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 The artist behind the video 

A new program of interviews to video artists

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:
Nara Denning
read the Interview

(posted on 2015-07-03)

PLAY - Semana de Videoarte 2015

La Secretaría General de Extensión Universitaria Delegación Corrientes de la UNNE se complace en anunciar, que luego de un arduo trabajo de evaluación del jurado, integrado por Albert Merino (Esp.), Fabiana Gallegos (Arg.) y Maia Navas (Arg.); se seleccionaron 20 obras de videoarte para participar de la edición 2015 de PLAY -Semana de Videoarte-.
Agradecemos a todos los participantes y esperamos contar con ustedes para las próximas ediciones además de invitarlos a asistir a la presente edición (30 de julio al 11 de agosto).
- Seleccionados 2015 -
Melisa Aller (Argentina) - Afirmar con ello otro mundo
Apotropia (Italia) - Senser of place
Giancarlo Cutrona (Italia) - Restoration
Silvia De Gennaro (Italia) - Travel notebooks: Perugia, Italy
Mauricio Saenz (México) - Ruinas
Sandrine Deumier and Alx P.op (Francia) – Magical Garden
Paula Buffone (Argentina) - Objeto Final
Uwe Heine Debrodt (México) - Portal
Ayelén Rodriguez(Argentina) - La televisión que me parió
Elizabeth Ross (México) - Atadura de años
Melania Olcina (España) - Woman on brackground
Leonardo Guardianelli, Paola Rodriguez, Jose Fiz, Aldana
Olivello, Marianela Peralta (Arg) - 8 mm
Suyai Otaño (Argentina) - Entrevista
Marisol Bellusci (Argentina) - Deben saber quienes son
Janin Bello (Colombia) - Movimientos Sacádicos
Adrian Regnier Chávez (México) - U.
Jai Du (España) - Pechos bien formados...¿coincidencia?
Marcia Beatriz Granero (Brasil) – Von Suttner Salad
Agustina G. Wetzel (Argentina) - I’ve always been a ghost-
Siempre fui un fantasma
Celeste Massin (Argentina) - Ambivalencia


playvideoarte.wix.com

(posted on 2015-07-03)

Premio Cosua

A cura di Elisabetta Di Sopra
Giunto alla sua sesta edizione Il Premio Maurizio Cosua, sezione dedicata alla videoarte del videconcorso Francesco Pasinetti, entra nella Fabbrica del Vedere sede dell’archivio Carlo Montanaro. Nello spazio espositivo di calle del Forno a Ca’ d’Oro di Venezia, verrà infatti presentato il video vincitore “Androgynous” opera del duo artistico Con.Tatto, insieme a “Il mio corpo a maggio” di Matilde De Feo e a “Travel Notebooks: Perugia” Italy di Silvia De Gennaro, premiati con una menzione speciale rispettivamente per la fotografia e per la tecnica.
Vincitore premio Cosua 2015
Androgynous dei Con.Tatto ( Francesca Leoni e Davide Mastrangelo) 2015, durata 3’35’’
Continua ricerca dell’animo umano nell’uomo contemporaneo.
Androgynous è “fragile” perché siamo noi, la nostra pelle; perché “fragile” è la lotta per l’incontro.
Se la materia può essere lacerata, sono i sentimenti e le emozioni a permanere oltre alla caducità
dell’involucro che le contiene. Lucida analisi che riprende temi molto cari alla videoarte e che gli autori sanno rivisitare con la consapevolezza e la sensibilità di chi ama questo linguaggio oltre la tecnica.
Menzione speciale per la fotografia:
Il mio corpo a maggio di Matilde De Feo 2014, durata 1’
L’analisi del fenomeno umano viene restituito utilizzando una fotografia raffinata nel taglio e nelle
intonazioni cromatiche attenta alle sfuocature di una visione di primissimo piano. La cura del dettaglio e la scelta degli abbinamenti intesi a rappresentare il tempo ciclico di una “natura naturans”, conferiscono al progetto la qualità di una riflessione sulla condizione umana nel suo essere parte di un universo epifanico.
Menzione speciale per la tecnica:
Travel notebooks: Perugia, Italy di Silvia De Gennaro 2014, durata 2’29’’
Il tema di una geologia urbana intesa come stratificazione di ere e di stili, viene svolto con particolare pertinenza grazie alla tecnica a collage digitale che rende il tutto materia fluida in continua, magmatica, trasformazione incalzata dal fluire delle forme che si distruggono e rinascono ben oltre a una idea temporalmente scandita.
In collaborazione con: VideoConcorso Francesco Pasinetti, Fabbrica del Vedere, Archivio Carlo Montanaro, Circuito Cinema, Civico5, Città di Venezia, Liceo Artistico Guggenheim
Inaugurazione 3 luglio ore 18
La Fabbrica del Vedere Calle del Forno, Cannaregio 3857 Venezia


www.fabbricadelvedere.it

International database of video artists

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!

100x100=900 catalogue

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 2015-07-03)

Doris Salcedo

Shown daily on loop while the exhibition Doris Salcedo is on view, this video documents Doris Salcedo's site-specific works and ephemeral public projects, which have formed a central aspect of her artistic production over the past 15 years.
Salcedo's interventions in the public sphere reflect her desire to engage communities through acts of collective mourning and remembrance, exploring the shared expression of private pain. Ms. Salcedo has made numerous public works, most of them temporary, commemorative 'interventions' that evoke the passage of time: 1,150 wooden chairs packed into the space left by a demolished house in Istanbul; an enormous plaza in Bogota', Colombia, filled with rows of lighted candles; a meandering crack in the concrete floor of Tate Modern's Turbine Hall. (The refilled crack can still be traced, like a ghost monument.)
We learn about these projects and the dedicated people who help Ms. Salcedo realize them from a film within the exhibition and from the informative catalog. It is fascinating to have a glimpse of this major part of Ms. Salcedo's achievement, but also tantalizing.
Once again, we are made to long for what is absent. Friday, July 3, 2015, 11 am-5:30 pm
GUGGENHEIM MUSEUM 1071 Fifth Avenue (at 89th Street) New York


www.guggenheim.org

(posted on 2015-07-03)

Exquisite Corpse

Exquisite Corpse​ explores female form, self-image and stereotypes from the perspective of eleven female artists. Through video, painting, performance and illustration, the exhibition also considers the potential of contemporary technology as a tool to examine female self­ identity and evaluates the impact that it has upon constructs of 'femininity'.
Internationally acclaimed visual and performance artist Poppy Jackson ​explores the female body as an autonomous zone, and has produced a new performance work commissioned by Fuse Art Space; she will also be exhibiting a series of paintings. Based in Toronto, Rupi Kaur​​ found notoriety as the poet who critiqued Instagram earlier this year with her “period.” ​​series - these photographs feature in the show. Delicate and charged illustrations from Sue Williams ​draw the viewer into a world of provocative sexual politics. The exhibition also includes work by artists from Austria, Russia, UK and US including Anastasia Vepreva​, Evelin Stermitz, Faith Holland, Julia Kim Smith, Kate Durbin, ​Lacie Garnes, Sarah Faraday​ and Sheena Patel​.
"The internet poses significant problems in female representation, from pornography to the use of female form in advertising and notably the use of sexually violent language as a form of censorship and aggression towards female expression", comments the exhibition's curator Sarah Faraday​. "Exquisite Corpse presents an array of female artists using both online and material forms for creativity, empowerment, and subversion, whilst reclaiming control of the representation of their bodies"
Alongside the exhibition, Fuse Art Space will be hosting a concert series featuring performances by Kyoka (Raster-Noton, Germany), Cooly G (Hyperdub, UK), Puce Mary (Posh Isolation, Denmark), Lau Nau (Fonal, Finland) and others.
16/07/2015 - 03/10/2015
Opening party: 16th July, 7pm
Fuse Art Space 5-7 Rawson Place, Bradford BD1 3QQ UK


www.wearefuse.co

(posted on 2015-07-01)

Moving Image Istanbul 2015

Moving Image gratefully acknowledges the generous support of our media and cultural partners for Moving Image Istanbul 2015:
CNN TURK, launched as a joint venture of Dogan Media Group and Time Warner on October 11 in 1999, is the first national TV network bearing CNN’s logo but managed outside of CNN Atlanta Headquarters. The power, common values as well as global visions of Dogan TV and Turner Broadcasting System have been the main driving forces behind CNN TURK. CNN TURK stands out as Turkey’s first TV network launched with an international partner.
CNN TURK has been in the broadcasting business featuring news programs, financial, sports, entertainment as well as lifestyle programming and stands out as a television network guided by principles of independent, objective and impartial journalism.
CNN TURK relies on an integrated system bringing together different platforms such as:
Internet (cnnturk.com),
Radio (92.5 CNN TURK Radio),
Mobile platforms (iPhone, Nokia Ovi, Android market, Blackberry and Windows Phone 8),
Tablets (iPad, Android market, Windows 8 Office),
PC (Windows 8 Office)
Smart TVs (Sony, Vestel, Arçelik/Beko, Philips ve Samsung)
Programs are also available on tv.cnnturk.com for those who have skipped or those who want to see them once more.
As the official online partner of Moving Image, Artsy will preview the fair's moving image-based artworks in an exclusive feature starting August 27th. Visitors to Moving Image on Artsy will have the opportunity to browse exhibitor programs, view and collect works at the fair, and read exclusive editorial content via Artsy.net and the Artsy iPhone app (http://iphone.artsy.net), where new works will be added daily.
Artsy is the leading resource for learning about and collecting art from over 3,000 leading galleries, 500 museums and institutions, 40 international art fairs, and select auctions. Artsy provides free access via its website Artsy.net and iPhone app to 280,000 images of art and architecture by 40,000 artists, which includes the world’s largest online database of contemporary art. Powered by The Art Genome Project, a classification system that maps the connections between artists and artworks, Artsy fosters new generations of art lovers, museum-goers, patrons, and collectors, including those who might not be able to physically make it to Turkey for the fair.
The world’s number one urban living magazine Time Out has been published in Istanbul since 2001, along with other metropolises such as London and New York. Those who want to be a part of Istanbul’s exciting social life and are interested in a vast range of topics such as fashion, music, food & drink, celebrity interviews, nightlife and shopping can follow Time Out Istanbul for daily events throughout the city. From compelling features on city-wide events to listings for music, art and culture events, new food & drink locales, shopping tips, latest book and film releases and travel suggestions, the magazine offers a range of topics to appeal to readers’ interests.
Founded in 1990, The Art Newspaper is an online and paper publication based in London and New York. It provides an unrivalled news service about the art world, fed by its network of sister editions, which together have around 50 correspondents working in over 30 countries, with editorial offices in London, Turin, New York, Paris, Moscow, Beijing and Athens.
Artnet is considered the leading resource for art world professionals, collectors, and aficionados from around the world, setting the standard for excellence in the art market with the renowned Price Database and Gallery Network.
IstanbulArtNews is a monthly art newspaper, created with the aim of filling the lack of art publications in Turkey. Focusing on the local art market, IstanbulArtNews comprises of extensive news and articles about the exhibitions and other art-related events.
On the other hand, it embraces all dimensions of the Turkish contemporary art. It presents activities of Turkish artist and art professionals with a solid news feed and group of writers; it puts forward deeper analyses about the art scene with its special subject matters.
Sanatatak.com was founded in 2012 by Aysegül Sönmez, journalist, art critic, former president of AICA Turkey to create an independent stage, a physical and digital platform for arts and culture. Its main goal is to combine criticism with joy, and life with art. It surveys contemporary and modern art, dance, cinema, philosophy, theatre and would like to be perceived in motion, in flux rather than stabled and solid.
It organizes events like live interviews, panel discussions, seminars, feminist activism in different various venues, educational foundations and independent venues.
It is consisting of more than 13 main writer critics that write reviews in different fields of art every week.
Published by Galerist since 2006 Art Unlimited is a pioneer arts and culture publication. Providing coverage from local and interantional contemporary art scene, the bimonthly newspaper is distributed free-of-charge and can be reached online.
Founded as an online platform in 2012 and in print since 2013 exhibist is an English-language magazine focusing on contemporary art from Turkey with an international distribution in more than 20 locations across Europe, America and Asia. Every issue of the magazine, printed quarterly, includes extensive features of upcoming Turkish artists or analytical essays, overviews of established artists from Turkey, as well as sections providing information on Galleries featuring Turkish Contemporary Art and related exhibitions and events.
Founded in 2010, Borusan Contemporary is the leading platform for media arts in Turkey. Housed in the historic Perili Kös¸k mansion on the European shore of the upper Bosphorous, it consists of two gallery spaces for temporary exhibitions and new commissions as well as an extensive ‘Office Museum’ for the display of curated selections from the Borusan Contemporary Art Collection. The Borusan Contemporary art collection includes nearly 600 artworks encompassing such diverse media as oil paintings, sculpture, video art, installations, new media, print editions, light art and photography. It contains print editions by Jim Dine, Donald Judd and Sol LeWitt; light art installations by Brigitte Kowanz, Keith Sonnier, François Morellet and Doug Aitken; paintings by Peter Zimmermann, Gerwald Rockenschaub and Markus Linnenbrink; as well as sculptures by Liam Gillick, Manfred Wakolbinger and Ernest Trova. Artists such as Zimoun, Rafael Lozano-Hemmer, U-Ram Choe, Daniel Rozin and Daniel Canogar are featured in the Collection's new media segment, and Monika Bravo, Marina Zurkow, Kutlug? Ataman and Manfred Mohr are standout names in the video art section.
Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and Inan Kiraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.
Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of Istanbul.
SPOT is an independent contemporary art project that consists of the SPOT.TER membership program and the SPOT Production Fund. At SPOT, contemporary art appreciation seminars are offered on a 5-7 week period basis.
SPOT.TER is the membership platform which organizes curator/artist led exhibition tours, artist studio visits, access to private collections, and workshops & seminars. SPOT.TER’s primary aim is to create an awareness into the contemporary art scene & ecosystem, and to foster a culture of patronage. The membership platform offers one the opportunity to navigate Istanbul’s fast-paced arts scene, and to form better-informed opinions about the work being created by local and international artists today. Annual or semi-annual membership options exist offering a minimum of 20 or 10 events respectively.
SPOT Production Fund is created with the proceeds of the SPOT seminars, SPOT.TER activities, and sponsorships. The Production Fund commissions new artworks and talks, which are exhibited under the forum called “Produce” every one or two years.
The Elgiz Museum was founded by collectors Sevda and Can Elgiz as the first contemporary art museum in Turkey in 2001. As public contemporary art museums and/or foundations did not exist, this privately-owned, non-profit institution took on the mission to support the development of contemporary art with an international identity in a 2000 m² space open to the public.
Formerly known as Proje4L, the space functioned as an experimental platform for young, up-and-coming artists and curators. Continuing this mission, the Elgiz Museum houses the family’s collection and hosts dynamic, avantgarde, temporary and terrace exhibitions, and educational programmes.


www.moving-image.info

(posted on 2015-07-01)

Difference Screen

Difference Screen presents a diverse programme of international artists’ moving image that reflects on changing political geographies through people and places. The programme embarks on a world-wide journey, travelling across 20 countries over 2 years, interpreted by an evolving dialogue between artists, curators and audiences.
The worldwide spread of artists’ moving image practice over the past 30 or 40 years has coincided with global events of historical magnitude: from the collapse of communism in the Soviet Union and Eastern Europe, the 9/11 attack on New York and subsequent wars in Iraq and Afghanistan. Islamic militancy as evidenced with ISIS in Iraq and Syria and Boko Haram in West Africa violently opposes other peoples’ democratic and religious values. Ongoing struggles continue in Ukraine following Russia’s recent annexation of the Crimea and economic tremors in Europe continue following from the world financial crisis of 2008. At the same time, the use of the internet and social media has become an increasingly important element both in artistic practice and social change as reflected in the Arab Spring movements. With a sense of a massive shifting in social, political and economic tectonics, the previous old order is challenged by the rising economies of China, India and others. We live in an age of uncertainty and change, but also of promise in the unknown. Human endeavour through science probes the boundaries of the world as we know it. New possibilities for creative potential have emerged, exploited by artists in places once overlooked, exposed to view like overturned stones to wider audiences wired into global social and media networks.
Landscape in its broadest sense is a common reference point and inextricably connected over millennia with conflict and change. Not landscape as an idealised pictorial view, but one where human intervention is always present, a dynamic and continuous landscape, hinting of recent extinctions of previous social orders, the fault-lines of interminable social conflict, or the aspirations of new communities.
Difference Screen begins and ends in the UK, commencing at Clearwell Caves, Forest of Dean, Gloucestershire, in July 2013 and concluding at Arnolfini Gallery, Bristol, in December 2015. By then it will have gathered the experiences and impressions of many people in different countries – with its own history providing fuel for new considerations and thoughts.
Difference Screen is curated by artist Bruce Allan and curator/facilitator Ben Eastop, Co-Director of Difference Exchange. The programme has been developed through a unique and extensive network of international artists, curators and arts organisations, its routes and resources mapped and made public through this international journey.
Wednesday 1 July 2015
Programme 7 – 9pm
Untitled #81 2013 1:14
Stefan Riebel (Germany)
– English text –
Hassan et Amira – Lettre/s d’hôtel/s 5:00
Gesa Matthies (France)
– French text –
Secret Codes 2010 4:35
Barbara Rosenthal (USA)
– text in English, German and Yiddish –
Stand Here! 2010 5:00
Csaba Nemes (Hungary)
– Hungarian with English Subtitles –
5 lessons and 9 questions about Chinatown 2009 10:00
Shelly Silver (USA)
– spoken English and Chinese with English and Chinese texts –
Travelling Fields 2009 09:00
Inger Lise Hansen (Norway)
– without words –
A Drone Wrapped Up in Flying Carpets 2012 06:06
Riaz Mehmood (Pakistan/Canada)
– Pashto with English subtitles –
Russian KAMA3 2011 03:31
Adad Hannah (Canada)
– without words –
Walk of the Three Chairs 10:00
Breda Beban (Serbia/UK)
with a traditional Balkan song ‘Who Does Not Know How To Suffer Does Not Know How to Love’ performed by the Jova Band
My love for you, Egypt, increases by the day 2011 06:18
Heba Amin (Egypt)
– Egyptian with English subtitles –
Sometime.Somewhere. 2009 06:38
Zohar Kfir (Israel/Canada)
– English without subtitles –
Hollywood 2004 12:20
Daniel Brefin (Switzerland)
– Georgian with English subtitles –
Training 0:59
Daniel Rumiancew (Poland)
– without words –
QA: Stefan Riebel with curators Bruce Allan and Ben Eastop
Abteilung für Alles Andere, Berlin
Ackerstraße 18 / Berlin-Mitte


www.differencescreen.net

(posted on 2015-07-01)

Memorias imborrables

Una mirada histórica sobre la Colección Videobrasil
The tour of the first major Videobrasil Collection exhibition began in Buenos Aires. Eighteen artworks with heavy political overtones are on display at MALBA, the Embassy of Brazil, and Universidad Torcuato Di Tella até agosto de 2015
The first major Videobrasil Collection exhibit started touring the world, beginning in Argentina. Unerasable Memories – A Historic Look at the Videobrasil Collection opened officially in the Argentinian capital on June 25, at 7pm, at the Museo de Arte Latinoamericano de Buenos Aires (MALBA), curated by its artistic director Agustín Pérez Rubio. Earlier, at 6pm, Videobrasil’s curator and director Solange Farkas had an open conversation with the public, alongside Pérez Rubio. In Argentina, the exhibition spans two other venues in the city of Buenos Aires: the Cultural Space of the Embassy of Brazil (opening on July 2) and Universidad Torcuato Di Tella (opening on July 17). In line with Videobrasil’s project, the travelling exhibit’s stint in Argentina features Public Programs meetings, courses, and conversations.
Videobrasil’s director and the exhibition curator discussed the recent history of Associação, focusing on its public actions, its interest in art production from the geopolitical South, and the building of its collection. Invited by Solange Farkas, Agustín Pérez Rubio carefully scrutinized the collection of 1300-plus video works and picked out the eighteen pieces with heavy political and social agendas that comprise the exhibit. From Brazil’s “discovery” by the Portuguese to the military coup d’état in Chile, including the September 11 attacks in the USA, China’s Tiananmen Square Massacre, or civil war in Lebanon, the show features stories kept alive by the sensibility and the work of artists from those areas. “The artworks interrelate in their themes, chronologies, and territories or conflicts experienced by actual persons, and the accounts thereof,” Pérez Rubio explains. “Violence, war, borders, race, sex, gender, slavery keep tormenting us. We want art to repossess this collection of experiences lived, from the beautiful to the cruelest, most inhumane, so that we may learn from them constantly,” says the curator.
Check out the dates and works exhibited in the three spaces that host the exhibition Unerasable memories in Buenos Aires:
From June 25 through August 20, MALBA shows works by Dan Halter (Untitled — (Zimbabwean Queen of Rave), 2005), Jonathas de Andrade (Projeto Pacífico, 2010), León Ferrari & Ricardo Pons (Casa Blanca, 2005), Liu Wei (Unforgettable Memory, 2009), Rosângela Rennó (Veracruz, 2000), Sebastian Diaz Morales (Lucharemos hasta anular la ley, 2004) and Vincent Carelli & Dominque Gallois (A Arca dos Zo'e, 1993).
From July 2 to August 14, the Cultural Space of the Embassy of Brazil features artworks by Aurélio Michiles (O Sangue da Terra, 1984), Ayrson Heráclito & Danillo Barata (Barrueco, 2004), Coco Fusco (Bare Life Study #1, 2005), Enio Staub (Contestado, a Guerra Desconhecida, 1985), Luiz de Abreu (O Samba do Crioulo Doido, 2013), Mwangi Hutter (My Possession, 2005), and Walid Raad (The Loudest Muttering is Over: Documents From The Atlas Group Archive, 2003).
Finally, between July 17 and August 14, the exhibition hall at Universidad Torcuato Di Tella features videos by Akram Zaatari (In this house, 2004), Bouchra Khalili (Four Selected Videos From The Mapping Journey Project, 2010), Carlos Motta (Letter to My Father (Standing by the Fence), 2005) and Rabih Mroué (Face A Face B, 2002).
The exhibit premiered in Brazil from August to November 2014, at Sesc Pompeia (São Paulo, Brazil). In 2015, Unerasable memories — A historic look at the Videobrasil Collection will travel to Spain and Germany. Before the end of 2016, the show will also go to Mexico.
Course explores memories of conquest in art, literature, cinema and music in Brazil
Besides the talk with Solange Farkas and Agustín Pérez Rubio, the exhibition’s run at MALBA features the course Memories of conquest: its expression in art, literature, cinema, and music in Brazil. The course is taught by professor Gonzalo Aguilar, from the School of Philosophy and Languages at Universidad de Buenos Aires, on Fridays, from June 26 to July 17.
Aguilar sets out to reflect on “conquest” and its reverberations: do “winners” and “losers” evoke them in the same way? What vestiges are left of violence and domination? How does one build a perspective that challenges official versions? How to retrieve the images and words of those who were defeated? The artworks featured in the exhibit are connected with literary texts, essays, videos, films, and works by Brazilian artists and authors of the likes of Caetano Veloso, Clarice Lispector, Gilberto Gil, Machado de Assis and Tarsila do Amaral.
Memorias imborrables — Una mirada histórica sobre la Colección Videobrasil
June 25to August 20
Museo de Arte Latinoamericano de Buenos Aires (MALBA) | Avenida Figueroa Alcorta 3415, Buenos Aires, Argentina
July 2 to August 14
Cultural Space of the Embassy of Brazil | Calle Arroyo 1142, Buenos Aires, Argentina
July 17 to August 14
Universidad Torcuato Di Tella's exhibition hall | Avenida Figueroa Alcorta 7350, Buenos Aires, Argentina


site.videobrasil.org.br

(posted on 2015-06-30)

Eloise Hawser: Lives on Wire

The ICA is pleased to present the first UK solo institutional exhibition, Lives on Wire, by British artist Eloise Hawser. Hawser's work reconfigures and repurposes commonplace materials applied in industrial processes to create sculptures and installations that subtly demonstrate the inherent mutability of everyday objects.
For Lives on Wire Hawser presents a site-specific installation featuring new sculpture and a digital video work, developed through her investigative research into the life-span of the cinema organ. Invented in the early 20th century by the British telephone engineer Robert Hope Jones, it was ubiquitous during the silent-movie era, prior to the film industry’s introduction of synchronised sound. Employing the principles of the telephone exchange, it was developed to replace cinema orchestras and reduce manpower with an individual console and organist. The device worked by issuing electric and pneumatic signals from a keyboard console to a remote rank of pipes and instruments established within the infrastructure of the cinema building. Many of these instruments, due to their scale and complexity, remain silently embedded within the architecture of former cinemas to this day.
The exhibition title derives from a passage of text in a silent documentary about the John Compton Organ factory in London. Presented in a font typical of the era, this evocative statement describes the cabling section area of the factory, and attributes human form to the machinery that ‘lives on wire’. The documentary encapsulates the paradox of an instrument that was briefly in fashion, although it embodied a wealth of electromechanical mechanisms and principles still prevalent today. Hawser’s new work seeks to analyse the theoretical and physical attributes of a variable electronic resistor used to illuminate the art deco surround of the instrument during cinematic performances, known as the cinema organ colour changer.
For the exhibition, the relationship between the colour changer mechanism and the illuminated console is re-established and demonstrated using the ICA’s Lower Gallery lighting system, to control the colour and intensity of the gallery's lights. In doing so, Hawser explores the potential for obsolete objects to be appropriated and transformed for contemporary use, a process often referred to as skeuomorphism. Accompanying the re-animated colour-changer is a digital video work that surveys and examines an existing cinema organ in its original installation, a building which has now become a Regent's Street store, illustrating the disembodiment of the machine from cultural consciousness and its passage from sound-producing object to silent relic.
Eloise Hawser graduated from The Ruskin School of Art, Oxford in 2007 and continued her studies at Stadelschule, Frankfurt under Tobias Rehberger (2009-2012). Recent shows include 2015 Weighted Data (group show), Tate Britain, London; Surround Audience, Triennial (group show), New Museum, New York, NY; 2014 Europe, Europe, Astrup Fearnley Museum, Oslo (group show); Don’t You Know Who I Am? Art after Identity Politics (group show), M HKA, Antwerp, Belgium. 2013; Burn These Eyes Captain and Throw Them in the Sea (group show), Rodeo, Istanbul, Turkey; Soft Wear curated by Philip Zach, Sandy Brown, Berlin, Germany;Of Love, Pain, and Passioned Revolt (Then Farewell, My Beloved, ’til It’s Freedom Day), ZERO, Milan; One After One, (group show), Vilma Gold, London, UK. Solo Presentations at Frieze Art Fair, Frame section, London, UK, Liste 18, Basel with VI, VII (Oslo); and Haus der Braut, VI, VII (Oslo).
Supported by the Eloise Hawser Exhibition Supporters Group including Halo Lighting and The Zabludowicz Collection.
Institute of Contemporary Arts (ICA) The Mall, London


www.ica.org.uk

(posted on 2015-06-30)

Is this art?

5th Screening | August 20
dLux MediaArts is one of Australia's key screen and media arts organisations committed to fostering the development and engagement of audiences with Australian contemporary screen and digital media culture.
Annual programs include the presentation and promotion of media arts exhibitions and cross-sector partnership and skills development for artists and communities in urban centres and in remote and disadvantaged regional locations.
dLux manages a public archive of over 30 years of Australian media arts practice and develops specific programs for secondary and tertiary students to raise awareness of this rich history.
Ongoing research into emerging technologies enables dLux to delivers a fresh and responsive program of activities ranging from the screening of single and multi-channel video through to presentation of interactive installations and events with mobile technology and Augmented Reality components.
dLux and Artereal Gallery would like to invite screen and new media artist to submit works for consideration for the Wednesday 26 August 2015 screening program of single channel media works.
Submission deadline: 3 july 2015


www.dlux.org.au

(posted on 2015-06-29)

EneganArt

EneganArt - Concorso Nazionale di Arte Attuale | Prima edizione
Da sempre l’arte è uno strumento fondamentale e imprescindibile nella vita dell’uomo. Troppo spesso ci si sofferma solo sul suo valore meramente estetico e si rischia di trascurare la sua forte valenza dialettica e sociale. L’opera d’arte va considerata come medium comunicativo a tutti gli effetti, utile per esternare un messaggio e veicolarlo dall’artista allo spettatore.
È questa l'idea da cui è nato il progetto EneganArt, un concorso artistico nazionale sponsorizzato da Enegan Luce e Gas, il trader privato che distribuisce energia elettrica e gas, in collaborazione con l'Accademia di Belle Arti di Firenze.
EneganArt vuole essere una selezione di opere d'arte di alta qualità dall'impatto visivo contemporaneo.
Il concorso, suddiviso in 4 categorie di selezione, si svolgerà in 2 fasi (PITTURA, SCULTURA, FOTOGRAFIA, VIDEOARTE) e intende stimolare una riflessione sull’arte, la comunicazione e il linguaggio universale trasmesso attraverso le espressioni del volto umano, e per questa prima edizione il tema prescelto è FACES.
La prima fase prevede la selezione di 24 artisti (6 per categoria) che parteciperanno alla Mostra Collettiva, curata da Mauro Pratesi, dal 20 al 29 Novembre 2015 - seconda fase - che si terrà a Firenze presso La Sala della Musica, Oratorio dei Filippini, dell'ex Tribunale in Piazza San Firenze. In occasione del Finissage dell'evento espositivo saranno premiati i 4 artisti vincitori (1 per categoria) che riceveranno un premio in denaro.
Il progetto prevede inoltre la realizzazione di una Biennale dei giovani artisti dell'Accademia di Belle Arti di Firenze, sponsorizzata da Enegan, alla quale potranno partecipare gli studenti dell'Accademia nelle categorie scelte per la selezione (ancora da definire). La Mostra della Biennale si svolgerà a Firenze dal 12 al 18 Novembre 2015 presso La Sala della Musica, Oratorio dei Filippini, dell'ex Tribunale in Piazza San Firenze.


www.enegan.it

(posted on 2015-06-29)

Tipperary Dance Platform

This an opportunity to present your dance-video works in an international dance festival.
A selection of the submitted videos will be presented at TDP’15 – Tipperary Dance Platform 2015.
Deadline for application: 1 August 2015 at 5 PM
When: 12-18 October 2015
Costs: Free of charge
We are offering an opportunity for you to present your dance-video works at Tipperary Dance Platform.
We are interested in innovative video art works created through the crossbreeding of dance and video media.
Tipperary DancePlatform is a growing international contemporary dance festival taking place in Tipperary town, Ireland. The 6th edition will take place the 12-18 October 2015.
The videos submitted should be professional quality contemporary video art works, based on dance or closely related physical performance.
Videos should be no longer than 15 minutes. The selected works will be presented in a video screening as a specific event of the festival.
Contact details: Tipperary Dance Platform is organised by Tipperary Dance Residency. Jazmin Chiodi & Alexandre Iseli info@iselichiodi.com


tdp-video-open-call.eventbrite.com

(posted on 2015-06-28)

MTV Bump

MTV International, which spans 160+ countries and territories and 32 languages, announced that from 25 June, the youth brand will evolve from ‘I want my MTV’ to ‘I am my MTV.’ The network will celebrate its audience and talent by spotlighting their social media videos between programming on-air and across all platforms with #MTVbump, the first of many ways MTV will open up the brand to young people. MTV ‘Art Breaks’ will bring new video art to audiences worldwide, and even MTV’s promos will take on a new look and feel. Experimenting with narrative structures and visual storytelling, they will be shorter, louder and hyper-visual.
“MTV has always been committed to reinvention, and it’s time to shed our skin and reinvent again,” said Kerry Taylor, senior vice president, Youth and Music for Viacom International Media Networks (VIMN) and chief marketing officer of Viacom UK. “Our audience expects MTV to push boundaries and take creative risks, and we truly believe that with this rebrand MTV’s international channels will look like nothing else.”
Audience Content on MTV
MTV partnered with B-Reel Creative to connect the Internet to the network’s linear broadcast system, allowing social media videos on Instagram or Vines shared on Twitter with #MTVbump to be up on-air in as little as two hours. MTV will collect the videos using a custom content management system (CMS) developed together with B-Reel Creative that allows MTV teams to curate the content, filtering for local relevance, pop culture topicality or number of fans, and then seamlessly schedule it to be up on-air and across platforms. Users can submit directly on Instagram or with Vines shared on Twitter, or go to MTVbump.com, where they can also view the ‘bumps’ that have made it on-air around the world. #MTVbump also lets MTV spotlight musicians and connect them with fans in new, creative ways. Some artists and social talent came on-board early to create the first ‘bumps,’ including Rixton, Shawn Mendes, Tori Kelly, Grumpy Cat, Bros Being Basic, Martin Garrix and more.
“No one is bringing user generated content to air this quickly on a global scale,” added Kerry Taylor. “#MTVbump lets us be incredibly topical, fast and localised – which is critical.”
MTV will unveil additional ways for fans to create content to run on-air and across platforms in the coming year, including MTV Canvas, which will launch later this summer. MTV Canvas, created with To.Be, will be an online sticker book that gives the audience freedom to create and play with the brand, making their own visual art with music, backdrops and more.
Artist Content
MTV will celebrate visual culture by spotlighting experimental video art, music and storytelling from emerging artists around the world in a series of new Art Breaks. MTV’s new international Art Breaks will spotlight works from artists including: Thomas de Rijk (Amsterdam, Netherlands); Device (Barcelona, Spain); Johnny Woods (Los Angeles, US); Katie Torn (New York, US); Eva Papamargariti (From Greece, living in London, UK); Brdg (Tokyo, Japan); and The Great Nordic Swordfights (Los Angeles, US). Videos from new artists will be added on an ongoing basis. This builds on MTV’s legacy of introducing its audience to video art, including early work from Keith Haring, Jean-Michel Basquiat, Spike Jonze, Kenny Scharf and Doug Aitken, as well as Andy Warhol’s 15 Minutes.


www.mtvbump.com

(posted on 2015-06-28)

A Summer Of Films

For four weeks in July the basement space will turn into a cinema for a small summer videonale of contemporary artistic film works. We celebrate the moving images of 25 videos by 15 artists.
At halftime of ONE YEAR OF FIMMAKERS we show more than 80 films by artists from the program of KOW: One Filmmaker a Day. For four weeks in July the basement space will turn into a cinema for a small summer videonale of contemporary artistic film works. We celebrate the moving images with a barbecue and a screening of 25 videos by 15 artists on Sunday, 28 June, from 4 to 10 pm.
With Arno Brandlhuber, Chto Delat, Heinrich Dunst, Alice Creischer, Eugenio Dittborn, Barbara Hammer, Renzo Martens, Frédéric Moser & Philippe Schwinger, Mario Pfeifer, Tina Schulz, Michael E. Smith, Franz Erhard Walther, Clemens von Wedemeyer, Tobias Zielony, as well as Hito Steyerl and Woori Cho, Giorgi Gago Gagoshidze, Boaz Levin & Adam Kaplan, Mikk Meddisson, Maximilian Schmoetzer, Milos Trakilovic, Till Wittwer
JULY PROGRAM
Wednesday–Sunday, 12–6 pm
Wednesday, Jul 1, 12–6 pm
EUGENIO DITTBORN
La Historia de la Física 1982/2008, 13 min
5 Bocetos Preparatorios Para la Historia De la Música, 1986/2008, 12 min
El Crusoe, 1990/2008, 16 min
Thursday, Jul 2, 12–6 pm
ALICE CREISCHER
Feindsliebchen, 2002, 18:40 min
Die krumme Pranke, 1997, 30:25 min (Alice Creischer/ Andreas Siekmann/ Amelie von Wulffen/ Josef Strau)
Episoden zur arbeitsbefreiten Gesellschaft: Easy Rider, 2000, 4:50 min; Le Truc Couleur, 1999, 4:18 min (Alice Creischer/ Andreas Siekmann)
Eine Flussfahrt wie am Tellerrand, 2003, 18:00 min (Grupo de Arte Callejero/ Alice Creischer/ Andreas Siekmann)
Friday, Jul 3, 12–6 pm
MARIO PFEIFER
Untitled (Two Guys), 2008, 7 min
Yet Untitled ("Pieces of Nature"), 2008, 11:30 min
Reconsidering The New Industrial Parks Near Irvine, California by Lewis Baltz, 1974, 2009, 13 min
A Formal Film in Nine Episodes, Prologue & Epilogue, 2010, 50 min
Saturday, Jul 4, 12–6 pm
FRÉDÉRIC MOSER & PHILIPPE SCHWINGER
Acting facts, 2003, 9:40 min
Alles wird wieder gut, 2006, 19:56 min
Donnerstag, 2006, 12:23 min
Capitulation Project, 2003, 21:34 min
France, detours, Èpisode 2, ce trait, c’est ton parcours, 2011, 53 min
Sunday, Jul 5, 12–6 pm
MICHAEL E. SMITH
Screw, 2007, 1:04 min
The look of love, 2007, 2:02 min
Miles, 2007, 0:32 min
Trouble Stand, 2008, 1:53 min
No ball - swing low, 2007, 2:24 min
Dope dog, 2008, 0:38 min
Spider levitator, 2008, 2 min
Hammer Pants, 2010, 1:52 min
Jellyfish, 2011, 14:58 min
Eggfeet, 2012, 4:47 min
Untitled, 2015, 1:45 min
Wednesday, Jul 8, 12–6 pm
RENZO MARTENS
Episode 1, 2000, 45 min
Episode 3 (Enjoy Poverty), 2008, 90 min
Institute for Human Activities (Florida), 2014, 8 min
Institute for Human Activities (Cardiff), 2014, 7 min
Thursday, Jul 9, 12–6 pm
TOBIAS ZIELONY
Big Sexyland, 2008, 3:07 min
The Deboard, 2008, 7:23 min
Le Vele di Scampia, 2009, 9:16 min
Der Brief (The Letter), 2012, 4:26 min
Danny, 2013, 7:48 min
The Street (C.P.A.), 2013, 1:57 min
Al-Akrab, 2014, 4:52 min
Kalandia Kustom Kar Kommandos (Dream Lover), 2014, 3:01 min
Friday, Jul 10, 12–6 pm
BARBARA HAMMER
"X", 1975, 7:04 min
Double Strength, 1978, 14:03 min
Optic Nerve, 1985, 16:41 min
Vital Signs, 1991, 9:43 min
Save Sex, 1993, 1 min
Snow Job: The Media Hysteria of Aids, 1986, 7:43 min
Sanctus, 1990, 18:18 min
Saturday, Jul 11, 12–6 pm
CLEMENS VON WEDEMEYER
Mass, 1998, 2:35 min
Metropolis: Report from China, 2004, 42 min (Maya Schweizer/ Clemens von Wedemeyer)
Rien du tout, 2006, 30 min (Maya Schweizer/ Clemens von Wedemeyer)
Die Probe (The Test), 2008, 12 min
Against Death, 2009, 8:28 min
Sunday, Jul 12, 12–6 pm
CHTO DELAT
Perestroika Songspiel. The Victory over the Coup, 2008, 26:33 min
The Tower: A Songspiel, 2010, 36:52 min
Practicing Godard, 2009, 38:08 min
Wednesday, Jul 15, 12–6 pm
STUDENTS FROM HITO STEYERL'S CURRICULUM AT UDK BERLIN (Repetition)
BOAZ LEVIN & ADAM KAPLAN
Last Person Shooter, 2014, 12:00 min
MIKK MEDDISSON
State Of Cloud by Skatka, 2014, 05:54 min
WOORI CHO
Black or White, 2014, 12:52 min
MILOS TRAKILOVIC
m/Other, 2014, 3:35 min
MAXIMILIAN SCHMOETZER
"preliminary material for 2022", 2015, 4:50 min
TILL WITTWER
A Google Inquiry Into the Nature and Causes of the Invisible Hand, 2015, 15:00 min
GIORGI GAGO GAGOSHIDZE
It's Just a Single Swing of a Shovel, 2015, 06:05 min
Thursday, Jul 16, 12–6 pm
MICHAEL E. SMITH (Repetition)
Screw, 2007, 1:04 min
The look of love, 2007, 2:02 min
Miles, 2007, 0:32 min
Trouble Stand, 2008, 1:53 min
No ball - swing low, 2007, 2:24 min
Dope dog, 2008, 0:38 min
Spider levitator, 2008, 2 min
Hammer Pants, 2010, 1:52 min
Jellyfish, 2011, 14:58 min
Eggfeet, 2012, 4:47 min
Untitled, 2015, 1:45 min
Friday, Jul 17, 12–6 pm
FRÉDÉRIC MOSER & PHILIPPE SCHWINGER (Repetition)
Acting facts, 2003, 9:40 min
Alles wird wieder gut, 2006, 19:56 min
Donnerstag, 2006, 12:23 min
Capitulation Project, 2003, 21:34 min
France, detours, Èpisode 2, ce trait, c’est ton parcours, 2011, 53 min
Saturday, Jul 18, 12–6 pm
ALICE CREISCHER (Repetition)
Feindsliebchen, 2002, 18:40 min
Die krumme Pranke, 1997, 30:25 min (Alice Creischer/ Andreas Siekmann/ Amelie von Wulffen/ Josef Strau)
Episoden zur arbeitsbefreiten Gesellschaft: Easy Rider, 2000, 4:50 min; Le Truc Couleur, 1999, 4:18 min (Alice Creischer/ Andreas Siekmann)
Eine Flussfahrt wie am Tellerrand, 2003, 18:00 min (Grupo de Arte Callejero/ Alice Creischer/ Andreas Siekmann)
Sunday, Jul 19, 12–6 pm
MARIO PFEIFER (Repetition)
Untitled (Two Guys), 2008, 7 min
Yet Untitled ("Pieces of Nature"), 2008, 11:30 min
Reconsidering The New Industrial Parks Near Irvine, California by Lewis Baltz, 1974, 2009, 13 min
A Formal Film in Nine Episodes, Prologue & Epilogue, 2010, 50 min
Wednesday, Jul 22, 12–6 pm
CLEMENS VON WEDEMEYER (Repetition)
Mass, 1998, 2:35 min
Metropolis: Report from China, 2004, 42 min (with Maya Schweizer)
Rien du tout, 2006, 30 min (with Maya Schweizer)
Die Probe (The Test), 2008, 12 min
Against Death, 2009, 8:28 min
Thursday, Jul 23, 12–6 pm
CHTO DELAT (Repetition)
Perestroika Songspiel, 2008, 27 min
Tower Songspiel, 37 min
Practicing Godard, 2009, 40 min
Friday, Jul 24, 12–6 pm
BARBARA HAMMER (Repetition)
"X", 1975, 7:04 min
Double Strength, 1978, 14:03 min
Optic Nerve, 1985, 16:41 min
Vital Signs, 1991, 9:43 min
Save Sex, 1993, 1 min
Snow Job: The Media Hysteria of Aids, 1986, 7:43 min
Sanctus, 1990, 18:18 min
Saturday, Jul 25, 12–6 pm
RENZO MARTENS (Repetition)
Episode 1, 2000, 45 min
Episode 3 (Enjoy Poverty), 2008, 90 min
Institute for Human Activities (Florida), 2014, 8 min
Institute for Human Activities (Cardiff), 2014, 7 min
Sunday, Jul 26, 12–6 pm
STUDENTS FROM HITO STEYERL'S CURRICULUM AT UDK BERLIN (Repetition)
BOAZ LEVIN & ADAM KAPLAN
Last Person Shooter, 2014, 12:00 min
MIKK MEDDISSON
State Of Cloud by Skatka, 2014, 05:54 min
WOORI CHO
Black or White, 2014, 12:52 min
MILOS TRAKILOVIC
m/Other, 2014, 3:35 min
MAXIMILIAN SCHMOETZER
"preliminary material for 2022", 2015, 4:50 min
TILL WITTWER
A Google Inquiry Into the Nature and Causes of the Invisible Hand, 2015, 15:00 min
GIORGI GAGO GAGOSHIDZE
It's Just a Single Swing of a Shovel, 2015, 06:05 min
KOW Brunnenstrasse 9 Berlin


www.kow-berlin.info

(posted on 2015-06-27)

NURV (Newest Unconventional Romanian Videos)

NURV (Newest Unconventional Romanian Videos) will be here from now on, once every two weeks, to keep you up to date with the best (in our opinion) unconventional clips, music-videos or short-films created by Romanian producers or artists.
Why just Romanian videos? Firstly, because we’re a Romania-based webzine and secondly, we wait to see if “it bites” and if the NURV fulfil its purpose. We came up with NURV in order to cover a larger amount of good video stuff in less time and to give you a better perspective on what is worth watching, just in case you missed something.
So here’s our first freshly-made 10-entries list of unconventional videos, which includes Romanian clips and films created and published in the last two weeks (in random order):
HAVE SUM NURV (1ST SEQUENCE)
“LURE”, BY IOANA CIOLACU
A powerful haunting oriental-spiced fashion video featuring a black and white dynamic eco systeme, beautiful women and skeptical cats.
“DANCE FILM LABORATORY – MAKING OF”, BY SIMONA DEACONESCU
A vibrant video showing the making of an indoor-outdoor dance workshop. And all begins with a simple gesture.
“EVERYTHING FROM ABOVE”, BY TEMPLE INVISIBLE
This one is just genius. After they conquered the world with their digital alien-like atmosphere and with their majestic sounds, Temple Invisible are now on Cultartes.
“PLAYGROUND MEMORIES”, BY BUZILAN STUDIOS
Playground Memories (or ‘Amintiri din Fata Blocului’, in Romanian) give to nostalgia what it deserves. In powerful slow-motion images.
“MURAL – GRADINA CU FILME”, BY SWEET DAMAGE CREW
Romania-based Sweet Damage Crew graffiti artists reveal how they created the amazing up-looking-guy mural painting from Bucharest.
“IMMEMORABLE”, BY THY VEILS
Thy Veils gives us this video that features a dancer smashing into billions of pixels and coming back together.
“REISENDE AUF EINEM BEIN”, BY LE FRESNOY STUDIO
Watch REISENDE AUF EINEM BEIN (or Traveling on One Leg) a powerful 1 minute and a half short-movie full of flasbacks form Romanian communist era.
“INSTINCT”, BY LUANA GENEVIEVE FLOREA/WASP
Luana Genevieve’s ‘Instict’ gives us a perpetual focus on moves and transmits a single message: Follow your instincts!
“0002-BIRDVILLE”, BY TANGAJ DANCE/SIMONA DEACONESCU
Tangaj Dance’s Birdville is a stunning contemporary dance series, and here you can watch the second episode.
“PREZENT”, BY EYEDROPS
Eyedrops’ new single, ‘Prezent’, comes with this video, a mixture between Zen state, self-destruction and the strenght of letting things go.

(posted on 2015-06-27)

23rd dimension

Art contemporain, vidéos d’artiste, expérimental. Attention, ce programme nocturne est un OVNI télévisuel unique ! Bienvenue dans La 23ème dimension !
Portraits: NUMERO 23 vous propose toutes les trois semaines, des rencontres avec des artistes contemporains de renommée internationale qui exposent dans les musées et les galeries du monde entier. Une découverte de leur univers afin de mieux comprendre, à travers leur travail, le monde d’aujourd’hui et de demain.


www.numero23.fr

(posted on 2015-06-27)

Videoart Yearbook al Centro Pecci

Il solstizio ha segnato ufficialmente l’inizio dell’estate. È tempo di iniziative all’aperto. Per questo l’anfiteatro del Centro per l’Arte Contemporanea Luigi Pecci di Prato si trasforma, lunedì 29 giugno 2015 a partire dalle ore 20.30, nel palcoscenico ideale per presentare Videoart Yearbook, rassegna nata nel 2006 che raccoglie ogni anno la produzione di videoarte Made in Italy, realizzata l’anno precedente.
ll programma di lunedì sera prevede un’apericena a ingresso libero alle ore 20.30; l’introduzione all’iniziativa da parte di Renato Barilli, fondatore e membro della direzione artistica del Festival, alle ore 21.00 e dalle 21.30 alle 23.00 la proiezione di una selezione della più recente produzione videoartistica nazionale. Saranno presentati video di Andreco e Manuel Moruzzi, Armenia, Sergia Avveduti, Stefano Baldinelli, Nicola Ballarini, Elena Bellantoni, Filippo Berta, Enrico Bressan, Rita Casdia, Ciriaca + Erre, Con.tatto, Andrea Contin, Elisabetta Di Sopra, Francesca Fini, Christian Fogarolli, Patrizia Giambi, Aldo Giannotti, Antonio Guiotto, Marcantonio Lunardi, Matteo Mezzadri, Laurina Paperina, Lorenza Peragine, Marco Raparelli, Giovanna Ricotta, Anna Rispoli, Danilo Torre, Debora Vrizzi e Axel Zani.
Videoart Yearbook è un'iniziativa nata nel 2006 per iniziativa del Dipartimento delle Arti Visive dell’Università di Bologna per indagare le forme espressive della videoarte e della manipolazione dell’immagine. Nell’intento dei curatori – un gruppo di ricerca formato da Renato Barilli, Alessandra Borgogelli, Paolo Granata, Silvia Grandi, Fabiola Naldi e Paola Sega – Videoart Yearbook si offre come ricognizione della videoarte contemporanea, una campionatura che raccoglie le ultime produzioni video realizzate in Italia. L’edizione di Videoart Yearbook 2015 ha luogo a Bologna l’8 luglio, con la partecipazione di Fabio Cavallucci, direttore del Centro Pecci.
Renato Barilli è professore emerito presso l’Università di Bologna, dove ha insegnato a lungo Fenomenologia degli stili al corso DAMS. I suoi interessi, muovendo dall’estetica, hanno abbracciato sia la critica letteraria che la critica d’arte. È autore di numerosi libri tra cui: Scienza della cultura e fenomenologia degli stili (1982, nuova ed. 2007), L’arte contemporanea (1984, nuova ed. 2005), La neoavanguardia italiana (1995, nuova ed. 2007), L’alba del contemporaneo (1995), Dal Boccaccio al Verga. La narrativa italiana in età moderna (2003), Maniera moderna e Manierismo (2004), Prima e dopo il 2000. La ricerca artistica 1970-2005 (2006), La narrativa europea in età moderna. Da Defoe a Tolstoj (2010), Autoritratto a stampa (2010), La narrativa europea in età contemporanea. Cechov, Joyce, Proust, Woolf, Musil (2014). Presso Bollati Boringhieri ha pubblicato Storia dell’arte contemporanea in Italia. Da Canova alle ultime tendenze (2007) e Arte e cultura materiale in Occidente (2011). È stato curatore di numerose mostre sull’arte italiana dell’Ottocento e del Novecento.
Presentazione del Videoart Yearbook
Lunedì 29 giugno 2015
Anfiteatro del Centro per L’Arte Contemporanea Luigi Pecci, Prato


centropecci.wordpress.com

(posted on 2015-06-26)

Open Call for Artists

International Exhibition in Vienna and Budapest, curated by Boris Kostadinov
APPLICATION DEADLINE: AUGUST 15, 2015
The concept
The project title Total Diagnoses contains a large dose of absurdity and this absurdity somehow becomes relevant to the current historic moment. The ambition for a global diagnosis of the present, is doomed to failure from the start by our post globalized world where the logic of what is happening is largely determined by what’s local and different. Simultanously in new history - cycling in particular appears the idea of a total diagnosis - a new social concept which will launch a new era, a new political system or an important change. This happened before the October Revolution in Russia, before World War II, before the fall of the Berlin Wall…
Do we live today in a similar moment?
The events of recent years led many observers to believe that we are on the eve of change. The global financial crisis has put into question the Western model and clearly showed that the post liberal capitalist system needs reform. The economic map of the world has changed and the countries of Asia and Latin America came to the fore. The Arab Spring launched new radical clashes. The war in Syria, the Islamic State of Iraq and the Levant, Charlie Hebdo, are all parts of a puzzle that has a complex system where religion, military activities and geopolitical interests can lead to unpredictable developments. The war in Ukraine showed that Russia declares its new place in the world as a global player. Are we facing a new Cold War?
Against this global picture occur thousands of local conflicts, refugee waves, discriminatory practices, personal life stories…
The concept of Total Diagnoses does not aim to present a pessimistic or an apocalyptic future. It is looking for answers to many questions with ideas that present possible artistic alternatives to the current socio-cultural environment. Therefore very important are the positive practices of solidarity, collaboration and targeted joint activities of various small communities and groups based on artistic, economic, minority or socio-political principle.
Application Requirements
The open call is aimed at a wide range of contemporary artists internationally. The specifics of the concept require works that reflect analytically and critically, comment and interpret the geopolitical, social, economic, technological and intellectual reality today.
To apply for the Open Call, applicants are required to present:
- CV
- Portfolio
- Precise project proposal - a description of the idea, visual materials and technical specification
The selected artworks will be presented as part of a public talk at the ICI Curatorial Hub in New York, an international group exhibition in Vienna (2016), and an international group exhibition in Budapest (2016).


www.works.io

(posted on 2015-06-26)

3° FIVA en MAC

FESTIVAL INTERNACIONAL DE VIDEOARTE EN HOMENAJE A NARCISA HIRSCH
Por tercer año consecutivo se llevará a cabo en MAC el tercer Festival Internacional de Videoarte en homenaje a la cineasta Narcisa Hirsh.
23 al 26 JUNIO I 2015
Entrada libre y gratuita
Martes 23 de Junio - 18 hs.
Apertura de FIVA a cargo de la Dirección del MAC
Proyección de los cortometrajes de Narcisa Hirsch: RUMI (1995-1999) 27’, COME OUT (1971)10’, RETRATOS (1974)15’51’’, ALEPH (2005) 1’
Charla de Narcisa Hirsch con el público
Proyección del documental “Narcisa” con dirección de Daniela Muttis (2014) 61’
Miércoles 24 de junio - 17 a 20 hs.
Proyección de los videos seleccionados del festival.
- Alessandro Amaducci (Italia) "In the Cave (of Technology)" 5'40"
- Iván Cortázar (España) "Animales" 7'30"
- Milosh Khan (México) "Kinaalda!" 2'15"
- Kasumi (Estados Unidos) "Intersection" 6'50"
- Christian Niccoli (Italia) "Ohne Titel" 4'15"
- Nuno Escudeiro (Portugal) "A dance dictionary" 23'34"
- Mario Z (Chile) "Existe" 6'
- Ginnetta Correli y Zigo Rayopineal (Estados Unidos/Argentina) "Gunk + Elk" 1'29"
- Albert Merino (España) "La Esencia de la Piedra" 7'53"
- Ela Goldman (Israel) "The Border Between Past and Present" 3'49"
- Dan Boord y Luis Valdovino (Estados Unidos y Argentina) "Tongue Twister Variations" 8'
- Salome MC (Iran) "Concealment" 1'46"
- Adrián Regnier Chávez (México) "U." 4'40"
- Claudia Barros Carracedo (Argentina) "Dos Trilogías sin Epílogo" 6'52"
- Daniel Wawrzyniak (Polonia) "Albert" 24"
- Arya Sukapura Putra (Indonesia) "e-ruqyah" 2'08"
- Josh Bricker (Estados Unidos) "Tower" 3'43"
- Roland Quelven (Francia) "Lost Houses" 4'35"
- Fenia Kotsopoulou y Daz Disley (Reino Unido) "Here but not here at all at the Same Time" 9'15"
- Tomás Frezza (Argentina) "Stiil Inside" 2'50"
- Gustavo Gutiérrez (Colombia) "Historias de la Violencia en Colombia" 17'
- Julián Santana (Colombia) "Prelude a l'apres midi d'un faune" 4'54"
- Alonso Arrieta Anguiano (México) "El Fin de Juan" 9'58"
- Fabien Dapvril y Céline Balandard (Francia) "Les chats ne sont plus perches" 6'26"
Jueves 25 de junio - 17 a 20:30 hs.
Proyección de los videos seleccionados del festival
- Daniela Contreras Rojas y José Santa Cruz (Chile) "32º sur/73º oeste" 15'51''
- Manfred Borsch y Johannes Arend (Alemania) "Limbic" 2'51''
- Mónica Savirón (España) "Broken Tongue" 3'16''
- José Simões (Portugal) "Como Comen os Portugueses A.." 10'33''
- Alejandro Borsani (Argentina) "El Origen de las Nubes" 3'04''
- Joaquín Reyes Urrutia (Chile) "Epitafio" 9'31''
- Rroser Present España "Codes of…Senses II" 3'39''
- Juan Carlos de la Parra (México) "Cosmicómica" 2'05''
- Gabriel del Favero Bannen (Chile) "Mundus Alter Et Idem" 13'
- Fernando Lendoiro (Argentina) "Sin Vos(Z)" 2'20''
- Johan Rijpma (Holanda) "Descent" 1'28''
- ma7asfan & ma7asie7e (Colombia) "Hipótesis de los antiguos abisnautas y otros sapos encantados" 11'26''
- Gabriela Golder (Argentina) "Nocturna" 4'
- Néstor Olhagaray (Chile) “Historia” 10'
- Olalla Gómez (España) "Devaluar Inscribir Reinsertar" 4'53''
- Juan Carlos López Morales (México) "Ariadna" 10'
- Laura Ginès (España) "Tengo miedo" 3'40''
- Guillermo Peydró (España) "Las Variaciones Guernica" 26'05''
- Tahir Ün (Turquía) "The Game" 2'55''
- Nestor Siré (Cuba) "Dónde la pena es más leve" 4'28''
- Hernán Khourian (Argentina) "El asado óptimo" 3'09
- Tadeo Muleiro (Argentina) "El Abuelo" 5'14''
- Roland Quelven (Francia) "Death Fugue" 3'15''
- Catalina Sosa (Argentina) "Pequeño ensayo de identificación" 2'47''
- Javier Olivera (Argentina) "El amor es un breve destello" 5'18''
- Benjamín Alcántara (México) "LED" 3'48''
- María Crisóstomo, Elena Gómez y Javier Díez Martín (España) "Anatomic" 3'16''
- Paula Coton (Argentina) “Habremos transmutado” 6'23''
- Tânia Dinis (Portugal) "Não são favas, são feijocas" 9'51''
- Cristián Tàpies y Roberto Oyarzún (Chile) "Canto del Macho Anciano (Fragmento)" 14'
Viernes 26 de junio - 17 a 21 hs.
Proyección de los videos seleccionados del festival
Proyección de los videos premiados y con mención
- Alejo Maglio (Argentina) "Película + Lava" 4'18''
- Javier Di Benedictis (Argentina) "Heróis" 4'50''
- José Ramón Da Cruz (España) "Madre Quentina" 18'
- Julieta Anaut e Ignacio Laxalde (Argentina) "La Mirada Detenida" 6'40''
- Mani Mehrvarz (Irán) "Wistful affection for the past" 3'07''
- Laura Preger (Argentina) "Manifiesto contra la Teletransportación" 19'08''
- Carolina Gori (Argentina) "Montaje"2'33''
- Simon Gerbaud (Francia) "saVer" 8'
- Paola Michaels (Colombia) "Caracoles y Diamantes" 8'26''
- Tatiana Katarzyna Pancewicz (Polonia) "Side C" 1'44''
- Yamil Mojica (México) "Malhaya" 8'10''
- Guli Silberstein (Reino Unido) "Cut out" 4'19''
- Ignacio Masllorens (Argentina) "Japonesita" 4'45''
- claRa apaRicio yoldi (España) "RAM_city" 6'20''
Premiados
- Agustín Rincón (Venezuela) "The Intruder" 6'48'' - Mención
- Nora Lestón (Argentina) "Linked" 2'43'' - Mención
- Left Hand Rotation (España) "Z" 5' - Mención
- Ignacio Violini Rebollo y Daniela Medina Silva (Argentina) "Nausea" 4'07'' - Mención
- Luciano Rojas Lucca (Argentina) "Paranoia" 6'21'' - Mención
- Francesca Fini (Italia) "White Sugar" 13'14'' - Mención
- Miguel Andres (España) "System" 4'49'' - Mención
- Przemek W?grzyn (Polonia) "Security Measures" 5'55'' - Tercer Premio
- Debora Vrizzi (Italia) "Family Portrait" 3'23'' - Segundo Premio
- Roberto Santaguida (Canadá) "Goran" 10'38'' - Primer Premio

(posted on 2015-06-26)

Andrea Benetti

Giovedì 25 giugno, alle ore 18:30, inaugura a Lecce, nel Castello Carlo V, la mostra di Andrea Benetti intitolata “Astrattismo delle origini”, allestita con venticinque opere su tela e la presentazione dell'opera di videoarte intitolata “essentia”.
“Astrattismo delle origini” è un progetto promosso e patrocinato dal Comune di Lecce, dal MUST (Museo storico di Lecce) e dall'Associazione Culturale Italian Art Promotion, a cura del prof. Toti Carpentieri. Una mostra di pittura Neorupestre di Andrea Benetti, ispirata all'astrattismo delle origini con la presentazione dell'opera di videoarte intitolata “essentia”, realizzata da Andrea Benetti, Audrey Coianiz, Saul Saguatti e Frank Nemola. L'opera di videoarte è già stata presentata in anteprima ad aprile, all'interno della mostra di Andrea Benetti intitolata “VR60768 anthropomorphic figure”, promossa dalle Università di Bologna e Ferrara ed allestita a Roma presso la Camera dei Deputati.
“Astrattismo delle origini” nasce dalla ricerca creativa di Andrea Benetti, che convoglia la propria esperienza nel progetto, unendo la pittura alla videoarte, mescolando sensazioni visive ed acustiche, con la creazione di un ponte ideale tra le origini dell'uomo e la contemporaneità. Egli focalizza la propria attenzione sull'odierno modo di comunicare, basato sull'utilizzo diffuso di una neo-iconografia, tesa ad estremizzare e a semplificare la comunicazione, in un probabile inconscio ritorno alle origini. Ne consegue l'appropriata analogia alla base del progetto, che evidenzia come i più diffusi dispositivi utilizzati oggi dalle masse interagiscano principalmente con l'uomo attraverso l'uso di due sensi, che fungono da percettori di immagini e di suoni, ovvero la vista e l'udito.
Attraverso la televisione digitale ed internet, grazie a strumenti di grande diffusione quali i tablet, gli smartphone ed i computer, percepiamo e trasmettiamo la realtà, o l'illusione di essa, sempre attraverso quei due sensi. Effettuando una trasfigurazione ed una rivisitazione ideale, Andrea Benetti in collaborazione con Audrey Coianiz, Frank Nemola e Saul Saguatti, tra l'onirico ed il reale, grazie alla creazione di un neo-simbolismo, fa rivivere in “essentia” colori, forme e suoni delle origini, che agli albori dell'umanità, i nostri antenati scoprivano per la prima volta ed utilizzavano per comunicare.
Da parecchi anni Andrea Benetti svolge la propria ricerca sulla pittura Rupestre, rendendole omaggio con opere che la rivisitano e la trasfigurano. Egli parte dal concetto che nella pittura Rupestre erano già contenute tutte le future vie della pittura, tra cui il figurativo, l'astrattismo, il simbolismo ed il concettuale. Usando la tela come supporto, le sue opere sono formate da bassorilievi realizzati col fondo gesso ad emulare simbolicamente le sporgenze delle pareti rocciose; il bassorilievo è successivamente anticato con sostanze naturali, quali caffè, hennè, cacao, curcuma, ecc. e reso simile cromaticamente ai minerali presenti in natura, per poi passare alla fase finale, in cui completano l'opera i colori ad olio. Saranno le tele ispirate all'astrattismo delle origini a costituire l'asse portante della mostra allestita a Lecce, nel suggestivo Castello Carlo V.
Castello Carlo V via XXV Luglio Lecce


www.andreabenetti.com

(posted on 2015-06-26)

Independent Film Show

INDEPENDENT FILM SHOW 15th edition, rassegna internazionale dedicata al cinema sperimentale indipendente, coordinata da Raffaella Morra, si svolge giovedì 25, venerdì 26 e sabato 27 giugno sul Belvedere del Museo Nitsch con la proiezione dei tre programmi di films 16mm e video e le quattro live expanded cinema performances.
Programma
Giovedì 25 giugno ore 21:00
THE BLEEPING LIGHT: explorative sensorium in experimental film & video selezionato da Sally Golding
The Bleeping Light presenta una serie di films e video di artisti audiovisivi e sonori contemporanei che investigano nelle percezioni fenomenologiche e psicologiche spaccate, nello slittamento sinestetico e nelle tecnologie violate per produrre delle opere che risiedono in uno spazio tra la forma d’onda e il fotogramma.
Questo è cinema che parla direttamente alle sinapsi dello spettatore, e che cerca di riorganizzare questi ‘segnali stampati’ in energia-suono-luce-colore-forma.
Presentato dal vivo, Hacked Light è una riconfigurazione di Primitives, proiettato utilizzando del fumo e uno specchio convesso nello spazio 3D e rifilmato per lo schermo.
ore 22.30
Live Expanded Cinema Set di Sally Golding
Sally Golding è un’artista multimediale che unisce la proiezione filmica e la composizione luminosa e sonora per creare delle performances di cinema espanso e delle installazioni partecipative.
Le performances di Golding sono delle trasmissioni audiovisive sovramoltiplicate di luce, forma, colore e suono. Adoperando dei dispositivi violati come i motori della macchina per cucire e le luci stroboscopiche da laboratorio, Golding genera delle palpitanti distorsioni visive allucinogene, che sono anche prodotte come segnali sonici.
Venerdì 26 giugno ore 21.00
Visual Insights selezionato da Raffaella Morra
Visual Insights è pervaso da un’enfasi per la composizione filmica; una specifica predilezione per la ‘luce in movimento nel tempo’, realizzata attraverso molteplici possibilità tecniche (incidere e dipingere la pellicola filmica, o solarizzarla e trattarla chimicamente, o utilizzare la tricromia separativa nella stampa del film) evidenzia una particolare indagine dell’apparato filmico che incoraggia delle personali costruzioni visuali, recuperando un’innocenza percettiva non subordinata dalla razionalità.
ore 22.30
Live Expanded Cinema
Zzurfreiheit di Lionel Palun, Julien Bibard, Jean-Philippe Saulou
Trio iconoclasta che ha origine dai fasci luminosi del proiettore 16mm e del video, Zzurfreiheit lavora per farvi viaggiare attraverso il tempo e lo spazio grazie alle virtù insospettate della retroazione sonora e luminosa. Sviluppando una poetica dell’istante e dell’immediatezza, questi tre intervenenti generano dei conflitti delle percezioni, con delle conseguenze contemplative severe per il vostro cervello. Il materiale visuale principale - punti, linee, paesaggi e piante - creato su pellicola 16mm da Julien Bibard, viene reinterpretato in feedback dalle elaborazioni audio e video digitali di Lionel Palun. I suoni della meccanica del proiettore 16mm servono nel frattempo da materie prime alle delicate ed impulsive manipolazioni sonore di Jean-Philippe Saulou. Alla fine, questo viaggio ipnotico ed autofago attraverso un paesaggio dalle coordinate spazio-tempo instabili, forse vi farà dimenticare, per coloro che ne dubitano ancora, che il cinema sta avvenendo solo su uno schermo.
Sabato 27 giugno ore 21.00
Live Expanded Cinema
Scoreline di Greg Pope
Scoreline è una performance filmica e sonora da solista.
Idea: Il proiettore filmico come strumento con il potenziale per la diffusione visiva e sonora, un’esplorazione dell’apparato cinematografico, ignorando le tradizionali strategie per creare un dinamico evento dal vivo.
Risultato: Texture e noise. Una coreografia della creazione attraverso la distruzione, tra le altre cose...
ore 22.00
Film doubled forever changes selezionato da Greg Pope
I proiettori invadono l’auditorium per rivelare sei sorprendenti opere in doppio schermo - due classici fondamentali e quattro dalla nuova onda analogica Britannica... L’interazione, la giustapposizione, la sincronizzazione e la ripetizione guidano questi films. L’azione qui non sta solo accadendo sulla pellicola filmica - appartiene anche al momento della proiezione.
ore 23:00
Live Expanded Cinema
SKELETON di Greg Pope e SULT (Jacob Felix Heule, Guro Skumsnes Moe, Håvard Skaset)
SKELETON è una performance audio del trio SULT e una performance filmica di Greg Pope.
Un ambiente buio - la nostra grotta del cinema - il nostro rifugio e religione. I fantasmi ballando nella fiamma, le immagini sono spaccature in gesso e legno. Le onde sonore e luminose vibrano e rifrangono. Lo scheletro è animato; un gioco di ombre, strumenti acustici ed amplificati, suoni sintetizzati e lanterna magica. Un’indagine in quattro movimenti.
Museo Hermann Nitsch - Fondazione Morra vico Lungo Pontecorvo, 29/d Napoli


museonitsch.org

(posted on 2015-06-25)

Turbulences Vidéo #88

NEW ISSUE - JULY 2015
SOMMAIRE #88
Chroniques en mouvement
«Abracadabra» et le show peut commencer ! Par Geneviève CHARRAS
Science des recommencements. Par Jean-Paul FARGIER
Chroniques d'outre-Atlantique. Par Joris GUIBERT
L'année Sanborn, bi-sexe-style à l'infini. Par Jean-Paul FARGIER
La Sapienza de l'aube. Par Jean-Paul FARGIER
Le rayon d'or. Par Jean-Paul FARGIER
IDENTITÉ(S) et vidéo. Par Gérard CHAUVIN & Lanah SHAÏ
Dossier d'artiste : Nadia Seboussi
Entretien avec Nadia Seboussi. Propos recueillis par Gabriel SOUCHEYRE
Zone de transit. Par Erika NIMIS
Le désengagement comme forme d'engagement. Par Nadia SEBOUSSI
Biographie et portrait vidéo de Nadia Seboussi
Sur le fond
Épinglée, note sur les papillons de Lydie Jean-dit-Panel. Par Gilbert PONS
Fiat justitia, et pereat mundus. Par Alain BOURGES
Les oeuvres en scène
Sur la lumière et la couleur dans quelques photographies d'Ernst Haas. Par Gilbert PONS
Regards croisés sur Georgina, « la divine ». Par Sylvie PAILLAT
Suivi de À propos de Géorgina


fr.calameo.com

(posted on 2015-06-25)

Transeuropa

TRANSEUROPA is a festival of arts, culture and politics. This year's festival takes place in Belgrade from October 1-5. The festival is transnational in its fabric, concept and content. Its main objective is to create a temporary space for people from throughout Europe to exchange, co-create and find common ground for future actions to call for democracy, equality and culture beyond the nation state.
The programme is conceived of with various professionals, activists and artists throughout Europe in order to tackle the most burning issues facing the continent from a transnational point of view: war on the European continent, the rise of nationalism and xenophobia, the danger of the unravelling of the European Union (Brexit and Grexit), the continuation of self-defeating economic policies and mass unemployment, the persistence of corruption, the hecatomb in the Mediterranean, increased attacks on human rights and the questioning of freedom of movement for European citizens and migrants alike.
These tendencies push us away from the core political principles of justice, unity and solidarity. But there are also positive, albeit fragmented signs.
#TEF15 will give a strong push in this direction and go beyond fragments.
TEF15'S PROGRAMME IS OPEN FOR YOUR CONTRIBUTION.
CALL FOR PARTICIPANTS
Are you an artist, activist, designer, performer, hacktivist, gamer, thinker or collective who loves to share what you do or think? Do you want to co-create an exciting transnationally sourced and organised festival that combines politics with art and culture in Europe? Does the idea of picking up the pieces in order to go beyond the fragments of the current European political context excite you? Do you want to become part of a growing community in Europe and beyond that believes change only happens through joining our hands and minds?
The TEF15 programme is now open for your contribution. Before applying, we encourage you to read through the festival concept note here
We think mapping a 'path to beyond' can start with a focus on new forms of politics and movements, on the commons, on migration and mobility, and on alternative economies. Contributions on any of these topics, taken broadly, are welcome. Formats can range from a workshop to a theater performance, from a lecture to an urban game, a film, or a visual art piece. Mixed formats are also encouraged. Our festival is a political festival with a strong emphasis on creative, disruptive and interdisciplinary methods.
For more information, email us at info@euroalter.com, follow #TEF15 on twitter and like the TEF15 Facebook page.
All selected entries will be notified in the first week of July. Travel to and accommodation in Belgrade will be covered. There will be a small budget/stipend for each successful entry, depending on funding.
European Alternatives, the nexus building suite 501, broadway SG69bl UNITED KINGDOM


docs.google.com

(posted on 2015-06-25)

DigitArt

The Tel-Aviv Stock Exchange's Video Wall Becomes a Stage for Students' Art
The Tel Aviv Stock Exchange (TASE), home to Israel's public companies, investors and saving public, will become Israel's first "digital gallery" in collaboration with the Minshar School of Art. The TASE's "trademark" giant video wall will serve as the "canvas" on which students' video art works will be displayed.
The video art works are by students of all years of study in the visual communication, photography, cinema and animation departments. The exhibition will include 30 works in total, which have been joined together into a single 20-minute video.
The collaboration will be launched in Tel Aviv city's traditional "White Night" event on Thursday June 25 in which the TASE will open its doors at 20:00 to host a free-entry evening for the general public, which will be entirely devoted to culture, art and music. Alongside the exhibition, some of Tel Aviv's young musicians will perform, such as the Jane Bordeaux band and the "Supers" - a Thelma Yellin musical group consisting of ten 16-17 year-old teenagers.
Throughout July, the work will be displayed on the TASE's video wall once every hour during the trading day, for the benefit of the general public and visitors at the TASE's new building.
According to Idit Yaaron, Head of the Marketing and Communications Unit at TASE: "The collaboration with the Minshar School of Art is another tier in the series of actions taken by the TASE with the aim of bringing the general public closer to the financial worlds that touch on the lives of each and every one of us. The TASE is not just numbers and figures constantly moving on a digital screen, but also an entire world of endless innovation and creativity - groundbreaking enterprises by young and promising companies seeking to introduce their new "business creation" to the world. We are proud to provide the stage to showcase the future creative minds of Israel, both in the business world and in the art world, and invite the public to come and enjoy the creative artwork displayed in the project."

(posted on 2015-06-24)

Sergio Vega

Napoli, 'citta' porosa' dove i confini tra realta' ed immaginario diventano sempre piu' evanescenti. La porosita' come metafora dominante e presente nell'architettura, nel traffico, nello stile di vita cittadino e nel suo antico passato, mostrando una citta' in continua metamorfosi. Un teatro in cui l'intelletto nord europeo perde la sua autorevolezza, guidato dallo spettacolo sensoriale delle strade (...). L'artista ha portato avanti una complessa e multiforme ricerca artistica intitolata 'Il Paradiso nel Nuovo Mondo', ispirata dall'omonimo libro secentesco di Antonio De Leon Pinelo, consigliere portoghese del re di Spagna, esploratore e storico delle Nuove Indie. Ripercorrendo, a Cuiaba, un villaggio del Mato Grosso brasiliano, le orme delle osservazioni di Antonio De Leon Pinelo, Vega ha redatto un diario dettagliato in cui ha registrato le sue riflessioni sulla storia di quella regione, tra passato e presente, mitologia e realta'; una mitologia nostalgica di una felicita' perduta e mai dimenticata. Mercoledi' 24 giugno alle ore 18 la proiezione di due tra le piu' importanti opere video di Vega - hashish in Naples, 2009, espressamente realizzata a Napoli e dedicata alla citta', e The Ants and the Soap, 2006, accompagnata da una conversazione tra l'artista, Andrea Viliani, direttore del MADRE, ed Eugenio Viola, curator at Large del museo. Evento organizzato nell'ambito di ten more ten, in collaborazione con la Galleria Umberto di Marino.
MADRE - MUSEO D'ARTE DONNA REGINA via Settembrini, 79 (Palazzo Donnaregina) Napoli


www.madrenapoli.it

(posted on 2015-06-24)

Ophelia. Della muta eloquenza

Artopiagallery è lieta di presentare Ophelia - della muta eloquenza, una rassegna di video e film senza sonoro a cura di Paola Caravati. La mostra indaga l’enigma di un corpo senza voce come dimensione originaria ed epifanica dell’immagine in movimento. L’assenza di suono traccia nelle opere selezionate la condizione stessa della loro eloquenza esibendo la presenza di un irriducibile mistero. L’immagine muta inchioda l’occhio alla visione, è ipnotica, straniante e induce ad interrogarsi sulla sua natura.
In Untitled, 2011, Paolo Meoni costruisce il racconto di un’assenza, celato e insieme prepotentemente presente, ciò che viene precluso allo sguardo informa l’opera imponendo la sua presenza. La camera fissa riprende un adolescente intento ad esibirsi in una danza meccanica che si rivela, ad un’osservazione più attenta, il ripetuto tentativo di direzionare il volo di un aquilone rimasto escluso dall’inquadratura.
Un tempo perturbante e incapace di risolversi, costretto all’attimo prima del suo accadimento decisivo, è quello di Histories that nothing are, 2001-2003, di Runo Lagomarsino, in cui un giovane appare eternamente in procinto di lanciare una bomba molotov.
Con Infocus memories, 2010, Danilo Torre mette in scacco l’onnipotenza della visione mostrando un reiterato e fallimentare tentativo di messa a fuoco. Il video, che utilizza la tecnica del found-footage e la combustione di pellicola, mostra il susseguirsi di fotogrammi che nel momento stesso in cui diventano più distintamente percepibili subiscono un irreversibile processo di consuzione.
É un movimento vacante che frantuma ogni possibile rappresentazione del reale quello di Emanuele Becheri nel video Vacations, 2013. L’immagine di una piazza gremita di turisti è animata dal ritmo della camera che sembra impegnata ad oscillare continuamente tra visione e visibilità.
In PS: Jerusalem, 2003, Katinka Bock riprende dall’alto la perfetta composizione geometrica di un gruppo di persone impegnate in un gioco musicale. L’opera scandisce la ritmica di un tempo onirico e complesso capace di coniugare senza soluzione di continuità, una natura fluida e circolare, così come di evidenziare lo scarto temporale, l’istante.
Luca Rento con Greta, 31 Gennaio 2015 16.32.57, 2015, sottrae l’immagine in presenza dilatando in una temporalità sospesa l’immaginario del visibile. Un Tableau vivant scosso da una ritmica interna capace di risuonare in tutta la superficie del quadro.
Shaped cinema, 2010, di Jean-Baptiste Maitre, destruttura e ricompone in termini cinematografici una monografia di Frank Stella degli anni 70 messa in atto come metraggio preesistente. L'intero apparato testuale e fotografico si traduce in una costellazione di frammenti filmici aperti ad una nuova possibile significazione, domanda di una iconografia in continua trasformazione.
Margot Quan Knight nell’opera Sur face (bubbles), 2009, fornisce un’immagine caleidoscopica in procinto di sparizione. Il volto dell’artista si riflette ripetutamente in una serie di bolle di sapone che proliferano in un gioco di continui rispecchiamenti. Evidente fragile simulacro, l’immagine attende la sua annunciata scomparsa. Quello che Kathrin Sonntag mette in scena in Tango, 2006, è un coup de théâtre che sembra spogliare l’immagine per poterne preservare l’arcano. Un gesto deciso e violento sottrae la tovaglia da un tavolo appena apparecchiato lasciando magistralmente ogni cosa al proprio posto.
Paolo Gioli in Piccolo film decomposto, 1986, incanta lo sguardo nella meraviglia rapsodica della visione, nella ri-creazione di una scrittura del movimento. Il film esibisce il tempo, lo sospende, reitera, duplica, rallenta, sovrappone, Gioli perturba lo sguardo in una pulsione interotta del cinema.
Completa il progetto espositivo, in occasione dell’opening, Uncofied signals, un intervento sonoro di Pietro Riparbelli. La performance è realizzata utilizzando esclusivamente ricevitori radio ad onde corte. Il segnale radio rimanda ad una dimensione invisibile ai sensi nella quale siamo costantemente immersi, una musica senza strumenti, un sonoro senza immagine, inevitabilmente connesso alla sua istanza complementare, l'immagine muta.
Artopia Gallery via Lazzaro Papi, 2 Milano
dal 24/6/2015 al 1/7/2015


www.artopiagallery.net

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