Magmart festival VIII edition is over, and is time of an appraisal. Along this years, often fighting against many difficulties, we have seek the goal to support videoart, to widen the opportunities of cultural exchange between artists and countries. I think with a bit of success. But now is time for some changes. The festival risk to become just a ritual, and on the other side new ways, new horizons opens.
In my opinion, the festival remain relevant; it is still an important appointment for international videoart community, and for italian artists in particular, so we don't think to drop out it. Becoming biennal, we think the festival can increase its significance. But, at the same time, we want explore the new ways that can bring to the same goal.
The experience of 100x100=900 Project is must important, for us. It has show us the relevance of a new approach. The project is still on the run, and so is too-early for an appraisal; but it has stimulated some relevant reflections, and I want continue to explore this way. So, even if the festival become biennal, we'll organize something each year, alternating with festival itself. And something is already on work-in-progress for 2014. I hope to find all you again, on these new roads... So, keep in touch!
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!
Richland College (in Dallas / United States / America)
(curator: Colette Copeland)
The screening is splitted on two days, at: April 21 in Sabine Hall room 118, we will screen first half of the program, from 10:30-11:25am; and April 22 (same location), we will screen the second half of the program, from 9-9:50am.
Always at Richland College: Screening of project along 3 days, April 21, 22 & 25th. at: Thunderduck Hall Room 246 12800 Abrams RD Dallas, TX, 75243 US
(posted on 2014-04-18)
Jack Hanley is very pleased to present The Valley of Dry Bones, a video installation by Marie Lorenz which includes the premier of Ezekia, a 5 channel video set in an imaginary future.
Ezekia tells the story of a group of women exploring the shore of a lost city. The camera follows them as they sort through the wrecked debris that civilization left. By using cameras at extreme angles, Lorenz intensifies the feeling of floating that has been central to her participatory projects.
The accompanying installation transforms the gallery into a gridded structure, like a collapsed pier, or the pilings of a giant dock. Nested into the ruins are fragments of a new order of things: a macramé net of washedup debris, a written language of flotsam. The objects invite the audience to explore an imaginary coast a unique place that confuses the past and future in a parallel but hidden world.
Lorenz’ previous works archive real experiences; such as a long trip around the city’s coast, or a sailing accident. In contrast, The Valley of Dry Bones delves into a fictional or utopist future. The artist considers the show against Paul Valery’s call for science fiction to produce a ‘yet unknown kind of aesthetics’. In the collection of essays, The Outlook for Intelligence (1919), Valery wrote about our civilization coming to terms with its downward trajectory, “We were aware that the visible earth is made of ashes, and that ashes signify something.” (1) Each of Lorenz’ sculptures is an attempt to engage that significance by proposing a new interaction with garbage. The artist combines natural and man made objects, valuable material, and things that float up out of the sewer. Somehow Lorenz’ proposal for the ‘yet unknown’ seems familiar – it is our own trash, but this ubiquitous debris is worked into a net of new meaning.
On the coast of the city, we are already living in the future. Time moves more quickly here, as the water erodes our foundations. Things come and go with greater urgency. Sea level rise is already apparent. Watching carefully as the tide rearranges our debris, we witness a daily transmogrification.
“We see now that the abyss of history is deep enough to hold us all.”(2)
1 Paul Valery, "The Crisis of the Mind" in The Outlook for Intelligence, trans. Denise Folliot and Jackson Mathews, ed. Jackson Matthews, (New York: Harper & Row, 1963), vol. 10: 23.
Marie Lorenz (b. 1973) lives and works in New York City. She received a B.F.A. from Rhode Island School of Design and an M.F.A. from Yale, where she now teaches in the Painting Department. Lorenz has received grants from Artists Space, the Harpo Foundation, and in 2008 she was awarded the Joseph H. Hazen Rome Prize for the American Academy in Rome. Her work has been included in shows from High Desert Test Sites in Joshua Tree, California, to MoMA PS1, in New York City. She has completed solo projects at Ikon Gallery in Birmingham, England, Artpace in San Antonio, Texas, and here at Jack Hanley Gallery in New York. In May, Lorenz will perform a version of her ongoing performance, ‘Tide and Current Taxi’ for Frieze Projects, providing an alternative ferry service around Randall's Island during Frieze New York.
The Valley of Dry Bones is the artist's third solo exhibition at Jack Hanley Gallery.
Opening Reception : Friday, April 18th, 68pm
Jack Hanley Gallery 327 Broome Street - New York, NY 10002
(posted on 2014-04-18)
Los Angeles International Airport (LAX) is one of the busiest airports in the world, serving more than 63 million passengers annually. With such a staggering amount of foot traffic, it’s imperative that the airport runs smoothly at all times and that passengers have up-to-the-minute information regarding their flights.
To help facilitate this, LAX recently opened the new Tom Bradley International Terminal, giving passengers a unique travel experience with new video walls called the Integrated Environmental Media System (IEMS). An impressive engineering feat, the IEMS project was commissioned by Los Angeles World Airports (LAWA) and took more than two years to create. The dazzling display opened in September 2013, and provides passengers with a host of entertainment and information.
For the design and implementation of the project, LAWA called upon two industry veterans — Electrosonic and Smart Monkeys, Inc. — that specialize in project management, engineering, support, and design of AV systems and products. Together, they spearheaded the IEMS project — which included current K2 Summit media server technology from Grass Valley.
“Los Angeles is one of the world’s most iconic cities, and we’re excited for travelers to benefit from these sophisticated brand-new media features in the new terminal,” said Bryan Hinckley, entertainment business manager at Electrosonic. “We had a very positive experience coordinating with different vendors, especially Grass Valley, which helped make the IEMS project a success.”
Massive in size, the IEMS is located in the 150,000-square-foot Antonio Villaraigosa Pavilion (Great Hall). It consists of seven media features, including Welcome and Bon Voyage walls, a four-sided Time Tower, a Destination Board, a Story Board, and two portals that usher passengers to their departure gates. The seven media features boast a mix of cutting-edge hardware such as high-resolution Daktronics LED screens and tiles, as well as LCD monitors from Planar.
Grass Valley provided seven K2 Summit transmission servers, which act as one of the main playback systems within the IEMS. The entire system is controlled by Medialon Manager control software, which triggers the K2 Summits, as well as additional content delivery hardware from Moment Factory’s X-Agora media engines.
“The biggest challenge with this project was performing the work within a public airport construction site,” Hinckley said. “Typically when we work in a museum, theme park, or special venue attraction, the technology we provide is critical to the show, but at LAX, people aren’t coming to the airport to look at a video display — they’re simply passing through to head to their next destination. So we had to carefully balance integrating the systems into airport operations and security.”
Electrosonic and Smart Monkeys needed equipment that could consistently manage video, as well as provide a level of system redundancy, allowing 24/7 operations. Grass Valley’s K2 Summit transmission servers are known for their on-air reliability and future expansion capabilities.
“Grass Valley’s K2 Summits are keystone in successfully accomplishing consistency in video management, as well as providing a level of redundancy,” said Janne Hammel, project manager for Electrosonic. “That’s exactly what we were looking for in a playback system.”
Within the IEMS, there are seven K2 Summit transmission systems with redundant servers and a SAN for video content storage. The servers’ outputs are sent to an HD-SDI matrix switcher, then get processed for display on the complex LED displays.
“This architecture allows us to use the K2 Summits as a dynamic bank of playback channels, which we can route anywhere in the system by means of the matrix switcher,” said Alan Anderson, co-founder of Smart Monkeys. “It’s a really flexible, reliable setup, which is crucial to the smooth running of a 24/7/365 operation.”
In coordinating with different manufacturers, Anderson’s decision to use Grass Valley’s K2 technology was less about comparing it to the competition than it was about responding to operational and maintenance requirements that are often part of working in a round-the-clock operation.
“We needed a system that could play back more than 20 high-quality video channels in both frame sync and genlock, one that could operate 24/7 with backups and redundancy built in to mitigate downtime, and one that could manage content inventory without stopping the system or impeding normal operations. We found all of that, and more, with the K2 Summit,” he said.
Over the years, Smart Monkeys and Grass Valley have enjoyed an excellent working relationship.
“Grass Valley offers world-class support, and in terms of system reliability, the company’s server technologies are the best in the industry,” Anderson said “We’re so pleased to have collaborated with them for this very important project at LAX.”
(posted on 2014-04-17)
International Sound-VideoArt – IV Edition. (2014-2015)
The term sound-videoArt pretends to give a new concept to the digitalized works in which sonorous-musical creativity and image in video are combined to generate a symbiosis that is shown as an audiovisual canvas in movement.
You have to send me the following documents by email > firstname.lastname@example.org
2- Technical details DVD PAL - 16:9 or 4:3 - duration in minutes and seconds.
3- Sound artist name> link to his work and his email & nationality (address)
4- Video artist name> link to his work and his email & nationality (address)
5- Short text about the concept of the work (sound-video Art)
6- Link of the work on Vimeo, Youtube or others sites for share it.
7- Send for Wetransfer the video in mpg file at the same email.
Dead line is finish when are covered the 21 to 27 entries..
Shipments may take place from April 1, 2014
(posted on 2014-04-17)
The video works presented at the Festival Natures are based on images of nature, or else include images of nature in some of their sequences, or are derived from things found in nature. Also in the nature of human existence and living, in the relations between past and present events, and the responses to them.The Video Festival Natures is marked by people and their natures.
Jana Beltran, Barbara Drev, Kevin Evensen, Leja Hočevar, Katja Hrvatin Jazbec, Andrej Hrvatin, Urša Kastelic, Markus Keim, Beate Hecher, Izabela Ołdak, Ruben van Klaveren, Roberta Orlando, Asa Shimada, Leyla Rodriguez, Cristian Straub, Gruppo Sinestetico, Simon Šerc, Ellen Wetmore in Valerie Wolf Gang.
Katja Hrvatin Jazbec, Andrej Hrvatin,
Nebo poje mi / Sky Sings to Me, 2012, 37.56 min
• Hall 1
Markus Kleim, Beate Hecher,
Terrain Vague / Minljivi prostor, 2011, 13 min
Roberta Orlando, Asa Shimada,
Real Boundary of Self / Prava meja jaza, 2013, 6.31 min
Flux-Us Sound / Zvok Flux-Us, 2007, 9.48 min
• Hall 2
Ne veš / You Don't Know, 2012, 1.57 min
Chopped Infinity / Sesekljana neskončnost, 2014, 1.22 min
Sončnice / Sunflowers, 2014, 1.47 min
Wintertime / Zima, 2014, 1.59 min
Odkrivanje / Discovering, 2010, 2.49 min
Unten durch / Spodaj skozi, 2013, 3.53 min
• Hall 3
Valérie Wolf Gang,
Freedom 2.0 / Svoboda 2.0, 2012, 3.27 min
Izabela Ołdak in Ruben van Klaveren,
In the Shadow of the Full Moon / V senci polne lune, 2013, 03.37 min
Leaving my Skin / Zapuščam svojo kožo, 2014, 2.44 min
Leyla Rodriguez, Cristian Straub,
Isle of Lox “Origins” / Otok Lox -Izvor«, 2009 – 2011, 4.37 min
Jana Beltran, You Don't Know, 2012, 1.57 min
The video was made for the song You don't know.
I achieved the effect of a natural landscape intertwining with the inner landscape of the lyric subject by layering different media and poetry, speech, music and video to support both the atmosphere and the content of the song.
Barbara Drev, Chopped Infinity, 2014, 1.22 min
Undulation creates a pattern of infinite movement. Geometrised elements are breaking the continuous movement of water. They seem disturbing and obtrusive, and so does the background sound. Yet these opposing elements share some common threads.
Kevin Evensen, Sunflowers, 2014, 1.47 min
Music: Kevin Evensen
Performing: Troy Callaway
-I started spellbound. The flower heads seemed to absorb the sun's rays like mirrors and draw them down into the darkness.« Simon Wiesenthal
Kevin has worked with a number of musicians and composers, including Larry Austin, Steve Duke, Patrick Godon, Jacqueline Peatry and Paul Wertico.
Valérie Wolf Gang, Freedom 2.0, 2012, 3.27 min
Sodelujoči: voice – Connor McIntyre, dancer – Alex Hong
FREEDOM 2.0 represents the search for personal freedom in the world. First there was poetry discussing the ambiguity of the world and our artificial freedom. Then came the video based on the poetry. Through shots of nature and the city it displays layered contrasts surrounding us from the outside, yet hiding in us and in the system we live in. Our conviction of freedom can be deceiving. If we carefully observe the details around us, it becomes clear how limited we actually are: boundaries, controls, laws, warnings, signs etc. The only thing that remains is nature where we can escape, hide and find our freedom. The question is where is the end, the boundary at the end of nature that says:
"Passage through this point is not permitted" or "Unauthorised access forbidden"
The issue of freedom is explored through poetry to seek solutions: We can only be personal in our heads, in art and in free movement of the body.
"Are we free? Let's think again."
The considerably narrow and tight format of the video is all about restrictions as well. Natural atmospheric sounds of birds and an underground recording of an earthquake form part of the video, contrasting and complementing each other and achieving harmony between the world and the city. At the same time, however, warning signs are telling us that something is terribly wrong.
Leja Hočevar, Wintertime, 2014, 1.59 min
A contemplation of nature. Flowers suspended in ice, frozen growth. Silent experience, the slow rhythm of a sleeping landscape. The work is dedicated to silent details and it opposes the brisk pace of the town. It represents the frozen time.
Katja Hrvatin Jazbec, Andrej Hrvatin, Sky Sings to Me, 2012, 37.56 min
The video "Sky Sings to Me" exposes subtle changes and endless permutations of the forms of the sky. It consists of several clips of the sky thick with clouds. I collected them for a while and merged and layered them together later on to form a whole. Multi-instrumentalist Andrej Hrvatin then created music for the finished video based on my suggestions. All the pieces of music were performed on the ney, a Turkish flute, because its sound reminds me synaesthatically of the sky.
Urša Kastelic, Unten durch, 2013, 3.53 min
The video reveals a man’s subconsciousness through projections.
Markus Kleim, Beate Hecher, Terrain Vague, 2011, 13 min
TERRAIN VAGUE or times of losing landscapes are beautiful
-When I speak about time, it is because it isn´t yet given.
When I speak about a place, it is because it is gone.
When I speak about a human being, it is because he is already dead.
When I speak about time, it is because it is no more.«
Between glance and glance we are blind. The picture we have of our environment is, by shortly closing our eyes, already part of the past and no longer accessible.
Izabela Ołdak in Ruben van Klaveren, In the Shadow of the Full Moon, 2013, 3.37 min
This video shows the symbolical, inner journey to the underworld by the owl-witch, who performs a Full Moon ritual. In her journey, she meets animal guides like the frog and the black dog, who takes her to the Water Goddess the Life bringer.
Roberta Orlando, Asa Shimada, Real Boundary of Self, 2013, 6.31 min You see your portrait sometimes in your image of inner self, sometimes outer self with others. Self grows sometimes more than one body, sometimes far away, sometimes close, and never same. In the work, we show the connection between me as a observer and selfby movement. Real boundary of self is a performative action which reflect energy and force from nature to body and vice versa, searching for balance and armony in a protected environment.
Leyla Rodriguez, Cristian Straub, Isle of Lox -Origins«, 2009–2011, 4.37 min
Isle Of Lox -ORIGINS«
Origins is the film that started the Isle of Lox series. It already contains most of the components and themes which are characteristical for the whole series: water, loneliness and exploration, textile artifacts, sounds and music, despair, transcendence and joy. While threatened by the chaotic sludge, Leylox (a girl wearing a donkeymask) and Krilox (a boy wearing a bunny mask) are exploring the vast area of existence they were thrown into. They're checking on the artifacts trouvés, while the clock is ticking. It's a mix between an expedition and being on the run. In the end, they find the right artifact responsible for transcending into the pink situation. This action helps them to relax and finally accept the new environment as their new home. The chaotic sludge is still boiling, though.
Gruppo Sinestetico, Flux-Us Sound, 2007, 9.48 min
Albertin Matteo, Sassu Antonio, Scordo Gianluca Synaesthetic: as philosophical thought, art operates in a state of synesthesia, in touch with nature involving the five senses, as in Beuys’ philosophy, which is based on protecting the environment and the man who lives in it, solidarity and free cooperation and communication between people of different cultures, origins, religions, social, economic and political statuses.
On this philosophical and utopian thought, the Gruppo Sinestetico (Albertin, Sassu, Scordo) projects the Video: Flux-Us Sound
Simon Šerc, Discovering, 2010, 2.49 min
Videos for the DVD Fabriksampler V2 a continuous elaboration of an audio theme with textures gliding with subtle logic towards a specific goal and appearing intangible and infinite.
Ellen Wetmore, Leaving my Skin, 2014, 2.44 min
Leaving my skin poses the question what if I could walk out of all this: the stress the labor the responsibility the horror of inhabiting this gruesome self. Being uneasy in the skin and if so if one were going to walk away what would that be like? & is there any real freedom in melting into landscape; shedding cultural forms?
Video festival Natures 11
The international video festival Natures has been hosted by Bežigrad Gallery 2 for eleven years in a row. This year's festival is, at its core, similar to the first one. As the name already suggests, the videos are based on images of nature in both broader and narrower sense. What I have in mind are either concrete images from our surroundings or ideas originating within ourselves that the authors share with the public through videos.
Video as an artistic medium emerged for the first time in the 1960s, but it arrived on the gallery scene in the early 1970s. At its initial stages, video production was limited to individuals because the necessary equipment was not readily accessible. Nowadays the situation is quite different. Anyone can film a video, which is why this area has blossomed in terms of quantity, but not necessarily quality. The main selection criteria for the video festival Natures are the following: a good idea behind the video, an innovative concept, originality and, naturally, technical excellence. This year's festival selection is also based on those criteria. This time, the participating authors come from nine countries.
Their works suggest that the interest in experimental video is growing. The videos are exploring the boundaries of creativity, focusing on their visual rather than narrative aspect. Barbara Drev's video Chopped Infinity is proof of that. It displays moving and undulating water, but she is gradually changing it until it becomes unrecognisable. Kevin Evensen also explores distortion in his video Sunflowers. He processes and changes it completely. Real images from the environment, sunflowers in his case, are transformed into abstract images, while the video gives the impression of a canvas bringing colours to life.
Art video remains common among the submitted videos. In contrast to experimental videos pushing the limits of the medium, in this case more attention is devoted to narrating a scenario-based story. Leyla Rodrigues and Christian Straub jointly created the video Origins, the first in the series Isle of Lox, in which we observe "a boy and a girl" exploring the environment they found themselves in. Ellen Wetmore's video Leaving My Skin also belongs to the art video category. In her own special way she questions the possibility to escape from everyday life and the burdens taken on by the modern man.
Video features not only moving images, but also music or sound background. In this way, the author has another dimension to work with to achieve a certain effect. Both image and audio materials offer endless manipulation possibilities and open new avenues for exploration. Audio background has proven to be a strong tool in the video Unten durch by Urša Kastelic in which dark reflections of human subconsciousness are brilliantly emphasised with sound. Jana Beltran also worked around the same idea. The video You Don't Know was created on the basis of a song with the same title. Beltran aimed at evoking a mood to support both the atmosphere and content of the song by combining a visual image with a background sound. This is where the complexity of video as a medium stands out.
Over and over again, the advantages of video have demonstrated that it can convey ideas on several levels simultaneously. Many things have changed since the emergence of video, also owing to technological development that expanded the availability of technology. It also seems that video has a bright future ahead as enthusiasm is not fading. It is flourishing. For this reason, festivals like the video festival Natures are so incredibly important.
Bezigrad-Gallery 2 Vodovodna 3 Ljubliana
(posted on 2014-04-17)
Latin-American Video Art
Videos not in excess of 15 minutes are requested for inclusion in South to South: An International Video Art Exchange, a series exhibitions to be held concurrently in Medellin, Colombia (South America) at the PLECTO Gallery of Art and at Gallery 135 in South Carolina in April 2014.
All types of video, film, and new media work will be accepted: experimental, documentary, animation, narrative, non-narrative, multimedia, bio art, digital imaging, locative media, net art, interactive media, sound art, etc.
All Spanish language artworks must have English subtitles.
Please send email submissions including - Video links(vimeo or youtube), Artwork Synopsis, Bio, CV and Contact Information to: email@example.com
For previous projects please visit links below.
Exhibition opening June 6th!
(posted on 2014-04-17)
Marc Vincent Kalinka – Nothing (8 hours with a lunch break), 2007
Marco Mendeni - r_lightTweakSunlight_Drone, video loop, 2014
In occasione di OFF FAIR BRUXELLES (25-28 aprile) Theca Gallery Lugano presenta una mostra curatoriale degli artisti Marco Mendeni e Marc Vincent Kalinka, sul tema dell’interazione tra opera video e opera materica. L’anteprima speciale della mostra belga è presentata a Milano presso lo spazio internazionale dedicato alla video arte [.Box], curato da Alessandra Arnò.
La doppia esposizione personale milanese di Marco Mendeni e Marc Vincent Kalinka indaga le connessioni tra reale e virtuale e il confine tra simulazione e azione. Il concetto di drone come simulacro e prolungamento delle nostre potenzialità, attraversa la nostra esperienza sensibile, essendo abituati a governare qualsiati tipo di dispositivo e a trarne ciò che ci interessa, vivendo esperienze mentali in sicurezza e senza contatto con il reale. La simulazione e la realtà virtuale potrebbero minare la nostra consapevolezza del reale? E se quel gap, a volte insormontabile tra chi governa e chi/cosa agisce, fosse un riflesso della nostra società? E se fossimo noi gli spettatori offline della nostra esistenza?
Nothing, l'opera di Marc Vincent Kalinka mostra l'artista inerte nel suo ruolo di receptionist mentre il tempo scorre e i pensieri si palesano. Un uomo come simulacro della propria potenzialità in conflitto con le proprie ed altrui aspettative. La simulazione della propria esistenza, senza possibilità di azione.
r_lightTweakSunlight_Drone l’ultima opera videodi Marco Mendeni invece sposta l'attenzione sui confini digitali, qui reale e virtuale si mischiano come il gioco e il conflitto, mostrandoci punti di vista inediti per poi riportare l'attenzione al contingente. L'apparente sicurezza del mondo virtuale viene violata in questo caso dalla realtà prepotente del conflitto a distanza, estraniato completamente dal suo contesto, sia nella simulazione del'opera video, sia nella realtà.
Marco Mendeni è un new media artist che utilizza il mezzo video come ricerca all’interno dell’avanguardia artistica della Game Art, oggi in pendolarismo tra Milano e Berlino. Mendeni è da anni dedito ad una ricerca artistica che sperimenta la contaminazione tra materia, computer animation e produzione in 3D. Il tutto con un focus particolare, quello sul processo che porta il medium videoludico a diventare un medium sociale. Laureato in nuove tecnologie per l’arte, dopo aver ottenuto importanti esposizioni in Europa ed America, tra cui la recente personale Kenell Game Over a Lugano (Theca Gallery, 2013) e diverse installazioni site specific a Berlino (Impossible Backgrounds), Milano (Playing the game, I am Nico Bellic), e San Francisco (FOV02). L’artista a fine aprile vedrà esposto un proprio video presso la Galleria Civica di Trento / MART, evento curato da Giorgio Verzotti, direttore di Arte Bologna Fiere.
Marc Vincent Kalinka è un artista contemporaneo di origini russe, il cui lavoro spazia dalle arti visive alla performance al video, ai new media ed alle installazioni ambientali. Grazie alla commistione tra antico e contemporaneo è stato riconosciuto in campo internazionale per il suo lavoro innovativo. L’artista ha recentemente partecipato collateralmente alla 55esima edizione della Biennale di Venezia, includendo il suo lavoro nel progetto “Balconism”, oltre ad aver partecipato in passato alla Biennale di Mosca per le prime due edizioni. Sue opere sono state battute da Christie’s Zurigo ed esposte in fiere d’arte riconosciute internazionalmente, come la Frieze Art Fair di Londra. L’artista sarà prsente con una sua opera a MANIFESTA10 a San Pietroburgo, il prossimo mese di giugno.
Theca Gallery è una galleria di arte contemporanea di Lugano fondata all’inizio del 2013 che svolge attività espositiva sia presso la propria sede, a Lugano, sia in fiere internazionali di arte contemporanea sia in luoghi istituzionali prestigiosi internazionalmente riconosciuti. La stratificazione concettuale, storica e materica sono i tre aspetti attorno ai quali verte la ricerca artistica e culturale condotta dalla galleria.
[.BOX] Videoart project space
In tre anni di attività è diventato un punto di rifermento nel panorama culturale di Milano grazie ad importanti collaborazioni strette con i migliori festival di videoarte internazionali, spazi istituzionali e accademici e collaborazioni curatoriali.[.BOX] è un progetto di Visualcontainer Italian Videoart Platform. Mercoledì 16 Aprile 2014 18.30 - 21
[.BOX] Videoart project space via F. Confalonieri 11 Milano
(posted on 2014-04-16)
Videonale – Festival for Contemporary Video Art is the international platform for video art and time-based art forms. With VIDEONALE.15 (27/2 – 19/4/2015) the festival will celebrate its 30th anniversary with an exhibition and festival programme in the Kunstmuseum Bonn and the city of Bonn.
With “The Call of the Wild” as its subject, VIDEONALE.15 invites artists from all over the world to submit moving-image-based works which deal with the Wild as a space of possibility for new ways of thinking, seeing and being aware.
Which emotional, aesthetic, social and political conditions can nowadays be associated with “the Wild”? Does it embody the potential for describing new, still emerging fields of activity, depiction and thought which, for example, have their origins in the revision of traditional ideas about sexuality and race, the call for new forms of political and cultural participation, the breakdown of supposedly well regulated systems – as shown by the banking crisis and the monitoring scandals, the development of ever newer digital worlds of images and activities? How does the Wild inscribe itself in the moving image nowadays? And how do these images express the still unclearly defined state of this awakening? More information on the theme can be found in the pdf “Call for Entries”.
The works exhibited will compete for the Videonale Prize of the KfW Foundation, worth 5.000 euros, and the KfW Public Prize, worth 3.000 euros.
DEADLINE FOR SUBMISSIONS
June 23 2014
All types of experimental moving-image-based works can be submitted. There are no restrictions on the duration of the work, on the geographical location of the artist, or on their age. The work may not be older than two years (produced after 1/1/2012).
Only submissions with duly completed and signed application forms will be accepted!
(posted on 2014-04-16)
Pop up Kino Video Makers: The festival that supports video creation.
The Pop up Kino Festival is focus in Video art. The open call for the reception of propousals for 15th of April to 15th of May, under de tagline Video Makers.
The project Pop Up Kino is a monthly and international event. The aim of the project is to enhance the visibility of video art in the context of the artistic scene of Berlin and to give an opportunity to international artists to show their creations.
From Videoart to VJ-ing, the event will explore every dimension of video art. The call is open to every artist. They can send their artworks every month and an specialised jury will choose those that will be projected at PPC Gallery in Berlin.
The event is organised by PPC Gallery (Berlin), Nati Guil Grund (Musas20) and Berlinarte.
The last weekend of each month it will take place an event where the selected artworks will be projected. In addition, attendants can vote for their favourite piece.
The first open call is starting on 15th April with 15th May as a deadline. The tagline for the first edition is “Videomakers” and the topic is free. The idea for the first edition is to show all the faces of video art. The following editions will focus on different topics that they will go into detail about every aspect of this form of art.
The fist event of Pop Up Kino is starting on 31st May in PPC Gallery in Berlin. For this event three invited artists are going to be with us: Irene Cruz, D Eceolaza (FEVER collec-tive), and also we are showing creations of our staff (PPC Crew).
The jury is composed by:
Tania Gomes and Rob Blake (PPC Gallery)
Maru Carranza (Berlinarte)
Nati Guil Grund (musas20)
How to Participate:
Participants have to send an email to firstname.lastname@example.org with a link to Vimeo or Y-outube and the following information:
• Contact email
(posted on 2014-04-16)
Joan Jonas, a pioneering figure in performance and video art, has been chosen to represent the United States at the 2015 Venice Biennale.
Ms. Jonas, 78, was selected by the State Department’s bureau of educational and cultural affairs, which promotes cultural exchanges worldwide. Paul C. Ha, the director of the M.I.T. List Visual Arts Center in Cambridge, Mass., proposed Ms. Jonas and will be commissioner of the exhibition. He will organize it together with Ute Meta Bauer, the director of the Center for Contemporary Art at the Nanyang Technological University in Singapore.
“Joan has been a visionary for such a long time,’’ Mr. Ha said in a telephone interview. “Yet she hasn’t had much exposure in Venice.’’ And although she is a born and bred New Yorker, Ms. Jonas is better known in Europe than she is here.
The Queens Museum organized an exhibition of her work in 2003 and four years ago the Museum of Modern Art showed “Mirage,’’ an installation piece from 1976. “Yet she has been shown six times in various Documentas,’’ Mr. Ha said, referring to the huge contemporary art exhibition that is presented every five years in Kassel, Germany.
For the American pavilion at the Biennale, which runs from May 9 through Nov. 22, 2015, Ms. Jonas plans to create a new site-specific installation for the 1930s Palladian-style structure that will incorporate video, drawings, objects and sound.
(posted on 2014-04-15)
Dear filmmakers, producers and distributors, the registrations “short and feature animated movies” for the 9th edition of the festival Animatou which will take place from the 3 to the 11 October 2014 are open.
You are very welcome to submit your film online through the online entry form.
In order to complete your film’s registration, please send a download link at the following e-mail prog [at] animatou.com. You can also upload your digital files on organizers dedicated film server. In order to get the access code, please send a request by e-mail at the following address prog [at]animatou.com. You can also send a DVD copy of your film to: Festival Animatou Matilda Tavelli-Cunado & Lani Weber-Schaer Case postale 5524 1211 Geneva 11 Switzerland
(be sure to mention “no commercial value, for cultural purpose only)
The entry form must be filled before the 1st June 2014. We will advise the contact person of its selection by the beginning of August 2014. If no advise has been sent by this date, this means that the film has unfortunately not been selected. Due to the great number of submissions, the DVDs are not returned.
(posted on 2014-04-15)
Since its launch in 2008, the Taiwan International Video Art Exhibition staged by Chew’s Culture Foundation has won great credit from video artists throughout the world. The first year exhibition Dwelling Place has received 121 projects by 100 artists from twenty-one countries. In 2010, the exhibition Eattopia has gathered 115 projects by 100 artists from twenty-seven countries. In 2012, the exhibition Melancholy in Progress has collected 217 projects from 169 artists.
With all the credit received, the 4th Taiwan International Video Art Exhibition is themed with The Return of Ghosts, for contemporary video possesses the characteristics of phantom. In the contexts of contemporary post-colonialism and capitalization, we encourage the artists to explore the issues related to spirits, ancestral deity, Shamanism, super nature or even the ghost-like existence of video itself.
The foundation is calling for video art projects regarding this topic; the deadline for submission is April/30/2014. Please check our website at www.twvideoart.org for further information about the 2014 Taiwan International Video Art Exhibition.
Entries are restricted to artworks created after the year 2009, and are limited to unpublished works that have not been previously shown in any exhibitions in Taiwan.
Entries are opened to topics related to The Return of Ghosts and the issues of contemporary moving images possessing the characteristics of phantom in its nature. In the contexts of contemporary post-colonialism and capitalization, we encourage the artists to explore the issues related to spirits, ancestral deity, Shamanism, super nature or even the ghost-like existence of moving images itself.
Entry Submission: By registered mail to: Hong-Gah Museum 11F, No. 166, Daye Rd., Beitou Dist., Taipei City, 11268 Taiwan
(posted on 2014-04-15)
A long term, large scale project reaching to all types of creatives including visual artists, filmmakers, actors and theatre/film community, musicians, illustrators, designers etc…
The Fresh Meat Gallery is proposing creatives to create a video, or a voice recording, or a photograph or a digital image expressing their opinions on how the economic state and cultural budget cuts have affected you as an individual, whether it is personal, professional or both.
We are reaching out to the whole creative community to come together and express their opinions on the cultural sector’s changes and how it is affecting Britain’s creative people. Our aim is that we show the UK that we do have a voice and that the creative and cultural industry is not only vital to our economy but also vital to us as people.
We invite you to discuss points such as (These points are just a guideline) :
- Whether or not the economic changes have affected your place in the creative industry.
- With budget cuts to the cultural sector, is this something that will affect you directly or indirectly?
- To discuss if you have already been affected and how.
- To make it clear why the arts and culture sectors are important to you.
- Tell us what you think the value is of culture & arts to our economy.
- Are you specifically affected within the area you live in.
- Your personal experience of finding work within the cultural industry.
- Your current status in the industry, your future goals/ plans/ hopes.
- What you think will help the industry.
- Opinions on the government’s views towards the cultural sector.
You can be as straightforward or as creative as you want with the video or voice recording whether it showcases your views through a simple recording, an art work, a written piece, a composed song, a performance or animation, drawing, photograph etc. You can voice your opinion in a variety of ways. All we ask is that you address the issues stated above.
It also can be submitted by an individual or by a group.
All pieces entered will be uploaded online as part of a huge online exhibition named ‘The Arts, Undervalued’. We are aiming to exhibit our favourite pieces in an exhibition within a year to allow time to accumulate material. Everyone who enters will be a part of it, whether it be on our YouTube channel, Vimeo account, our website or the live exhibition.
Entry is Free but you must be 18 years or over and based within a creative sector/ industry or graduate within the arts.
You can create your piece on any device including camera phones, digital slr, webcams, scanned paintings and drawings etc…
(posted on 2014-04-15)
27th INSTANTS VIDEO MARSEILLE
“For a free circulation of bodies and desires”
The festival Les Instants Vidéo is an event dedicated to media arts (video and digital). Every year, we present an international selection of video arts, one channel, installations, performances, experimental documentaries, artists’ CD-ROM… and also spaces of time for different forms of encounters.
The title for this year festival (not definitive) is For a free circulation of bodies and desires.
1) More and more walls are built between those who have (nearly) everything and those who have (nearly) nothing.
2) Misogyny and homophobia (even hidden behind with a good conscience) are walls erected between bodies and desires…
You will find below an entry form. Be sure we will watch your work with attention, being aware that electronic poetry is fragile, delicate : a quivering… The festival is all together nomadic and sedentary. It takes place in Marseille and the Region, and also in other countries. We will inform the artists about the place and date of screening of their work.
Greetings from the infinitely blue shores (sometimes tainted with red) of the Mediterranean sea.
The Instants Video crew
Your work must be send to
Les Instants Vidéo Numériques et poétiques
Friche la Belle de Mai – 41 rue Jobin – 13003 Marseille – France
Contact: 00 33 (0)4 95 04 96 24 – email@example.com
Instants Vidéo Numériques et poétiques, Friche la Belle de Mai 13331 Marseille Cedex 3 France (We will inform you of our (always difficult) choices in October 2014 at the latest.)
(posted on 2014-04-14)
Cennetoğlu is known for her interest in printing material and the İstanbul Art Research Association (BAS), an open archive project she initiated, that collects and features artist publications from all around the world.
“What is it that you are worried about?” is a project in which the two artists have combined their power into a multi-layered, interdisciplinary video work and a printed material accompanying it.
When you enter Rodeo Gallery in an old Beyoğlu building, you are directed to a singular room where you will be experiencing an overall process of the “healing of a building.” “What is it that you are worried about?” is a single-channel video that solely focuses on an example of Habitat and Human Energy Rebalancing coach Zeynep Sevil Güven's practice of healing spaces and buildings through putting them into a holographic energy scan.
Cennetoğlu and Özcan have purchased a building in a small Bosnian town, Konjic. The building is an old bunker that used to be Tito's atomic war command called Facility D-0, or with its widely known name ARK. It has recently started to serve as the venue for Project Biennial D-0 ARK Underground.
ARK was initially built by the Yugoslav army between 1953 and 1979. Resembling a complicated labyrinth with residential areas, conference rooms, offices, strategic planning rooms and other functional areas, it has 12 connected blocks. According to the Project Biennial's introduction on their website, “The construction and existence of this bunker was kept secret until the 1990s when ARK was finally revealed. ARK was built as a military bunker by the former Yugoslav People's Army (JNA) to function as the Main Centre for Military Operations or Military Command and as the shelter for President Josip Broz Tito, his family and his closest associates in case of war.”
There is definitely something very interesting about the transformation of such a building into an art center. Cennetoğlu and Özcan's work was originally conceived for the Project Biennial. Their approach to this building aims to cleanse it from its past traumas.
The personification of ARK by the artists, in that sense, starts as a leitmotiv in the work and reaches its peak at the end of this interesting healing process. Collaborating with a non-artistic field such as Güven's, the artists provide a detailed two-dimensional plan of the building to her, bringing the work another layer of discipline, like architecture.
Güven, carefully following her InnerSpeak protocol and her self-developed ZSG healing method, starts going through steps to find about what is wrong with the building. She keeps asking questions from the protocol and finds the answers intuitively by letting her fingers decide if the answer is yes or no. Let aside her trying to heal a building with this InnerSpeak protocol, her doing this to the plan of a building, where she has never been or heard before grabs us. Cennetoğlu and Özcan made a similar work in 2011 titled "Dumping in the Cosmic Trash…" featuring Güven again, but this time she tried to heal İstanbul's ARTER art space's building and she was performing her technique in the very building.
Imagining that the building was supposed to provide a shelter and management facility in the event of nuclear war allows us to connect this unusual practice that has been applied to the plan of the building through artwork. The hypothetical elements of both in the Yugoslav army's initial motivation behind the building's construction and Güven's healing are striking in the sense that both had deep beliefs and reasons to do what they do. Moreover, trying to heal a massive shelter designed in case of an atomic war with sole use of energy perfectly makes sense on a free-associative, artistic level.
Besides the video, “A Self-Sufficient Yet Supportive Long-Distance Companion,” which is a complimentary booklet, conceived in relation to the video provides a useful addition to the work with its 22 articles compiled and edited from web-based sources, which refer to the chronological, conceptual and emotional progress of the video work.
Previously shown at the venue the work focuses on, at the 2nd edition of Project Biennial D-0 ARK Underground, “What is it that you are worried about?” can be seen until April 19, if for nothing else, only to witness contemporary healing technique and Güven's performance, which is very striking to watch.
(posted on 2014-04-14)
Tofifest International Film Festival begins submissions of films for competitions of the 12th edition of the festival, which will be held on 18-26 October 2014.
Nicknamed the “rebellious festival”, IFF Tofifest is one of the most important film events in Poland. Within 11 years of the event among its guests and winners were, among others, Geraldine Chaplin, Jim Sheridan, Jiri Menzel, Ulrich Seidl, Emanuelle Seigner, Janusz Gajos, Jerzy Stuhr, Krystyna Janda and Julia Jentsch. Each year the festival presents over 150 films, in several sections, and screenings are accompanied by numerous artistic events, exhibitions, theatre performances and concerts.
Film can be submitted to two international competitions: ON AIR-for full-length debut and second films and SHORTCUT-for short films. Other festival competitions are FROM POLAND-intended for Polish films and LOCALIZATIONS-for films associated with Kujawsko-Pomorskie region. The awards in the above competitions are, traditionally, Golden Angels of Tofifest and money prizes.
Deadline for all submissions is 14 August 2014. The film’s acceptance to the selection process is determined by the receipt date of an online application. Preview copies must be sent, within the same prescribed period, to the Festival Office along with a printed and signed submission form (date of postmark is decisive).
(posted on 2014-04-14)
GIRAF is looking for Animation submissions, in all styles, genres, lengths, and mediums. Our programs are a strong eclectic mix of animation, representing the best of the medium from Claymation to CG. We focus on presenting independent animations that push boundaries through new techniques, unique visions, and stimulating subject matter. We DO NOT CHARGE A SUBMISSION FEE, and encourage short and feature length local, national, international, and student submissions. Animations celebrating their Calgary premiere with GIRAF will be given preference, and accepted filmmakers will be required to provide their film in a high quality digital format.
Read the full submission guidelines here before submitting.
ONLINE Submissions are preferred, but DVD’s may be sent to: GIRAF Submissions c/o Quickdraw Animation Society 201- 351 11th Ave SW Calgary AB T2R 0C7 CANADA
All physical entries must be postmarked on or before: July 15, 2014
(posted on 2014-04-14)
A word, a film: choose a word that you associate with Europe and make your movie around it
form: no limits ! it can be a feature-fiction-horror-film, a video portrait, a documentary essay, a small fiction, a photographic collage, … whatever you want !
the minimum duration is 1 minute
the maximum duration is 10 minutes
subtitles your movie has to be subtitled in english
Inscriptions deadline: please fill the form and send us your movie before may 26th 2014
the names of the winners will be given on may 31st 2014
• jury award: 1000 €
• public award: 500 €
(posted on 2014-04-13)
Second Annual INTSA Media Festival
SOMA is proud to announce the second International Show/Tell Annual!
INSTA media is a juried exhibition of time-based media works from all around the world, hosted by the Society of Media Arts at UT, Knoxville.
Submissions are now open. The Submission Info page contains all the guidelines and required PDF form.
If you have any questions or concerns, you may either email us at firstname.lastname@example.org or contact us here via the Questions page.
Submissions will be open April 15 through May 15.
Exhibition date: September 4 2014 - September 4 2014
(posted on 2014-04-13)
A NETS Victoria exhibition curated by Bridget Crone for The Cinemas Project
Brook Andrew’s De Anima is a major new artwork enabled by a philanthropic grant -CATALYST: Katherine Hannay Visual Arts Commission. A feast of the moving image, performance and sculpture, De Anima immerses the viewer in a world of seeing and being that tests truth and history to the very questioning of our soul.
CATALYST: Katherine Hannay Visual Arts Commission is a unique charitable grant that supports Australian visual artists to work in partnership with a cultural not-for- profit organisation to realise a major new work at a pivotal moment in their career.
Brook Andrew’s commission De Anima will be a major new video installation comprising newly filmed, found ethnographic and other archival film footage that will visually and physically interact with the other sculptural and painterly elements – including a trompe l’oeil wall, soft sculptures, sound and costume.
When the viewer enters the installation of De Anima, as with the classic trompe l'oeil, it is envisaged that the viewer will become lost in between the worlds of deceit (or fiction) and truth. The mural (painted by the artist) and the costumes (replete with Wiradjuri text and pattern) will provide a lively interaction with the film. The project aims to question the way in which representations – or pictures of those around us – are produced. By manipulating the footage Andrew aims to address the politics of representation – and the ever-present confusion of who can represent whom – in order to encourage the exploration of how we view history.
De Anima is presented by Bendigo Art Gallery as a part of The Cinemas Project - a statewide presentation of five ambitious new contemporary artworks by Brook Andrew, Bianca Hester, Lily Hibberd, Mikala Dwyer and Tom Nicholson.
Bendigo Art Gallery, 42 View Street, Bendigo, VIC 3550
(posted on 2014-04-13)
STIFF (Student International Film Festival Rijeka) is an international film festival dedicated to student films.
STIFF Festival aims to empower developing local film and video industry by opening a window into the works of fellow filmmakers, and to encourage cooperation and development of new ideas and cross-border collaboration in the field of media.
There are no limitations as to the length and genre of the work.
Works entering a competition need to be produced after 1 January 2012. For non-competition categories films of any genre and timing unrestricted in the year of production are allowed.
A jury composed of three members will award :
• The Best Film
• Best Director
• Best Cinematographer
• Best Editor
• An audience award will be given to the Best Film
You can read more information about our festival following our web : http://www.skc.uniri.hr/portfolio/student-international-film-festival-stiff/
You are also welcome to submit the films through this link: http://www.skc.uniri.hr/film-submission/
The festival will be held in Rijeka, from 28 until 30 May.
Deadline: 15/ APRIL/ 2014.