Tenger, Didem Pekun, Facilitator: Lewis Johnson
The questions directed at the artists and the round table participants: a) What part has video played in your practice and in what ways does this concern remembering or memory? b) How do archives play a part in your work? How do you think that the programmed functioning of digital archiving – of video, but also of any other digitized materials – have changed ways of viewing, thinking, remembering and senses of future?
17.15 – 17.45 INTERVENSION III – Istanbul Do/Redo/Undo : Waters, Streets, Faces by Nezih Erdogan
Images from the past with sound and music of the present form a different meaning than their own; the space of te past is tied to the perception of today. The contemporary call to pray that extends into the Bosporus sky and the current voices of guilds echoing in the narrow streets create a chaotic atmosphere that resembles the lines of Ahmet Hamdi Tanpinar, neither within time, nor entirely outside of it. Do-redo-undo is not only an English title, it also marks the punctuation in music, the notes as they are called in Turkish “do”, “re”, “do” (“C”, “D”, “C” in English). It strives to behold the variety of sound and music along with the variety of the old and contemporary lives of Istanbul.
Istanbul Do/Redo/Undo does not only aim for an awareness of the present city through a historical perspective, but it also indicates that archival footage can gain new ways of expression and artistic practices through a contemporary medium like video.
17.45 – 19.45 Session IV – The Archive: Preserving Now & Then with Ahmet Gürata, Sebastian Lütgert, Jan Gerber, E. Belit Sag, Alper Sen, Shaina Anand, Facilitator: Ozge Celikaslan
Check out: The first 5 days of Gezi – https://bak.ma/ and http://turkishcine.ma
2000 – 2100 Outro – Video Vortex 11 UK with Adnan Hadzi as round table facilitator
(Live streaming will be announced.)
03.11.2014 – 04.11.2014
Monday – Tuesday / Pazartezi – Sali
ARCHIVE BOOTCAMP ANKARA
Bootcamp with Sebastian Lütgert and Jan Gerber @ Bilkent University
Starting @ 1340 in FB114 on Monday, 3rd (MFA Graduate Lab), Bilkent GSTMF, Merkez Kampusu
December / Aralik 2014 & January / Ocak 2015
Video Vortex EXHIBITION
Works by Yetkin Yilmaz, Ahmet Said Kaplan, David Guez, Endam Nihan, Ezgi Kilincaslan, Gonca Gumusayak, Cornelia Sollfrank, Video Occupy, and others …
Dates and places Ankara/Istanbul to be announced
(posted on 2014-10-27)
An Experimental Film and Video Exhibition @ Dope Chapel
Curated by Lindsey Allgood and Bernard Roddy
We seek experimental film and video submissions that question, explore, and push against boundaries. The term ‘boundary’ is often inferred and is situational. We ask that your work decode and situate. Works may reference the perversion of narrative, the subversion of the given in representation, the mismeasure of social distinction, or blind poetic suggestion.
Submission Deadline: Nov. 26th
Event information: Dope Chapel Norman, OK, USA December 5th, 2014
Dope Chapel is a new and emerging venue and collective in downtown Norman, Oklahoma. They aim to nurture and interact authentically and intimately with local, regional, national, and global creative communities by hosting artistic events and residencies.
Share the following information via WeTransfer or Dropbox with email@example.com:
• Video file (.mov or Quicktime)
On one Microsoft Word document:
• Work title
• Year completed
• Length (15 min. max)
• Artist statement (150 words or less)
• Work description (150 words or less)
Lindsey Allgood is a performance artist, maker, writer, curator, and instructor at the University of Oklahoma. She has shown work in Amsterdam, San Francisco, New York, Toronto, and Seoul and curated several video and performance exhibitions. www.Lindseyallgood.com
Bernard Roddy is a filmmaker, performance artist, and professor at the University of Oklahoma.
email entries to LindseyAllgood@gmail.com
Exhibition date: December 5 2014 - December 5 2014
(posted on 2014-10-26)
MEMORY AND ADDICTION
A cura di Giovanni Viceconte
MAO – Museo di Architettura e Design di Ljubjana
Nell’ambito del progetto BIO50 } hotel (nanotourism) – BIO 50 24th Biennial of Design - Ljubljana
30 ottobre – 12 novembre 2014
Apre giovedì 30 ottobre 2014 presso il MAO – Museo dell’Architettura e del Design di Ljubljana – nell’ambito del progetto BIO50 } hotel (nanotourism) – 24th Biennial of Design Ljubljana, Slovenia, la mostra Objects – Memory and addiction, curata da Giovanni Viceconte.
La rassegna di videoarte, visitabile fino al 12 novembre, presenta dodici artisti (Filippo Berta, Bianco-Valente, Andrea Contin, Elisabetta Di Sopra, Alessandro Fonte, Anna Franceschini, Goldschmied & Chiari, Marcantonio Lunardi, Masbedo, Luigi Presicce, Shawnette Poe, Diego Zuelli), le cui opere individuano un percorso dove l’oggetto è il filo conduttore che li accomuna.
Questo incredibile e affascinante rapporto/attaccamento dell’essere umano con le cose di cui si circonda è raccontato attraverso i tanti manufatti che diventano simboli di una particolare situazione o memoria, ma allo stesso tempo, sono prodotti che possono rendere dipendenti e influenzare la vita di ogni individuo, il quale, nel tempo modificando l’aura e l’uso specifico degli oggetti, ha trasformato anche la loro natura di unicità, in una produzione seriale destinata a divenire spesso rifiuto e detrito della società.
Gli artisti in mostra, pur provenienti da esperienze e stili diversi, sfruttano queste caratteristiche e le qualità estetico-concettuali degli oggetti per mostrarci attraverso la loro particolare visione artistica, come alcuni manufatti recuperati dal “caos” dello scenario globale, possono trasformarsi e generare nuove forme, creare possibili congiunzioni-dipendenze e relazioni visive-metaforiche differenti. Inoltre, individuano la capacità degli oggetti a far riemergere una particolare idea o “memoria depositata”. Tutto ciò, è svelato al pubblico, attraverso l’interazione visiva del video, che trasforma l’opera-oggetto, in una “immagine/ricordo”, capace di rappresentare qualcosa di posseduto o di raccontare la stratificazione degli infiniti aspetti contenuti in essi – da quello finanziario a quello devozionale-spirituale, da quello industriale-artigianale a quello tecnologico-digitale, da quello collettivo a quello individuale-emozionale – a garanzia della continuità della memoria del proprio sé e della propria identità nel tempo, nonostante la natura mutevole e passeggera di ogni essere umano.
(posted on 2014-10-26)
Elizabeth Price (b.1966, lives and works in London) is known for her formally tantalizing video collages featuring unconventional narrative structures. In her elaborated films, fast cuts, crisp sound effects and catchy soundscapes provoke ruptures in the narrative plots mostly based on documentary source material.
By precise successions of images or juxtapositions of divergent visual material she is capable of merging historically or geographically disparate imagery into a mesmerizing and highly allusive set of visual interdependencies. Elegantly she moves in between scientific causality, logical stringency and optical plausability.
Elizabeth Price's presentation at Kunsthalle Winterthur comprises two works. The Tent (2012/2014) is installed in a fully white interior, whereas Sunlight (2013) is framed by a darker setting in grey. The Tent is about a book called Systems, the focus of which was the so called British Systems Group: a group of artists in the early 1970s who devoted their visual language to forms based on system theory.
Sunlight is a two channel projection that takes thousands of diapositives as a starting point; they were made from 1875 to 1945, using for the first time what is called K-light, to make the sun's activity visible to the human eye.
They are re-arranged into a cascade of short cuts and combined with pointy jingles, sound effects and reproductions of commercial products that make references to the sun or the technique used to dim its over-visibility down. A lipstick appears as well as a nail polish and a drum kit. Short sentences as in commercials or tutorial films explain what is visually going on, but at a certain point they emancipate from any explanatory function and turn into autonomous slogans and statements.
Opening reception on Saturday October 25 at 5 pm
Kunsthalle Winterthur Marktgasse 25 CH 8400 Winterthur
(posted on 2014-10-26)
L'incontro e' caratterizzato dalla proiezione del video 'Ne cherchez plus mon coeur, les betes l'on mange' a cura della piattaforma artistica RE:c di Bruxelles. Nell'abitazione privata di Emma Barale e Stefano Venezia, verra' proposto un video che rappresenta una dichiarazione disperata, dai toni melodrammatici, di una serie di interrogativi sulla 'parte maledetta' dell'uomo, il sacrificio di se', il cannibalismo, l'assimilazione dell'altro. Re:c si riunisce a tavola, per un pasto doloroso e piacevole, un'ultima cena che deriva in una messa in scena delle relazioni umane.
A seguito della proiezione, ci sara' una discussione con gli artisti, moderata da Michela Sacchetto.
Questo evento e' inserito nel programma 'Market zone', esposizione itinerante sul tema del mercato a Cuneo e Nizza, fruibile dal 17 ottobre al 9 novembre presso il mercato coperto di Piazza Seminario - Cuneo.
SPAZIO ALBUME via Vaschetto, 11(c/o Venezia-Barale) Cuneo
(posted on 2014-10-25)
Gli artisti di OVERVIEW a cura di Fabio Carnaghi sono Benedetta Alfieri, Francesca Amati, Adriano Annino, Francesco Ardini, Erica Battello, Giulia Berra, Rita Casdia, Andrea Fiorino, Marcantonio Lunardi, Florencia Martinez, Adel Oberto, Mauro Pellegrini / Barbara Pianca, Valeria Pierini, Serena Rossi, David Anthony Sant, Pasquale De Sensi, Veronica Tierri, Maurizio Zorat.
Overview riguarda una tematica estesa che ha modificato radicalmente la vita e ha scoperto nuove rotte nel navigare lo spazio sia esso reale, virtuale o inventato. La percezione a tutto tondo di un fenomeno è approdo della multimedialità, mentre i territori della conoscibilità estendono i propri confini, divenendo prerogativa memorabile di questo tempo. La spazializzazione è ormai imprescindibile e assume i caratteri di un’ennesima rivoluzione copernicana. La grande conquista della visione satellitare consente all’individuo di geolocalizzarsi, scoprire con meraviglia l’inosservabile e dargli un aspetto concreto.
Le opere dei diciotto artisti selezionati secondo la consueta formula del Premio che supera ogni distinzione mediale favorendo il dialogo fra linguaggi, estetiche ed esperienze differenti, alludono a suggestioni immaginative ma anche al nuovo rapporto con la conoscenza. L’applicazione di connessioni più o meno consapevoli alla vita induce ad essere constantemente in overview.
Premio Arte Rugabella è realizzato con il sostegno di UNESCO, MaB- Man and Biosphere, Parco del Ticino, Regione Lombardia, Provincia di Milano, Città di Castano Primo, arteCa, Proloco di Castano Primo, ARK Cultural Property and Contemporary, Ecoistituto della Valle del Ticino, I Navigli di Leonardo, Consorzio di Bonifica Villoresi.
Premio ArteRugabella 2014 OVERVIEW a cura di Fabio Carnaghi
Castano Primo (Milano), Villa Rusconi via Corio 20022 Castano Primo (Milano)
25 ottobre - 2 novembre 2014
(posted on 2014-10-25)
The ARCHIVE OF DIGITAL ART 2.0 is online!
Since its foundation in 1999, the Archive of Digital Art (former Database of Virtual Art) has become the most important scholarly onlinearchive for media art. In cooperation with established media artists, researchers, and institutions, it has been documenting the rapidly evolving world of digital art and its related fields for more than a decade and today contains a selection of thousands of artwork at the intersection of art, science, and technology.
A New Tool Enables Collaborative Archiving
With two large international grants, the archive is evolving into a web 2.0 environment. The idea is to provide community features and user-oriented applications to enable a collective scientific exchange between artists, researchers and the public to foster interdisciplinary and global collaborative analysis and a proactive process of knowledge transfer.
Meta-Thesaurus Cross-links Media Art with Art History Furthermore the archive's rich data collection - based on a 'concept of expanded documentation' for media art - will be semantically cross-linked with classical art from the Renaissance to the present by a newly developed meta-thesaurus. This innovative tool will expedite the contextualisation of media art in art history and enable large-scale comparative image studies. The aim is to foster a better understanding and systematic integration of media art in scientific studies and cultural institutions.
Content Meets High Academic Standards
The collaboratively-compiled data gives a broad and vivid picture of the multifarious developments in digital art. ADA allows the upload of high resolution images, videos, academic texts, literature, and information on exhibition, technology etc. More than 500 artists selected from 5000 applicants offer the best selection of high quality work. To ensure the high academic and artistic level of the contributions, the prerequisite for becoming become a member is a minimum of five exhibitions and/or publications. The Advisory Board, represented by Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan NADARAJAN, Martin ROTH a.o. guarantees the high standards of the archive. ADA already contains thousands of high quality artworks from most renowned artists such as:
Rebecca ALLEN, Suzanne ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER & MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL etc..
Danube Universtiy Depatment for Image Science
Dr.-Karl-Dorrek-Strasse 30 3500 Krems Austria
(posted on 2014-10-24)
In his solo exhibition Amor e Progresso artist Raphaël Grisey presents the newly produced eponymous video essay on the Templo da Humanidade ("Temple of Humanity") in Rio de Janeiro, one of the three still existing temples of the Positivist community in Brazil.
Positivism was founded by the French mathematician, philosopher and critic of religion Auguste Comte (1798-1857) as a post-revolutionary and post-enlightenment philosophy trying on one hand to include different social bodies newly appeared after the french revolution and during the beginning of the industrial one and at the same time trying to frame it into a model of social organization based on order, progress and altruism.
Followers of Comte and the Positivist Church played an important role in the dissemination of republican ideas, as well as in the end the overthrow of the monarchy and the proclamation of the Brazilian Republic in 1889. At the same time close to liberalism, and calling for social justice, Positivist ideology gained considerable influence in the political and social fabric of the Brazilian Republic. The motto Ordem e Progresso ("Order and Progress") graces the Brazilian flag and is still a state doctrine.
Grisey's film presents documentary footage that shows the current state of the temple next to found footage that gives an insight into the origins of Positivism, the associated “Religion of Humanity”, their representations and their transfer in the (post-)colonial Brazilian context.
Raphaël Grisey is a visual artist and filmmaker, working with experimental films, video installations, video-essays, documentaries and publications. His work gathers or produces narratives around specific geographical and social contexts and displacements using politics and forms of memories, language, landscapes and bodies within the editing of images and sound.
Opening Friday, October 24, 2014, 7 p.m.
Uqbar - projectspace Schwedenstr. 16-13357 Berlin
(posted on 2014-10-24)
NUDA proprietà Lab 1 # venerdì 24 ottobre 2014 ore 19.00 /22.00
RIALTO SANT’AMBROGIO Via di S. Ambrogio 4 Roma
Ginevra Panzetti | Enrico Ticconi a cura di Roberto D’Onorio
Rialto S’Antambrogio ospiterà in data 24 ottobre 2014 il primo appuntamento di art cohousing Nuda Proprietà Lab1# a cura di Roberto D’Onorio.
La terza edizione del progetto iniziato nel 2011, all’interno di appartamenti monumentali in fase di compravendita, giunge nelle sale e nei corridoi del Rialto Sant’Antambrogio ospitando le opere video di Ginevra Panzetti ed Enrico Ticconi.
Venerdì 24 Ottobre | Rialto Sant’Ambrogio| Il programma
OPENING NUDA Proprietà Lab 1#
VIDEO INSTALLAZIONI | Ginevra Panzetti | Enrico Ticconi
A cura di Roberto D’Onorio
H 22.00| 04.00
Dj set di musica house_deep_techno
Sala 1 dj Gino Woody Bianchi/Viktor Martini
Sala 2 dj Mario di Benedetto/Laura Ross
Vj set cura di Alt-G / Elettra-V&V Style
Secondo i filosofi dell'antica Grecia la vista sarebbe il più nobile tra i sensi. Dunque guardare è bello, facile, si può interrompere quando si vuole, che sia da lontano o che sia da vicino.
Il duo impegnato da anni in Germania , sceglie per il primo intervento i passaggi obbligati del Rialto per dar vita a visioni confuse e alterate nel tempo e nella messa a fuoco. Le immagini inflitte nello spazio dell’edificio spostano la comprensione dello spettatore dal cosa al come si sta osservando. La contemplazione di quello che appare indaga il sentimento estetico dell’empatia siano a sovvertirne la capacità.
A differenza della religione orientale è concesso rappresentare il Cristo perché incarnato in uomo. L’immagine divine riconoscibile e riconosciuta nel sentimento della passione come pure del dolore.
La genesi del lavoro muove i suo sviluppi dalla sequenza video “EMPATIA otto capricci enfatici”, secondo intervento presente al Rialto. Il progetto inedito si compone in otto inquadrature di paesaggi urbani nei quali è riportato un evento tragico. In Quest’ultima testimonianza il duo si interroga sul ruolo centrale che i mezzi di informazione hanno nel mostrare il dolore degli altri sotto forma di icone, offrendo al modo un’unica visuale, una sola angolatura e, dunque, un unico pensiero.
Le azioni incriminate provengono da una ricerca rapace nel web di azioni violente, scelte per la leggibilità del gesto al fine di facilitare una riproduzione mimetica.
Le icone laiche che muovono i tableau vivant diventano altro dall’accaduto, l’evento si compone in testimonianza inaspettata, in quanto il gesto non è portatore o denuncia dell’accaduto, ma protagonista di un discorso non verbale. Quello che vediamo non è più una narrazione, che informa e suggerisce uno stato d’animo, ma un atto che ci rende passivi e con il quale è difficile dialogare. Il mimo di Ginevra Panzetti e Enrico Ticconi, come nella definizione di Decroux, non racconta storie: esso può solo “presentare”, lasciando la scelta della storia davanti al dolore degli altri. L’esposizione risponde all’interpretazione percettiva del luogo concentrando l’analisi sulla sfumatura del contesto in cui vive. La sovraintendenza delle opere diviene dispositivo di sovversione tra lo spazio e chi lo abita.
Nuda Proprietà al Rialto S. Ambrogio è un appuntamento di art cohousing a cura di Roberto D'Onorio in collaborazione con DISCOVOLANTE. Il progetto intende il luogo del Rialto Sant’ Antabrogio quale arena di cooperazione fra diversi operatori che agiscono per la promozione dell’arte contemporanea. Lo spazio diviene contenitore strabico ospitando una selezione di interventi site specific . La finalità è quella di produrre un dialogo vivo tra realtà outdoor e realtà indoor .
Nuda proprietà prende vita nel 2011 e successivamente nel 2012 all’interno di appartamenti storici privati in fase di compravendita. L’idea è quella di utilizzare il tempo della transizione di un giorno, quale appuntamento di Art Cohosing.
Attenzione particolare viene data alla valorizzazione del luogo, approfondendo la storia e la rilevanza culturale che questo ha nella costituzione culturale del territorio
Evento 24 ottobre dalle 19
Rialtosantambrogio via di Sant'Ambrogio, 4- Roma Lazio Italia
(posted on 2014-10-24)
CELEIA - CENTER FOR CONTEMPORARY ARTS CELJE – LIKOVNI SALON GALLERY
INTERNATIONAL OPEN CALL FOR EXHIBITION PROJECT PROPOSALS
Exhibition period: 26. 3. – 26. 4. 2015
The Celeia - Center for Contemporary Art Celje announces its International Open Call for project proposals for an exhibition to be held in the Likovni Salon Gallery in spring 2015. All complete applications will be reviewed by a team of curators of the Center for Contemporary Arts Celje, and the results will be announced by 15 January 2015.
The Open Call is addressing contemporary visual artists and groups/collectives who are invited to submit exhibition proposals. The call is not limited by any specific topic and is open to all media (painting, sculpture, installation, photography, digital animation, sound-based art, video, interactive and interdisciplinary projects). The priority in the selection process will be
given to projects that challenge the social environment, and engage and interact with various audiences and/or communities.
ABOUT THE APPLICATION PROCESS
Artists are advised not to send original artwork but only documentation (photographs, sketches, video and audio material, etc.) that will present the project's idea in detail. The received documentation will not be returned.
The application material (in English) should include:
- Name and surname of the artist/collective, address, telephone and e-mail address
- Project description
- Year of production
- Artist's statement
- Technical details (equipment needed for the exhibition set-up)
Please send the application material to the following address or e-mail:
Celeia Celje, Center for Contemporary Arts / Likovni salon
Open Call (Maja Hodošcek)
Krekov trg 3 3000 Celje Slovenia
DEADLINE: 1 January 2015
(posted on 2014-10-23)
V Festival Internacional de Vídeo Poesía
VideoBardo es el archivo de videopoesía mas importante a nivel internacional, con sede en Buenos Aires.
Creemos que la videopoesía debe ser definida por los propios artistas, pero la entendemos como un género audiovisual que realiza un tratamiento especial sobre la palabra, la letra, el lenguaje, el discurso, lo poético, el signo, el símbolo.
VideoBardo es un colectivo de poesía y arte independiente. Tiene por objeto la difusion,la investigación y el debate teórico sobre el lenguaje de la Videopoesia. VideoBardo es uno de los archivos más importantes a nivel internacional en este género. Organiza el Festival Internacional de Videopoesia VideoBardo y se ha presentado en importantes museos y centros culturales tanto del circuito cultural como independientes en Argentina, Uruguay, Colombia, Mexico, USA, Canadá, España, Francia, Alemania e India, estableciendo intercambios con otros festivales.
Este año el V Festival Internacional de Videopoesía - VideoBardo 2014 cuenta con la presencia de diversos invitados:
John M. Bennet (USA) / Jorge Luiz Antonio (Brasil) / Ernesto Baca (Argentina) / Margarita Bali (Argentina) / C. Mehrl Bennett (USA) / Luis Calvo (Argentina) / Carlos A. Estévez (Argentina) / Tom Konyves (Canadá) / Pipo Lernoud (Argentina) / Eric Mandarina (Argentina)
The Magmart archive about video art contain over 2000 news, since 2010.
You can search within it utilizing the dedicated search field on top of this page.