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The call for the IX edition of Magmart Festival is open!. Join us, now!
Read the rules and participate with your video artwork(s)!...
Look at the videos of this edition!
(139 until now)
This week we launch a long series of interviews with international video artists, that will go under the title: "The artist behind the video".
All the questioned artists answer to the same eight question, so we can draw a wide overview over some defined themes. The interviews will be published weekly, and the order is simply that of reception.
We hope this will offer new sparks of reflections for all videoart lovers...
The interview of this week is with:
Nara Denning
read the Interview
You can follow Magmart's news on main social networks too!
You can like our FaceBook page, or join our FB group. You can follow our Google+ page. You can follow us on Twitter (@MagmartFestival) too!
(posted on 2014-12-14)
To survive you have to be versatile, to adjust, and to evolve.
Migration describes the flow of transformation. Migration applies to everything from the smallest of cells to the entire planet. It is a fundamental pace.
Change, development, and shift of language, place, and medium, are at the centre of Paraflows .X – DIGITAL MIGRATION. Translation of contents, transposition of the pitch, headlines, subtitles, any and all topics and fields have long been made compatible with art. Reminiscences to everyday life are made, research is done abroad, and the artists present their experiences coloured by their own filters to an off-context audience in off-context places.
The rising number of worldwide artist in residence-programmes demonstrates what role is accredited to the mobility of artists and how highly valued the influence of every visit abroad is. New worlds are unclosed and movements across borders are encouraged.
Yet, migrant strategies are not just expanding in the physical space but also in media spaces. More than ever before, real space spreads out into the digital space. Therefore, the field of migration is expanded by networks and data carriers.
What share of communication is held digitally? Which pictures go around the world?
Media art is getting long in the tooth. What happens to a system and to hardware when new platforms and programmes take over? What happens to art that depends on historical technology and was especially developed for it? How do we counteract ubiquitous migration and conserve an image of the time? Archives and web accumulators, past technologies – what does the future of the past look like?
paraflows .X wants to explore and tackle these challenging topics. You are kindly invited to hand in projects, works, and concepts.
DEADLINE: 15th of February, 2015
Pls send your application as pdf file via e-mail to: office(at)paraflows.at or ship to: paraflows Museumsplatz 1 A-1070 Vienna AUSTRIA
Mandatory information for submissions:
1) name, institution (if existing), address, e-mail, phone number, website/s
2) submitted work: title, medium, author/artist, year of production
3) work description: 1 DIN A4-page maximum
4) technical explanation, room/space requirements (hardware, operating
system, additional software)
5) CD with 1-2 high resolution, printable images
6) biographies
7) documentation of earlier projects, e.g. a link to your website
Language: all submissions have to be in English or in German or need to have subtitles in one of the two languages. Works in any other language have to include a text list in either German or English. We especially encourage international submissions.
DEADLINE: 15th of February, 2015
paraflows CONTACT
office(at)paraflows.at
Festival management: Guenther Friesinger
Exhibition management: Judith Fegerl
(posted on 2014-12-14)
2016 International Conference on Opportunities in the Arts
TransCultural Exchange is Currently Seeking Proposals for its 2016 International Conference on Opportunities in the Arts: Expanding Worlds.
TransCultural Exchange's international conferences bring artists together with critics, gallery owners, curators, artist-in-residency directors and those working in other fields of interest to artists. Their aim is to advance artistic innovation by helping artists gain the time, funds, inspiration and other means to pursue their goals.
Conference Overview
Traditionally, artists have relied on galleries and dealers to promote their art. They have worked largely within the confines of their discipline and studio walls. However, these constructs are rapidly changing. Today's global reality has put new pressures on artists to expand their practice abroad, and to seek out new audiences, markets and inspirations. Consequently, more and more artists are managing their own careers, working in new formats and collaborating with people in different disciplines, both here and abroad.
To reflect these changes, TransCultural Exchange invites submissions for presentations at its three-day conference Expanding Worlds. The program will offer provocative keynotes, extensive networking with curators, critics and international residency directors, workshops, demonstrations, tours, exhibits, panels, portfolio reviews and more.
Scope of Topics
Picking up where the last conference Engaging Minds left off, the Conference Committee is soliciting presentations that address exciting possibilities for artists to embrace different cultures, mindsets and technologies. For instance, papers might present various international residency programs, offer practical advice (such as resources for funding or managing a studio practice), address social or political interventions or promote collaboration with other disciplines, such as medicine, architecture, conservation and engineering. Presentations on current trends in the arts and new research in other fields are also encouraged. (In the past, papers on topics outside the arts have been among the most popular because they inspire artists to think in new ways.)
For an overview of the Conference, please visit www.transculturalexchange.org/2016-conference/overview.htm
For more information on how to submit a proposal, visit www.transculturalexchange.org/2016-conference/presenters.htm
Dates to Note:
Proposal Deadline: January 10, 2015; 5:00 p.m. EST
2016 Conference on International Opportunities in the Arts: Expanding Worlds: February 25-27, 2014, Boston, Massachusetts
TransCultural Exchange is a 501c3 non-profit organization, whose mission is to foster a greater understanding of world cultures through artist exchanges, large-scale global projects and educational programming - most notably, a biennale Conference on International Opportunities in the Arts.
TransCultural Exchange 516 E. 2nd Street, #30 Boston, MA 02127 USA
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!
VideoAkt (in Barcelona / Spain / Europe)
(curator: Silvia Alvarez Mena)
VideoAkt host a full screening of F.I.V.E. project.
The screening will have place on 2014-12-16 at: Auditorio Reial Cercle Artistic, C. dels Arcs, 5 Barcelona, h 19.30
Muza+ (in Tel Aviv / Israel / Asia)
(curator: Liliana Orbach)
Muza+ host a full screening of F.I.V.E. project.
The screening will have place on 2014-12-27 at: The Artist's House, Tel Aviv, h 20.00
The 100x100=900 catalogue (214 pages, A4) finally available!
100 artists, 57 partners, 40 curators from around the world, for the project which celebrated 50 years of video art.
Order now your copy of printed catalogue!
(posted on 2014-12-14)
VIDEOEX FESTIVAL invites you to submit your work for the international & swiss competition
VIDEOEX International Experimentalfilm & Video Festival Zürich Zurich Switzerland
22 May - 31 MAY 2015
We are looking for :
experimental films (8mm / 16mm / 35mm (screened in original format)
videos, experimental, videoart, essay, experimental,documentary,...)
innovative animation, experimental digital & graphic productions (to be screened), experimental documentaries, experimental music videos
Works must have been completed since Sept.2013
For Details , Online entry or download entry form & rules
For questions send a e-mail to office(at)videoex(dot)ch
No entry fee
Send tapes & entry form & brief description to: VIDEOEX Postfach / Kanonengasse 20 CH-8026 Zurich Switzerland
Deadline: 31st of January 2015
(posted on 2014-12-13)
Bill Viola was six years old when he almost drowned. The renowned American video artist recalls his near-death experience with fondness, describing it as a moment of beauty rather than terror.
It was a family holiday in upstate New York and Viola was at a lake with his cousins when one of them jumped into the water. Viola could not swim, yet splashed in after him.
"I went right to the bottom and when I did that, I saw probably the most beautiful world I've ever seen in my life," he says. "It still haunts me to this day and it's the absolute deepest connection that I have now.
"I found this green, blue world, looking up at the fish and these little plants gyrating in the underwater world and it was just like a dream. I felt so, so happy and I said to myself, sitting on the bottom, 'Wow, this must be the next thing'."
Viola's uncle, however, disturbed his reverie, leaping into the water to save his nephew from drowning.
Elements of this childhood memory can be seen in Viola's works that will be exhibited during the 2015 Adelaide Festival of Arts, which begins in February. The Messenger, originally commissioned for Durham Cathedral in 1996, features a young man rising repeatedly to the surface of a pool of water to gasp for breath before sinking again.
Viola's work often appears to be drenched in piety. His videos may feature imagery inspired by Renaissance devotional art or bear religious titles. He frequently exhibits in churches.
Three Women will be shown in the Lady Chapel inside St Peter's Cathedral during the festival, while Fire Woman and Tristan's Ascension will be screened at Queen's Theatre. Both those videos, originally made for a production of Wagner's opera Tristan and Isolde, were screened by Kaldor Public Art Projects at St Saviour's in Redfern in 2008 and St Carthage's Church in Melbourne in 2010.
The 63-year-old Viola was a pioneer of video art in the 1970s and is "one of the great masters of the medium", according to Nick Mitzevich, the director of the Art Gallery of South Australia. "He has been instrumental in the establishment of video as an essential form of art, shifting it from the margins to the mainstream."
Mitzevich suggests approaching Viola's videos as if they were paintings or sculptures: "High Renaissance and baroque painting traditions inform his practice in particular – both in sentiment but also compositional structure."
Mitzevich says Viola's work focuses on universal human experiences such as birth, the passing of time, death and spirituality: "We all partake in this journey but no one of us experiences life in the same way."
Viola represented the United States at the 1995 Venice Biennale and has won countless awards. His work is widely collected by institutions, including New York's Museum of Modern Art, the Pompidou in Paris, the Tate in London and the National Gallery of Australia.
His work has roots in Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism and Christian mysticism, according to his website.
"It's not about any dogma," Viola says. "It's about who you are in your deepest place. It's the thing that touches you the most, way deep down inside; that's where all great art comes from and that's what we can all relate to at a certain point, when it's time to pass on."
Sensing the morbid path the conversation is heading towards, Viola's wife and studio director, Kira Perov, chips in: "OK, this is getting depressing."
The duo are speaking from their home in Long Beach, California, and have contrasting, yet complimentary personalities. Viola tends to wander off on dream-like tangents, only to be steered back by the practical Perov who gently corrects her husband when he gets into a verbal tangle.
The couple met in 1977 after Perov invited Viola to participate in a video tape exhibition she was curating at Melbourne's LaTrobe University. A year later, she quit her job to join him in New York and later married him.
"It was pretty intense," she says. "There were a lot of things going on and I was organising lots of exhibitions so we grabbed the moment and that was that."
Perov plays an indispensable role in managing and assisting in the production of Viola's video artworks and installations. She was the one who visited Adelaide to scout for sites to show his work.
"In the beginning it was really just me, with Kira doing what I said," he told The Guardian earlier this year. "But over time she has become like a midwife to the work, checking how the baby is doing, as well as handling all the practicalities of delivery."
Viola has long incorporated his family into his art. His 1992 work Heaven and Earth featured footage of his mother on her deathbed as well as the face of his newborn son, then only days old.
After the death of his father, Viola says he was drawn to art from the Middle Ages and in particular an image on a book cover by the 16th-century Florentine painter Pontormo.
"It was the most incredible thing and exactly what I needed at that moment in my life," he says. "That helped me open up a whole new era."
"I, as an artist, never wanted to look at the Middle Ages or any of that stuff. But then you lose a parent and there it goes and you go digging into where it came from."
Viola says the revolution in painting techniques in that era was just as profound as the development of video, with oil paints the high-definition of their day.
When Viola picked up his first video camera in 1970, the technology was in its infancy. "It was very cumbersome and it was hard to lug around," he says. "The camera was a very simple device but it weighed a good amount of pounds and there was a little red light – if you looked really closely into the viewfinder – and that was just saying, 'I'm working'. And that's all it said."
The Korean-born US artist Nam June Paik, for whom Viola worked as an assistant after graduating from university in 1973, was one of his key influences along with Bruce Nauman and Richard Serra.
"I was just getting into art school at the right time when [Paik] was experimenting with video as an art form," he says. "Other than that, everybody considered it television and the artists didn't want anything to do with it."
Perov says advances in camera technology have been "incredibly inspiring for Bill", with developments such as the flat-screen allowing him to mount works on a wall like a painting.
"Now we have incredible tools [but] we have never really thrown anything away," she says. "Some of the old tools we're still using. We have a really wide palette, from very old black-and-white grainy cameras to the latest high-definition stuff."
Viola's art might be a world away from Hollywood's output, but it requires much the same technical expertise.
"We couldn't do any of the fire and water stuff without a large team of people," Perov says. "The great thing about living near Los Angeles is practically everything is available to us on a 24-hour basis."
Apart from his technical prowess with sound, design and arresting imagery, Viola's work is characterised by the extreme slowing down of action.
Perov traces the genteel pace of Viola's video art to his childhood. "I think the slow-motion is because we all want the time to look at something more deeply," she says. "Bill always said that, even as a kid, things moved too fast for him."
Viola says his videos are an antidote to the relentless pace of modern life, caused – ironically – by the technological advances that have revolutionised his art.
"We very often describe the work as visual poetry because there is nothing literal in the work," Perov adds. "These are images that come up as metaphors. I think that's why people pay attention to them: because they connect with their dream world or inner life."
She adds: "It's not decorative work. It's really highly personal work and I think people recognise there are no words in it you have to understand. There's no cerebral stuff. It's not conceptual."
Bill Viola Selected Works is at the Art Gallery of South Australia, Queen's Theatre and St Peter's Cathedral from February 27-March 29. Bill Viola and Kira Perov will be in conversation with David Sefton at Radford Auditorium, Art Gallery of SA on February 28.
(posted on 2014-12-13)
Dopo il successo di FotoNotte, la Casa dell'Arte mette nuovamente in rete i propri spazi nella notte di Santa Lucia, tradizionalmente la piu' lunga dell'anno, per illuminare la città con VideoNotte, la seconda maratona notturna dedicata alla videoarte italiana e internazionale che si snoda in 9 spazi espositivi dedicati al contemporaneo disseminati nel centro storico di Trieste.
L'iniziativa presenta 11 video che trattano il tema del viaggio nella crisi nelle sue molteplici declinazioni e si sviluppa nelle sedi storiche delle 13 associazioni aderenti e di 2 spazi amici che coprono tutta la città. VideoNotte 2 rappresenta così l'anteprima della mostra Immaginario oltre la crisi che verrà organizzata dalla Casa dell'Arte nella Sala Veruda di Palazzo Costanzi dal 20 febbraio al 15 marzo 2015. Un viaggio ai tempi della crisi capace di rileggere il tessuto sociale ed economico, immaginando nuovi orizzonti al di fuori delle dinamiche del mercato e della routine: dai pellegrinaggi a piedi ai viaggi in bicicletta, dagli scambi di casa al CouchSurfing, dall'autostop a BlaBlaCar! Azioni quotidiane della vita di tutti i giorni che evidenziano processi e schemi alternativi, in cui il viaggiare diventa sempre di piu' esperienza di relazione.
Segui la piantina di Trieste con la collocazione degli spazi, iniziando liberamente da una a caso delle sedi, e colleziona i 9 coupon che ti verranno dati, ogni spazio espositivo riserverà infatti 1 gadget della Casa dell'Arte ai primi 10 visitatori che li' avranno completato il tour di tutte le 9 mostre!
Evento 13 dicembre dalle 20 alle 24.
(posted on 2014-12-12)
Día: martes 16 de Dic, 2014 Hora: 19:30 pm
Lugar: Auditorio Reial Cercle Artistic (C. dels Arcs, 5)
"VIDEOAKT se reafirma una vez más en el objetivo de propiciar y crear intercambios culturales dentro del campo de las artes audiovisuales, conectando entidades, artistas y gestores culturales de todo el mundo. Así como de proporcionar un panorama histórico y actual con proyectos locales, y la contextualización de estos dentro de una esfera internacional global.
Cada edición se traslada desde su celebración en Barcelona (sede principal) a la ciudad de Berlín (Alemania) y se abre paso en un futuro a una ciudad más que es París (Francia).
Sin contar con las usuales itinerancias de selecciones a diversos países como China e Italia hasta el momento en esta última edición, así como la edición pasada en que se hicieron muestras en diversos países"
La presente sesión, comisariada por Silvia Álvarez, coordinadora de contenidos de la bienal, incluye, además de la selección realizada por el proyecto FIVE, una nueva pieza que completa el programa. Se trata de “La esencia de la piedra” del artista Albert Merino- galardonado de Videoakt 2013 - cuya creación ha sido posible gracias al apoyo de Colección Olor Visual y Casa Velázquez
PROGRAMA
COLLECTING VOICES. TO BUILD A CONSCIENCE
5´00´´ Enrique lacorbeille, Italia ( Europa)
GONE IN 253 SECONDS
4´13´´ Andreas Mares, Austria ( Europa)
MOSQUITO´S PRAYER
2´19´´ Nara Denning, Estados Unidos ( America)
PARABOLIC PERSPECTIVE
2´05´´ Russell Chartier, Estados Unidos ( America)
THE SOUND OF BEING
1´28´´ Sylvia Toy St. Louis, Estados Unidos ( America)
EAGLE EGGS
3´17´´ Silvia De Gennaro, Italia ( Europa)
JUMP IN THE LAKE
4´09´´ Francesca Amati , Italia ( Europa)
LIGHT FROM GAZA
5´11´´ Mohammed Harb, Palestina ( Asia)
THE FOREST
2´49´´ Damon Mohl, Estados Unidos ( America)
4B Movie
4´24´´ Antonello Matarazzo, Italia ( Europa)
INDONESIANA EXOTICA
2´07´´ Arya Sukapura Putra, Indonesia ( Asia)
INVOLUNTARY MEMORIES
2´55´´ Clara Aparicio, Reino Unido ( Europa)
SUSTAINABLE FISHING
1´47´´ Steven Verstuyft, Belgica ( Europa)
THE HOLE
1´12´´ Emre Onol, Turkía ( Asia)
THE ODORLESS DANGER
4´11´´ Marc Neys, Belgica ( Europa)
REMEMBER YOUR MOUTH
4´34´´ Jaime Rodríguez, España ( Europa)
SHORT MOVIE #1 ( ADAPTATION)
2´30´´ Benna Gaean Maris, Italia ( Europa)
THE ETERNAL RETURN
3´30´´ Lelievre Lievre, Francia ( Europa)
THE PUNCH MOVIE
1´13´´ Willehead Eilers, Países Bajos ( Europa)
UNTITLED
4´13´´ Dimitri Fagbohoun, Benin ( Africa)
EPIDERMAL EXPLORATION
4´12´´ Lino Strangis, Italia ( Europa)
INTEMERATA
4´58´´ John Sanborn, Estados Unidos ( America)
PEARLS
5´01´´ Urszula Kluz-knopek, Polonia ( Europa)
STORIA
4´59´´ Gérard Cairaschi, Francia ( Europa)
THE TOUCH OF SOME MEETING POINT
1´56´´ Danilo Rosini, Italia ( Europa)
LA ESENCIA DE LA PIEDRA
7´53´´ Albert Merino, España ( Europa)
Esperamos disfrutar de tu asistencia.
(posted on 2014-12-12)
First UK solo presentations, 14 Jan – 21 Mar 2015
Two solo exhibitions of selected work by Swedish artist Lina Selander and Korean artist and film-maker Park Chan-kyong, juxtaposed for the first time. The project is curated by Binna Choi and Lisa Rosendahl, initiators along with Grant Watson of Practice International.
Park Chan-kyong and Lina Selander will show work through two solo presentations alongside each other, bringing together synergies within the artists' practices. Both artists move between documentary forms and the structure of the visual essay as a way to investigate the construction of collective imaginations. In recent works they have explored different manifestations of the utopian aspirations of modernity, political trauma and the role that image-making and the media of film and photography have played in the development of modern society through presentation, depictions, visual control and surveillance.
Park Chan-kyong Pa-Gyong - Last Sutra Recitation curated by Binna Choi
This first solo presentation of works by South Korean artist Park Chan-kyong presents a series of his latest film and documentary works that offers a new perspective on folk religious practices such as shamanism and utopian religious communities, from the period of colonisation and the cold war to the present time.
By deepening his focus on the division of Korea into South and North - and the ensuing cold war politics as a dominant societal structure - Park's latest enquiry into the practice of shamanism in the so-called "post-secular" time, reconfigures a way in which art and cultural practice, especially in the non-western context of what he terms the "rootlessness" of its artistic genealogy, engages with political trauma and the repressed.
The title of the exhibition Pa-Gyong, which translates as ‘last sutra recitation', refers to a sacred song sung by the shaman at the end of her ritual, called Gut in Korean. As the shaman recites this sacred song for hours, all spirits, regardless of their relationship with the person that has requested the ritual, are consoled, comforted and sent to heaven. The spirits summoned by the last recitation are those that are deprived of their names and power through violence and trauma. As the shaman does through the last recitation, Park Chan-kyong's work attends to those nameless or repressed spirits
A central work in the exhibition is Sindoan (2007), a ‘fantasy-documentary' that marks a point of transition for Park's focus on political structure to religious subjects. The title of the work refers to the name of a mountainous area where divergent religious communities established their bases when Korea was occupied by Japan at the turn of the last century. Widely different religions, including shamanism, Confucianism, and Protestantism co-existed in this place for decades under the Gyeryong Mountain. The history of ‘Sindoan' as presented in the film, tells the history of various forms of oppression, and despite of all these of surviving beliefs, they practice ways of co-existence between human beings and the (super)natural throughout the time of dictatorship and the persisting cold war condition.
The exhibition is contextualised by the presentation of various materials that punctuate Park's research trajectories, and as a consequence highlight his practice not only as an artist but also as an activist, writer and curator.
Lina Selander Open System - ‘Silphium and Other Works' curated by Lisa Rosendahl
"I am never sure whether I invent or dream. Rebuilding, excavating the inaccessible chamber from which the desired images will appear, but different." Extract from Silphium, Lina Selander, 2014.
This exhibition comprises three recent films by Selander together with a selection of materials from the artist's working archive. Characteristic of Selander's work is the use of film to build dense layers of images and meaning, through which contemporary society is connected with history and the pre-historic. At the core of her enquiry lies a continuous questioning of the concept and materiality of the image. Selander's work repeatedly asks us to reconsider the status of the image - as representation, memory, object, imprint or surface - and our relationship to it.
Silphium (made with Oscar Mangione, 2014) begins by telling the story of the ancient plant Silphium and the connection between the fate of the now extinct plant and the Greek colony Cyrene. The story serves as an entry point into an open-ended visual journey. In the film, methods of power and their symbolic representation are put into question through moments of vulnerability and the loss of visual control.
Model of Continuation (2013) is based on the invisible core of the visible inscription; the image as an interior object and its relationship to seeing and reproduction technologies. A camera is disassembled in a studio in front of another camera whose images are then projected in the same studio, and re-filmed. The film stages a circular encounter between experience and technology, which interferes with that which the camera does not contain: the images.
Anteroom of the Real (2011) takes its starting point in the deserted town of Pripyat, located within the zone of the Chernobyl nuclear disaster. A pair of hands flip slowly through a pile of photographs comprising: images of a model of reactor 4, buildings in Pripyat, books in deserted offices, trashed interiors, pictures of a TV monitor showing a documentary about Chernobyl. As the timelines of the still and moving images intersect, the film raises questions about what an editing room is and can be, and about narrativity, time and images.
Preview: 13 January 2015, 6.30pm
Press view: 13 January 2015, 10am
Panel discussion on Practice International: 13 January, 4pm
Walking tour with the artists: 13 January, 6pm
INIVA Rivington Place London EC2A 3BA
(posted on 2014-12-12)
Curated by Kathrin Becker
The exhibition at Neuer Berliner Kunstverein is the first solo presentation in a German institution by artist Laure Prouvost (b. 1978 in Lille, France, living in London). Gathered from her experiences as a Frenchwoman living in London, the Turner Prize winner 2013 examines in videos and installations forms of miscommunication - phonetic variations, slips of the tongue, translation errors – unlocking their potential by juxtaposing image and text. In the video piece Swallow (2013), structured by the recurring motif of a wide-open, sharply inhaling mouth, pictures of female nude bathers, palm leaves, a female nipple next to an open fig and crushed raspberries are alternating against the background of a pond. Prouvost uses rhythmic sequences in different tempos, varying sharpness and blurring, text images and a dominant soundtrack, in order to create a form of Arcadia in Swallow. She deploys the art historical theme of the bathers as an expression of the human relationship to one’s own naturalness and translates it into a contemporary, visually stunning and sensual collage. Apart from Swallow, the exhibition at Neuer Berliner Kunstverein shows the video Burrow Me (2009).
Laure Prouvost studied at Central Saint Martins College of Art and Design, London, and at Goldsmiths University of London. In 2013 she was awarded the prestigious Turner Prize and in 2011 the Max Mara Art Prize for Women. Solo exhibitions include: Laboratorio Arte Alameda, Mexico City (2014); New Museum, New York (2014); Extra City Kunsthal, Antwerp (2014); Whitechapel Gallery, London (2013); Tate Britain, London (2013, 2010); Frieze Projects, London (2011); Treasurer’s House, York (2011). Group exhibitions include: Hayward Gallery, London (2014); Taipei Biennale (2014); Contemporary Arts Museum Houston (2014); Royal Academy, London (2014); Kunsthalle Wien (2014); Los Angeles Contemporary Exhibitions (2014); Tate Britain, London (2013); Institute of Contemporary Arts, London (2012); 3rd Moscow International Biennale for Young Art (2012); Portikus, Frankfurt/Main (2011); Sculpture Center, New York (2011); Guangzhou Triennial (2008).
Opening: Friday, December 12, 7pm
Neuer Berliner Kunstverein Chausseestrasse 128/129 10115 Berlin
(posted on 2014-12-11)
1. Videoart withour a specific theme and in any language would be admitted; please, include
Spanish and English subtitles when it would be needed. There is no length, age term.
You can present videos monochannel for the festival and the others festivals were we collaborate.
Video-instalations
(monochannel, multichannel, interactives), interventions, projections for public spaces, video-performances, for show in the spaces of the festival.
Alse we could select videoart´s workshops, that have to include the idea and the budget.
And this year, we need more than never a lot of "Volunteers", pthat help us with the organization, the equipes, the designs, photos, videos, press, partners, sponsorships)
2. All the works would be selected by PROYECTOR for their screening in different shows and festivals. There will not be any prices. Due to the independent and no profit character of PROYECTOR, it has not financial resources for artist fees or expenses for the participants. However, in case of any possibility of payment for the artist, he or she would be informed and asked by PROYECTOR.
3. Once the Festival would be finished, the videos will not be returned; they would be part of the PROYECTOR's archive for future screenings with no profit motiv in mind, in Spain, Portugal and Italy or abroad. The sending of the works would mean that the artist agree with the screening of the video piece and its use in any media that PROYECTOR considers useful for the spreading. The artist would keep all the rights and the property of the piece, and PROYECTOR is only authorized for its
exhibition and spreading. All the projections will be free and in the case that a Government institution show it, we will try to find a finance for the caches of the artists.
4. PRESELECTION:
All the videos have to be online, open or in private but with the permission to proyectorvideoartfestival@gmail.com. Also you can send a link to download from clouds or servers, with a deadline until the end of March 2015.
The vídeos must be labeled with the title of the work, the artist's name, nationality, e-mail, telefone or skype and length. And have to fill the attached to email proyectorvideoartfestival@gmail.com:
- Title of the work
- Lenght
- Year of realization
- ARTIST: Name / Nationality / e-mail / website / CV (less than 5 lines)
- Description (less than 5 lines)
- 1-5 photos of the piece.
5. More than one work by artist would be admitted, but please less than 3.
6. SELECTION: All the artists selected will be contact by email after the summer, and they will have to send the file in digital, in the best quality, perference MOV HD or MP4 HD, but we admite all others formats.
7. The sending of the works would mean the agreement of the rules. Any aspect not include in these rules will be resolved by PROYECTOR.
(posted on 2014-12-10)
CYBERFEST 2014 marks a rapid international expansion with exhibitions/events in 4 innovative cities on at the very frontier of Art & Tech.
This year's theme, 'THE OTHER HOME', explores the commonalities and differentiations among physical, emotional and cultural manifestations attached to the concept of «home». Following the tradition of legendary apartment shows of Soviet time - this exposition explores correlations between public and private, inner and outward, practical and idle, trivial and odd.
In Berlin, CYBERFEST 2014 features a VISUAL ART PROGRAM and SOUND ART PROGRAM...
VISUAL ART PROGRAM:
'THE OTHER HOME' exhibition curated by CYLAND features a survey of contemporary Russian new media by Marina Alexeeva, Lyudmila Belova, Petr Belyi, Andrey Kuzkin, Katya Bochavar, Elena Gubanova and Ivan Govorkov, Alexander Dashevsky, Marina Koldobskaya, Vladimir Kozin, Peter Lederer, Anna Frants, Petr Shvetsov, Vitaly Pushnitsky, Alexey Grachev, Alexander Terebenin, Alexander Shishkin-Hokusai, Sergey Komarov, Leta & Vladislav Dobrovolsky.
SOUND ART PROGRAM:
'THE OTHER HOME' performance curated by CYLAND features Russian and local Berlin auditory artists Pete Um, Jonas Gruska, Alexandr Zaytsev, Georgy Bagdasarov and Boris Hegenbart.
ABOUT…
CYBERFEST: Held annually since 2007, CYBERFEST is the first and biggest festival for technologically based art in Russia. Growing over years to become a massive international event, CYBERFEST 2012 rose to include over 80 artists held across St Petersburg's top institutions: The State Hermitage Museum, Peter and Paul Fortress, KURYOKHIN MODERN ART CENTER, POLIGRAF Art Hall, Borey Gallery, and the Gallery of Experimental Sound. In 2013, Cyberfest set up a headquarters in Berlin and held their festival there - marking the first time this important event is held outside St Petersburg. This significant move was designed to strengthen the cultural exchange between Art and Technology creatives within Russia and their international counterparts.
CYLAND Media Lab: CYLAND is one of Russia's most active New Media art nonprofit organizations and has headquarters in St Petersburg, Berlin and NYC. CYLAND houses the largest archive of Eastern European video art online, organizes exhibits around the world and is the force behind CYBERFEST (Russia's largest annual New Media art event.) CYBERFEST has been held across St Petersburg's top art institutions: The State Hermitage Museum, Peter and Paul Fortress, KURYOKHIN MODERN ART CENTER, Borey Gallery, the Gallery of Experimental Sound and Creative Space Tkachi. CYLAND was cofounded by Marina Koldobskaya and Anna Frants.
THE WYE: THE WYE is an international art and technology hub spanning 2000 m2 of the historic Post building in the heart of Kreuzberg, Berlin. An incubator for local and international innovators, the space serves as a platform to elevate professionalism and exchange between the Art and Tech industries in Berlin. Opened in Fall of 2012, The WYE's private studios, coworking and large event spaces have hosted cross disciplinary projects including Sound Development City, The Reader Awards, Seedcamp, Goethe Institute Mexico, Hardware Berlin, Kreuzberg Pavillon, Berlin Film Society, Berlin Fashion Week, Retune Festival and Service Design Berlin Conference among many others redefining the culture of innovation in Berlin.
VENUE PARTNERS…
BERLIN / PLATOON Kunsthalle PLATOON in Berlin is a modular architecture structure consisting of 34 standard freight containers. This 4500 m2 industrial area hosts cultural movements and community events as well as PLATOON FACTORY and PLATOON ARTIST LAB. With spaces in Berlin and Seoul, PLATOON's global network includes more than 6000 artists, creatives and thinkers that support each other. PLATOON's cultural development experience serves as a consultancy for energizing sustainable relationships between brands and creative subcultures.
BERLIN / Kunstquartier Bethanien Constructed between 1845-47 under a commission by the pious King Friedrich Wilhelm IV, Bethanien as an institute for educating nurses and caregivers. The hospital remained in use until 1970. A vehement „Battle of Bethanien' began when the hospital was closed down in 1970. The planned demolition of much of the institution - which included the construction of social housing projects - was hindered by squatters, citizens' initiative groups and historic building conservationists. Since 1973, Bethanien has served as an iconic, predominantly cultural, artistic and social institution in Berlin.
Vernissage: December 12, 18:00-22:00
Exhibition: December 13-15, 14:00-22:00
Kunstquartier Bethanien Mariannenplazt 2 Berlin 10997 Germany
(posted on 2014-12-10)
International Call for Artists and Producers
UGM | Maribor Art Gallery invites international artists, producers and organisations to participate in the 2015 UGM Studio call for entries. As part of the UGM programme we continue a series of exhibitions in order to track the recent production in contemporary art. Four entries from the 2015 call will be chosen to be presented for the first time in Maribor and will be exhibited during the second half of 2015. The call is designed to present visual art through exhibitions. The UGM will provide selected artists with production funds in the amount of EUR 900 (gross), technical equipment and support, promotion and exhibition venue – UGM Studio, Trg Leona Štuklja 2, Maribor, Slovenia. Applications must be submitted by 25 January 2015 to jure.kirbis@ugm.si!
THE APPLICATION MUST INCLUDE:
- a clearly defined project concept and description (up to one page),
- technical plan (adjusted to the exhibition venue),
- names of the author(s) and key production/exhibition team with short CV(s) (up to one page),
- project financial plan (referring only to the UGM production funds),
- project time plan with the preferred exhibit date,
- photo material if available (low resolution is sufficient for the application),
- contact details (name and surname, e-mail, phone number) of the project leader.
Only projects that have not yet been presented in Maribor will be considered.
APPLICATION DEADLINE:
Applications must be submitted by midnight of Sunday, 25 January 2015. Please send your entry with all attachments to: jure.kirbis@ugm.si, subject: UGM Call for Artists (UGM will send you a confirmation of having received your application via e-mail). Applications will not be accepted personally.
PROJECT SELECTION:
The applicants will be informed of the selection results within 20 days after the submission deadline. The applications will be assessed by a four-member jury consisting of three UGM representatives and one external professional.
UGM | Maribor Art Gallery Strossmayerjeva 6 2000 Maribor Slovenia
(posted on 2014-12-10)
Multi-faceted artist Kamruzzaman Shadhin’s latest video art project, Across the Line, features the exploitation of the people of Palestine, who are constantly under pressure by their neighbors and an exploitative system. The honourable mention award winning video art features a 64 seconds video clip that portrays an ant’s continuous efforts to get free from a circular space coloured blood-red. ‘The video art is dedicated to the people of Palestine. The ant is a symbol of oppressed people. Like the people in the Gaza strip, the ant is enclosed in a small space surrounded by hostile borders, denied of life,’ Kamruzzaman told New Age. His artistic endeavour in support of the people in Palestine has got positive response from the viewers and the Palestinians, who sent him hand written notes praising his work, which Kamaruzzaman hung on the walls adjacent to the projection space of the video art at the National Art Gallery of Bangladesh Shilpakala Academy. Kamruzzaman is highly inspired after winning the award at the biennale contesting with 432 artworks submitted by 313 artists from 32 countries from Asian and Pacific regions. ‘This is my first award in the biennale. I did not have any expectations, but it definitely feels good. My friends and family are really happy, which is the best part of it,’ Kamruzzaman said. ‘It is very encouraging. I like expressing my feelings in this way through my artworks, and I will keep on doing so,’ he said. Though Kamruzzaman Shadhin graduated in graphics design from the faculty of fine arts of Dhaka University, he is a diverse artist working in the mediums of sculptures, painting and installation art. His works often focuses on political satire and prefers a public space to exhibit itself. Kamruzzaman has been involved with Chhobir Haat from the beginning; an open space for art and artists which has played an important role in the ongoing public art movement in Dhaka. ‘From the very beginning my work was focused on installation art. I also work regularly in the mediums of paintings and performance art. But installation including video art is the medium I feel most comfortable in,’ Kamruzzaman said. Explaining the reason behind focusing on the political issues, Kamruzzaman said, ‘I create such works because I feel an obligation to the society. There are many things happening in the world that moves me, and I do not hesitate to express my protest/feelings through the language of art, said Kamruzzaman adding that his works are statements against the exploitative system. Kamruzzaman Shadhin participated in several art workshops, national and international, where he has shown his growth as a talented artist in the fields of installation and performance art. He likes to experiment with different materials, especially the objects that are found around us, for his artworks. He is bold enough to try out unusual themes and styles for expressing his ideas. His work is generally public-oriented, interactive and innovative.
(posted on 2014-12-09)
Gli artisti introducono i loro ultimi progetti insieme ad altre opere scelte dall'archivio video di Careof, nell'ambito di Diamanti: una mostra che nasce in dialogo con "Glitch - Interferenze tra arte e cinema in Italia" (PAC Padiglione d'Arte Contemporanea, Milano 11 ottobre 2014 - 6 gennaio 2015) e si presenta come appendice e trama per ripercorrere la filmografia e la produzione degli artisti italiani selezionati per Glitch e presenti, con opere diverse, nell'Archivio Video di Careof DOCVA. Affascinato dagli aspetti tragicomici e banali del quotidiano, Marco Belfiore (Rovereto, 1971, vive e lavora a Milano) ne restituisce una visione sottilmente ironica che in alcuni casi puo' risultare tanto divertente quanto disturbante. I suoi lavori sono realizzati attraverso tecniche espressive diverse che vanno dal disegno alle animazioni, fino alla personale ricomposizione di found footage e di materiale trovato in rete. I suoi lavori piu' recenti sono un esuberante intreccio di fatti, luoghi e personaggi molto diversi tra loro ma tutti fortemente connessi all'immaginario collettivo. Una storia in cui tutti possiamo riconoscerci si trasforma nelle opere di Belfiore in un'occasione unica per analizzare quell'impulso vitale che spinge ogni persona ad "inventarsi" le proprie e le altrui identità.
(posted on 2014-12-08)
Directions
European Video Art Screenings and Artist Talks
Vlaams Cultuurhuis De Brakke Grond - Amsterdam
Friday 12 December 2014
Screenings 10:00 - 20:00 / Artist Talks 20:30 - 23:00
Artist Talks:
Ruben Bellinkx, Rä di Martino and Salla Tykkä
The first event will investigate what lies between video art and cinema, revealing the influences that lead the artist through his or her creative process. The different interpretations of the cinematographic language that have followed from its origins to today are a fertile ground for artistic experimentation so that the interrelationships between cinema and video art are more and more frequent and the two scenes now seem to feed each other. The selected artists are able to use the cinematic language in a personal and unique way, in order to create their own universe reassembling the film grammar.
Developing interconnections between the selected artists by facilitating a dialogue that puts in the foreground relations and differences as well as the relationship with the cinematic form is one of the main goals of the project, which would favor so not only the screenings, but also the need to deepen them.
PROGRAM
Friday 12 December
Daily Screenings
Stasis
Ruben Bellinkx
HD colour film, 12 minutes, no sound - 2013
Oakwood Cycle: Oakwood Garden / My Day (Oakwood)
Astrid Nippoldt
HD Video, 8:48 minutes - 2013 / HD Video, 4:33 minutes, no sound - 2012
Copies recentes de Paysages Abandones / Petite Histoire des plateaux abbandonnès
Rä di Martino
HD Video, 8:20 minutes - 2012
Giant
Salla Tykkä
HD Video, 12:20 minutes - 2013
From the Aesthetic Education Secret File
Václav Magid
Video, 12:05 minutes - 2013
Sputnik
Peter Aerschmann
HD Video, 10 minutes, no sound - 2014
Oracle
Sebastian Diaz Morales
Video, 11:30 minutes - 2007
Special Screening selected by LIMA
Artist Talks
Ruben Bellinkx, Rä di Martino and Salla Tykkä
in conversation with Lorenzo Benedetti.
Saturday 13 December 2014
Screenings 10:00 - 20:00 / Artist Talks 20:30 - 23:00
Artist Talks:
Peter Aerschmann, Václav Magid and Astrid Nippoldt
The first event will investigate what lies between video art and cinema, revealing the influences that lead the artist through his or her creative process. The different interpretations of the cinematographic language that have followed from its origins to today are a fertile ground for artistic experimentation so that the interrelationships between cinema and video art are more and more frequent and the two scenes now seem to feed each other. The selected artists are able to use the cinematic language in a personal and unique way, in order to create their own universe reassembling the film grammar.
Developing interconnections between the selected artists by facilitating a dialogue that puts in the foreground relations and differences as well as the relationship with the cinematic form is one of the main goals of the project, which would favor so not only the screenings, but also the need to deepen them.
PROGRAM
Daily Screenings
Stasis
Ruben Bellinkx - 2013
HD colour film, 12 minutes, no sound - 2013
Oakwood Cycle: Oakwood Garden / My Day (Oakwood)
Astrid Nippoldt
HD Video, 8:48 minutes - 2013 / HD Video, 4:33 minutes, no sound - 2012
Copies recentes de Paysages Abandones / Petite Histoire des plateaux abbandonnès
Rä di Martino
HD Video, 8:20 minutes - 2012
Giant
Salla Tykkä
HD Video, 12:20 minutes - 2013
From the Aesthetic Education Secret File
Václav Magid
Video, 12:05 minutes - 2013
Sputnik
Peter Aerschmann
HD Video, 10 minutes, no sound - 2014
Insight
Sebastian Diaz Morales
HD Video, 12 minutes - 2012
Special Screening selected by LIMA
Artist Talks
Peter Aerschmann, Václav Magid and Astrid Nippoldt
in conversation with Lorenzo Benedetti.
EVENT
The event will take place during a weekend with screenings in the daytime and artist talks in the evenings. Lorenzo Benedetti was appointed as curator of the project in July 2013. The selected films will be on screening in the Rode Zaal of De Brakke Grond (in sequence and in loop).
The first edition of 'Directions' is supported by: Goethe Institut Niederlande (Amsterdam), Italiaans Cultureel Instituut (Amsterdam), Czech Center (Rotterdam), the Embassy of Zwitzerland (Den Haag), Fins Cultureel Instituut - Benelux (Brussel), Embassy of Finland (Den Haag) and Vlaams Cultuurhuis De Brakke Grond (Amsterdam).
This project is supported by the AFK (Amsterdams Fonds voor de Kunst).
Curatorial Team
Lorenzo Benedetti (Roma, 1972) was appointed as director of De Appel arts centre in Amsterdam on June 1st, 2014.
Lorenzo Benedetti studied Art history at La Sapienza in Rome and attended the Curatorial Programme at De Appel arts centre in Amsterdam. In 2005 he founded the SoundArtMuseum in Rome, a space dedicated to sound in visual art. He has been the director of the art centre Volume! in Rome and a curator at the Museum Marta Herford , in Herford, Germany. He was guest curator at La Kunsthalle in Mulhouse, France. He is tutor at the Jan van Eyck Academy in Maastricht and writes regularly for exhibition catalogues and art magazines. He has been the curator of the Dutch Pavilion for the 55th Venice Biennial and director of the SBKM (the Middelburg non-profit Foundation for Visual Arts).
Marco Nember (Brescia, 1977) is founder and director of the Blue439 Foundation. He's based in Amsterdam since May 2009. He collaborated with Italiaans Cultureel Instituut (Amsterdam), Goethe Institut Niederlande (Amsterdam), Kunsthuis SYB (Beetsterzwaag) and Kunstverein (Amsterdam and Milan). From April 2014 he began to curate a video art program with related artist talks for the Italiaans Cultureel Instituut in Amsterdam.
Vlaams Cultuurhuis de Brakke Grond
Nes 45, 1012 KD Amsterdam
(posted on 2014-12-08)
Enhanced Vision – Digital Video will be an online international survey of today’s most exciting and innovative digitally-enhanced video art works, presented by the ACM SIGGRAPH Digital Art Community (DAC.)
An Open CALL for Video
The application is free of charge, and no royalty will be paid for the inclusion the work in the exhibition.
Video and software art specialists will review works submitted, and announce artists selected for inclusion and exhibition online beginning Spring 2015. Approximately
30 video art works will be selected for online exhibition, hosted on the ACM SIGGRAPH website.
Enhanced Vision – Digital Video will focus on digital methodologies that enhance the moving image, and how these effects can reveal specific meaning and content. Each work selected will bring its own unique, artistic style to reveal socially significant issues.
Video has experienced a long and celebrated history that has developed technically, as well as with critical, social and culturally important development. Our belief is that video and computer/digital technology have merged seamlessly: what once was considered pure video art and what was once simply known as “computer graphics” now often intertwine.
Digitally enhanced video, using open source, individually coded, or commercial software, has the capability to reveal what the camera alone cannot capture. The resulting enhanced vision reveals inventive ways of expressing significant, socially relevant ideas that bring what otherwise would not be possible to online audiences.
Works accepted must have been created between: 2009-2014. Works should be 10 minutes (or less) in length. All music, as well as images used (such as film segments or off-air television) must be clear of copyright restrictions. Proof of permission can be required.
Selections will generally be considered ‘video’ rather than
‘computer’ art (although the boundaries may be very blurred) and can use a variety of approaches including time-based animation programs, special effects, innovative graphics and visual effects.
Your work will be evaluated using the following criteria:
• The content is the key. Selected works will employ digital effects not for their own sake, but because without the digital augmentation the work would be incomplete
• The work uses digital graphics in a manner appropriate to the subject of the work
• Works can be silent, but when sound is used, it should augment the message and be original
• The use of stock footage and off-air material will be subject
to copyright free/rights clearance. Copyright is an issue and no works that have copyright restrictions will be accepted for review.
Please evaluate your own work in advance of submitting. The following are some examples of
the types of work that will be included:
• It reveals a normally “invisible” aspect of the visual scene
• It creates a metaphoric interpretation from the natural world
• It is a visual interpretation of a socially engaged or politically charged event
• It observes that which is an otherwise obscured scene
(posted on 2014-12-08)
Video art is becoming an increasingly popular medium in China. Many internationally established Chinese artists, including pioneers of the medium, are embracing video art to express contemporary life. The following ten artists and the works profiled were all part of ‘Now You See’, an exhibition of young video artists from the collection of Dr Michael I. Jacobs, who has been collecting Chinese video art in-depth since 2010. First featured at Whitebox in New York in May-June 2014, the exhibition was re-presented at Contemporary Istanbul in November 2014.
Chen Xiaoyun
Chen Xiaoyun works with video, photography, installation and painting. His raw and direct works have a poetic quality, with a narrative structure rich in introspective thinking and fragments of consciousness. Chen manipulates our perception of the world, creating a viewpoint that is more ridiculous, hesitant and vain. Drag (2006) depicts a shirtless man pulling a rope, in a struggle with an invisible ‘other’ hidden from view in the darkened room, his shadow wearing a pointed hat and appearing on the wall in a revelation of who the actual opponent really is: an invisible inner force.
Cheng Ran
Cheng Ran’s work is informed by late 20th century art house cinema and captures the life experience of China’s youth in an era of cultural globalization. Cheng integrates performative elements, the visuals of electronica and rock’n’roll music and, at times, the aesthetics of Chinese ink painting. Simply Wild (2014) reaches out to a girl he loved and lost, combining Super-8 film with the internet’s dematerialized technology to articulate the emptiness of loss. The Sorrows of Young Werther (2009) borrows its title from a sensitive young artist’s tragic love story written by Goethe in 1774. A surreal, dreamlike sequence of images are shot in a forest at night, with interspersed bursts of color and a haunting soundtrack of music performed by a Chinese musician and DJ. In Rock Dove (2009) a cluster of homing pigeons inside an old factory are startled into a flying frenzy by fluorescent lights suddenly turning on. The video evokes technology’s disruption of nature, as well as the threat to order caused by sudden dramatic change.
Hu Xiaoyuan
Hu Xiaoyuan’s drawings, objects, installations and video works touch on questions of human existence in a subtle and intimate way. While for her installations and objects Hu uses organic objects and materials, in her videos she relies on ‘diluted temporality’, ‘optical illusion’ and ‘seamlessness’, creating semi-abstract works. No Reason Why (2010) is a floor projection of what appears to be a bug squirming in a box on top of a table. Sounds of a body’s movements and a person’s wheezing reveal the shape as an actual person wrapped tight in white cloth emerges, resembling a cocoon. The effort of the performer is apparent, the sounds echoing the struggles to move forward. The video stands as a gesture of struggle and hopelessness, suggesting the futility of life.
Jiang Zhi
Jiang Zhi’s multidisciplinary practice engages with themes of body language, femininity, light, whiteness and theatricality. At the intersection of poetry and sociology, Jiang’s open-ended works weave familiar and mundane social experiences together, addressing aspects of China’s modern society and the alienation it has produced. 0.7% Salt (2009) addresses the politics of watching: movie star Gillian Chung gazes at the camera until her professional demeanor gradually breaks down into a distressed emotional state and she quietly begins to cry. Fly, Fly (1997) is shot with a performative approach: holding the camera in his right hand, he films his left arm flapping like the wings of a bird while moving around his cramped apartment in Beijing. The soundtrack, from Massenet’s opera ‘Tais’, evokes a parallel world, suggesting the possibility of transcending the confines of the room. The artist asks: ‘can we shake off the heaviness for lightness? In which direction shall we choose to fly?’.
Kan Xuan
Kan Xuan is best known for her video works, but also works with painting, performance, photography and installation. Kan highlights the rarely noticed emotions of the everyday and treats video like a diary to record everyday experiences objectively. For her, simplicity – at the core of her practice – equals ‘freedom’, while directness is a vehicle for understanding life. Jumping Taste (2011) is an animation of a photograph taken of the head of a traditionally dressed Chinese woman, framed by a grid of circles against a red background. She appears to be mouthing the word ‘hot’ and a sequence of nonsensical staccato sounds. References to traditional political Chinese graphic design and contemporary advertising come forth through the use of the red grid, which in the video is invested with a new function: the animation subverts the conventions of propaganda and advertising, creating a new space for the expression of an independent artistic voice.
Liang Yue
Liang Yue’s photographic and video works deal obliquely with the rapid pace of change in contemporary China. She captures scenes from everyday life as well as the eternity of nature, ultimately treating ‘the meaningless’ as the ultimate significance of her creation. Her works are often explorations of the inner landscape, glimpses of feeling and emotions immersed in a private, quiet world. Stop Dazing (2004) is poetic study of light and an intimate portrait of an inner world. The narrative unfolds in a sequence of memories, dream states and imaginative scenes not located in any specific time. Moving through the Chinese metropolis – Shanghai – the footage is interspersed with children’s drawings, text and photographs.
Li Ming
Li Ming’s experimental videos usually originate from a certain image, word, action or atmosphere that provokes his interest.In Swordsman – HA-HA-HA-HA (2011), Li uses strategies of 1970s performance and land art to explore the consequences of large-scale land development on the local community, and the excesses of corporate and state power. An amplified loud-hailer in a half-demolished building broadcasts echoing sounds that suggest the potential social threats of the dismantling process. Comb (2008) also addresses land development: a bulldozer in the process of demolishing a house reaches into a room where a woman is sitting, as if to caress her. The machine’s ambiguous gesture, in an almost human desire to connect to others, still points to the potential destruction of human life – the woman.
Liu Shiyuan
Shiyuan Liu creates photographic and video installations which at times include a performative element. Interested in how viewers perceive her work and make conceptual and psychological connections to her images, Liu has recently been focusing on themes of beauty and the values of sentiment. Evidence (2009) explores and examines the uncertainty innate to close relationships through a performance-based initiative. Liu invited a group of friends to a party in her studio and asked them to bring items of clothing, to which she attached a number tag. Individuals would pick a number and try on the corresponding item. Each person also chose a number to which Liu assigned an action associated with that person’s character and they then acted out each one.
Sun Xun
Sun Xun’s socially and politically engaged moral tales juxtapose surrealistic and recognizable images made with colour powder, woodcuts and traditional ink. His video animations, often presented in an immersive setting, act as a ‘theatre of memory’ merging reality and fantasy, time and history. In Beyond-ism (2010) insects crawl over the text of Snow, a 1936 Liberation Army poem about Mao’s ambition to unify and lead China, symbolizing Mao’s failure, while a magician stands as a figure of wisdom. The insects obliterating the light on screen at the end question the ideological history of China and its potential future. People’s Republic of Zoo (2009), inspired by George Orwell’s ‘Animal Farm’ (1945), presents a lyrical, yet menacing narrative with a bestiary of animal characters, while Heroes No Longer (2008) depicts a dark, uncertain future, where heroes are no longer victors and past utopian socialist ideals have evaporated. The failure of revolution and its negative consequences, deeply ingrained in people’s psyche, are the implications in Some Actions that Haven’t been Defined in the Revolution (2011).
Wang Xin
Wang Xin creates interactive and multimedia installation, moving images and new media works that rely on keywords such as ‘unconsciousness’, ‘art world system’, and ‘post-human’. Her oeuvre draws from her interest in exploring and expressing the many layers of the human subconscious. Diffraction: Objects (2010) is a study of sculptural forms, through the artist’s performative interaction with a wide array of found objects, including a music box, old photographs, pebbles, Scrabble letters and a large pine cone. Wang assembles and disassembles the objects on a table, at times placing them under closer examination with a magnifying glass. The video draws attention to the artist’s creative process of finding, looking, collecting and examining.
By C. A. Xuan Mai Ardia
(posted on 2014-12-07)
La galleria Muratcentoventidue Artecontemporanea prosegue il suo programma espositivo con Saudade, la mostra personale di Elisabetta Di Sopra.
Dar volto alla complessità dell’identità femminile affrontandone le infinite varianti e contraddizioni sembra essere la sfida di numerose artiste della scena contemporanea. Molte scelgono il linguaggio visivo del video come strumento critico privilegiato attraverso cui ridefinire l’immagine femminile, analizzando argomenti quali solitudine, rapporti interpersonali, amore, dolore e per mettere in scena il tema del corpo e dei diversi livelli di comunicazione a esso legati.
E il video d’altra parte, per la sua natura fluida e la sua identità ibrida e in virtù della sua immediatezza, facilità d’uso e semplicità a essere riprodotto e trasmesso, rappresenta un mezzo d’elezione con il quale esprimere il potere del personale nell’arte.
Ne è un esempio, la ricerca artistica di Elisabetta Di Sopra che si esprime in particolar modo attraverso l’uso del linguaggio video per indagare sulle dinamiche più sensibili della quotidianità e delle sue microstorie inespresse, dove il corpo femminile assume un ruolo centrale perché custode di una memoria e di un suo linguaggio espressivo. Nella mostra presso la galleria Muratcentoventidue l’artista affronta il tema del ricordo riflettendo sulle tracce che lascia su di noi nel presente.
Presenta un’installazione fotografica intitolata Discontinuità Sensibili e quattro video Temporary, Crossing, Dust Grains, e Con_tatto. In Temporary vediamo una casa, dove spariscono uno dopo l'altro i
mobili, che si svuota di tutto, anche della padrona di casa. Casa e figura umana restano entrambe nude, perdendo ogni traccia della memoria di sé e della propria identità. In Crossing vediamo il passaggio al rallentatore di una nave da crociera, figure che si stagliano dallo sfondo e che appaiono inanimate, poi un flash... In Dust Grains, ricordi lontani, quelli dell'infanzia sono come granelli
di polvere negli occhi e infine in Con_tatto, la memoria recuperata di una carezza..
13 dicembre – 25 gennaio 2015
Muratcentoventidue-Artecontemporanea
Via G. Murat 122/b – Bari
(posted on 2014-12-07)
RED STAMP ART GALLERY in collaboration with SABRINA RAFFAGHELLO CONTEMPORARY ART presents: SLEEPLESS SOUL
PERFORMANCE I VIDEO I PHOTOGRAPHY
SOLO EXHIBITION OF MARILENA VITA
Artist Winner of ORA Prize International 2013
VERNISSAGE : Thursday 11 December 2014 - 16:00 / 20:00
EXHIBITION : from the 11th of December 2014 till the 11th of January 2015
During the opening Marilena Vita will perform the act THE END IS THE BEGINNING, at 17:00.
Curated by Sonia Arata and Sabrina Raffaghello
Text by Sonia Arata
SLEEPLESS SOUL is the first exhibition in Amsterdam of the Italian artist Marilena Vita; this show will deepen the video-performative side of her multifaceted production, presenting for the first time, at Red Stamp Art Gallery, a corpus of 14 videos realized between 2000 and 2012 where she engaged herself as a performer, director and video artist.
Parallel to the screening a series of 12 photographs related to moments of performance will be exhibited.
During the opening Marilena Vita will perform THE END IS THE BEGINNING, for the first and only time: it's a choice of the artist to never repeat her acts.
Red Stamp Art Gallery - Rusland 22 - 1012 CL - Amsterdam - NL
(posted on 2014-12-07)
A screening of video art by Finnish artist members of MUU
Featuring front-line Finnish video artists:
Pasi Autio | Risto-Pekka Blom | Anja Helminen | Helinä Hukkataival | Jussi Härkönen | Jukka-Pekka Jalovaara | JP Kaljonen | Maippi Ketola | Juhani Koivumäki | Nuutti Koskinen | Johanna Lecklin | Tommi Matikka | Soile Mottisenkangas | David Muth | Elena Näsänen | Ilkka Pitkänen | Pauliina Salminen | Pekka Sassi | Pia Sirén | Johanna Väisänen | Timo Wright
Opening speech by Perttu Rastas, senior designer, Kiasma
MUU Gala is an unique ceremony and art sale event, where experiencing and purhasing media art is easy. The purpose of the event is to bring Finnish video art from galleries to the screen and on into the homes of viewers. MUU Gala is a unique art event where buying and experiencing art are made easy. It gives you a chance to meet artists in person and perhaps also find a work to take home with you. When you purchase media art you are getting much more than just images and sound, you are buying a story with feelings. Collecting and viewing media art is different, fun and easy – and MUU makes it possible. Media art is not something that needs to be matched with the colour of the sofa!
The two screenings in MUU Gala are based on themes that borrow their names from works chosen for the event. Earth 2.0 paints both an utopia and a dystopia of the world we live in. An Unfamiliar Step dives deep into the human mind and its vistas. In addition to their visual aspects, both screenings also include strong viewpoints on reality, politics and humanity itself.
The collection presented in MUU Gala is curated by Outi Sunila and Hanne Ivars.
Program
5.30 pm
Doors open
Welcome toast
6 pm
Opening speech
Screening 1 / An Unfamiliar Step
7.20 pm
Curators' words
Screening 2 / Earth 2.0
We are happy to invite you to MUU Gala to see and hear the very latest of what is happening in media art!
Monday 15 December 2014
Orion Cinema, Eerikinkatu 15, Helsinki
(posted on 2014-12-06)
The work of Mounira Al Solh continuously weaves ties between micro historical perspectives and explores language as a mechanism of transmission.
In her video NOW EAT MY SCRIPT (2014) the artist enquires about habits and languages of refugees and immigrants in their new countries. Al Solh engages with the moment where history and biography meet. She takes the transit of a sacrificed lamb in the trunk of her relative's car as a starting point to reflect on the exchange of goods and food between her mother's family in Syria and her family in Lebanon during periods of conflict. The movement between families becomes a way of questioning the possibility of communicating trauma.
Invited by Alya Sebti, independent curator
The exhibition will be accompanied by an artist talk in February 2015.
KW Institute for Contemporary Art
KUNST-WERKE BERLIN e.V.
Auguststraße 69 D-10117 Berlin
(posted on 2014-12-06)
What makes music “epic”? Artist Rashaad Newsome has been pondering that question with his latest art video, which makes its debut at Miami’s SELECT art fair tonight and features a soundtrack comprised of a remix of Carl Orff’s "Carmina Burana." Described by New York Times critic Anthony Tommasini as “a human cry against cruel fortune,” the choral and orchestral work features one section, O Fortuna, that’s become so synonymous in media with full-blown impending doom that it’s now almost a pop-culture joke — cued up whenever the judges make their entrance on The X Factor, whenever Shrek heads to a bookstore, and whenever actors, in a slow-motion montage, bite into things covered with chocolate spread in a Hershey’s commercial.
Newsome was fascinated by the way "Carmina Burana"’s larger-than-life narratives overlapped with narratives found in hip-hop. Orff’s piece, he said “is based on these pagan poems that are about the sinfulness of wealth, drugs, gambling — and about the rise and fall from greatness.” He added: “Knowing that this incredible piece of music that has been celebrated for over a century in some way mirrors music from my area and my community was really satisfying for me.”
Making art out of those connections, Newsome surveyed staff at Hot 97 and 105.1 to see who the most epic emcees of all time were. He then analyzed video clips of the emcees’ performative gestures onstage and in music videos and timed them to Orff’s piece. The results: a six-part video displayed in the round tonight at SELECT, along with a live performance by Mykki Blanco.
“A lot of my work plays with so-called high and low culture,” said Newsome, who’s become well-known in New York City for his art about vogueing culture (including his annual King of Arms vogue ball, which this summer was staged Riverside Park). And his next show immediately after Miami — at New York’s Marlborough Gallery — continues his own unique mission to merge high and low. For that exhibition, which opens next week, Newsome’s created video that juxtaposes baroque architectural references with street dance: “There are voguers in the piece, but I also I worked with breakers and pole dancers. I wanted to work with all these rogue dance forms that are not as celebrated the way that modern contemporary dance forms are celebrated — and inject them into the conversation about architecture, which is a very high-art idea.”
(posted on 2014-12-05)
The always inspiring Italian video art organization VisualContainer will host this edition's official opening at their project space The [.BOX] in Milan, Italy on 9 December from 18:30 - 21:00.
For this occasion we put together a special opening program with exciting, experimental video art from this 9th edition.
Program
Patrick K.-H - Areta (02:17, 2014)
Apotropia - K (04:00, 2012)
David Zijlstra - Bmen Is Dead (27:35, 2014)
Donato Arcella - Har, 1ts v 1-3 (01:37, 2014)
Jean-michel Rolland - The Puck (06:03, 2014)
Marlijn Franken - Into The Woods (06:12, 2013)
Miguel Andrés - System (04:49, 2014)
Cristina Pavesi - Giallo (04:00, 2014)
Piotr Zoladz - Variations (03:20, 2014)
Toby Tatum - A World Assembled (03:03, 2014)
[.BOX] Videoart project space
Is an independent project space entirely dedicated to Italian and international videoart, initiated and organized by VisualContainer.
18:30 - 21:00 Via F. Confalonieri 11 20124 Milan Italy
(posted on 2014-12-05)
Pi Artworks London is pleased to announce Maria Friberg’s first solo exhibition with the gallery. Friberg belongs to a generation of Scandinavian artists who rose to fame in the 90’s that are often referred to as the Nordic Miracle, a name coined in the late 90’s after a seminal survey exhibition at the Musee d’art Moderne, Paris. For Communicate over vast distances, Pi Artworks has curated a selection of both new and older photographic and video works that will give a comprehensive overview of the artists’ practice as well as underscore some of the broader themes that run through her work.
Maria Friberg creates pristinely composed photographic and video tableaus that capture individuals and small groups in inert, meditative states. These supine figures are engaged in distinctively passive and introverted actions, such as concentrating on their handheld technology, listening to music, asleep prone on a bed, or simply reclining in what appears to be a state of extreme apathy. Their blank, expressionless faces prevent the viewer from reading their emotions. Each figure lacks any visible physical or emotional interconnectedness with anyone else while simultaneously appearing completely at ease with his or her surroundings.
The settings, which act as the backdrop for Friberg’s men, women and children, vary from the inexplicable stacks of crushed cars in Still Lives [2005], to the dense and luscious Botanical Garden in Days of Eyes [2014]. Each is a serene and dreamlike context that is unpopulated other than with the works’ subject or subjects and is a peculiar place to find someone at complete ease with themselves.
Friberg shuns the use of digital technology to fabricate or manipulate her work, instead, each setting is located and objects arranged through a lengthy set-up process. She also uses ordinary people as opposed to actors for her subjects. For the artist, who originally worked as a painter, the people and objects are her material, and she wants to manipulate and arrange them physically as opposed to simply rendering them on a screen. This lack of digital manipulation and experienced models creates a spontaneity during the production processes that generates visual variations of the artist’s original plan as well as allows the images to contain a visceral sense of the real places and objects they contain.
Over the last 20 years, technological advancements have provided us with tools that have profoundly increased the extent to which we are able to interact and communicate with each other as well as help us record information and store it as part of a collective memory. Thus, we now have the ability and freedom to communicate what we are doing and what we have done how and when we want, increasingly ingraining ourselves in a hyper-connected but at times more physically isolated landscape. This is not necessarily a new phenomenon, as Friberg notes, photographs of public transport interiors from half a century ago often show people reading newspapers in solitude in a scene analogous to that of today. It is however a phenomena that is rapidly increasing in scale and extension. While some people adapt to this increasingly networked landscape, utilizing platforms that allow them to live parallel digital lives, those without the correct capabilities are left alienated. Either way, physical isolation is intensified.
Friberg’s work explores this key characteristic of the contemporary cultural condition of the western world. In their solitude, her tender subjects seem to find their place in this frenetic interconnected and fast-paced world by jettisoning perpetual connectivity and finding a moment of profound stillness amongst the chaos.
Pi Artworks 55 Eastcastle Street, London, W1W 8EG
(posted on 2014-12-05)
“È chiaro che bisogna trovare la propria via in mezzo alle cose vere e quelle non vere, anche se in realtà sono tutte vere”. Alla base del lavoro di Rä di Martino (Roma, 1975; vive a Torino) c’è un’intuizione profonda sull’idea di realtà nei nostri tempi. In anni segnati da nuovi ambiti del reale – definiti da parole come social network, realtà aumentata, realtà virtuale, reality show – è sempre più evidente come verità e finzione abbiano cessato di essere percepite come elementi tra loro nettamente contrapposti. Autenticità e mistificazione, verità e menzogna, all’interno di un mondo segnato dalla verosimiglianza, sono semplici ingredienti dello stesso universo, che hanno effetti comunque reali sulle persone che li percepiscono.
Oltre a questo, negli ultimi decenni si può registrare un cambiamento nell’approccio delle persone alla realtà. Non soltanto la vita privata viene sempre più utilizzata nell’intrattenimento della finzione mediale ma, dall’ottica contrapposta, le persone tendono sempre più a comportarsi nel proprio quotidiano come se recitassero una parte all’interno di una grande commedia. Nulla di nuovo, certo, il mondo teatrale lo ripete da secoli, da Shakespeare a Pirandello, ma questa consapevolezza – attraverso la medializzazione o la socialmedializzazione – si è arricchita recentemente di sfumature singolari. Forse per questo abbiamo perso il nostro senso del pudore davanti all’obiettivo di una macchina fotografica o di una cinepresa: perché ci si è abituati a una vita recitata secondo la propria parte, giorno dopo giorno.
Partendo da questi presupposti, Rä di Martino lavora ormai da una decina di anni su cortocircuiti e interferenze: situazioni che aprono una breccia nel reale non tanto per evidenziare l’essenza della verità ma, viceversa, per ingarbugliare ancor più la situazione in un infinito gioco di specchi.
Nella project room allestita al Museion di Bolzano l’artista presenta un lavoro scaturito dai dummy tanks: finti carri armati utilizzati nelle esercitazioni militari o nei conflitti per azioni di disturbo e depistaggio ai danni del nemico. Un perfetto esempio di finzione con un grande peso sulla realtà. Partendo da una fotografia del 1918 in cui civili francesi osservano un dummy tank tedesco, Rä di Martino registra una nuova messa in scena della foto con costumi d’epoca e fa circolare un vero carro armato tra le vie di Bolzano, documentando le reazioni degli ignari cittadini. Ai due video si aggiunge una scultura astratta che prende in prestito le forme di questi finti carri armati.
Dove sta quindi la realtà? Nell’esperienza, nella finzione, nella documentazione? Si può trovare una realtà autentica separata da quella illusoria? O è tutta finzione? Come dice Luca Lo Pinto nel suo testo di accompagnamento: “A voi la scelta”.
Gabriele Salvaterra
MUSEION Via Dante 6 Bolzano // fino all’11 gennaio 2015
(posted on 2014-12-04)
V Muestra Internacional de Videoarte del Cusco
Ruwashayku, comunicación y cultura presenta la quinta versión de Video Raymi, que es una muestra que pretende generar un espacio en el que se exhiba videoarte y video experimental sin carácter competitivo, sino más bien como un espacio para promover y difundir prácticas artísticas ligadas al video.
Viernes 05 de diciembre
Laggart Club (Tandapata 101, San Blas)
De 15:00 a 22:00 hrs.
15:00 hrs. Exhibición de Muestras Invitadas de videoarte en monitores
20:00 hrs. Proyección de la Selección Oficial
Selección Oficial de Video Raymi, V Muestra Internacional de Videoarte del Cusco
- 3Tensión. Dir. Verónica Valencia (Colombia). 3:10 min. 2014.
- A Marat. Dir. Angel García Roldán (España). 10:00 min. 2014.
- Anal-isis Callejero. Dir. Pablo Molina Guerrero (Chile). 08:32 min. 2012.
- Desaparecido. Dir. Duvan Camilo Bedoya (Colombia). 1:12 min. 2014.
- Desenho perdido - ação coletiva. Dir. Atelier D43 - Kelvin Koubik, Caju Galon y Teresa Poester (Brasil). 6:50 min. 2013.
- Kauflan. Dir. Olaia Sendón Ogando (España). 05:46 min. 2013.
- Levedad (Lightness). Dir. Andrés Cuartas (Colombia). 01:10 min. 2014.
- Lugares fronterizos (Hogar). Dir. Blanca Gimenez (España). 09:56 min. 2013.
- Mujer Guambiana saltando sobre Kuarimpoto. Dir. Hermann Yusty (Colombia). 1:00 min. 2014.
- Mundum. Dir. Marcia Beatriz Granero (Brasil). 05:16 min. 2012.
- Ophelia-Marat: Life, Sex and Death. Dir. Gema Guerrero Higueras (España). 03:57 min. 2014
- Ossum. Dir. Isabel Perez del Pulgar (España). 09:20 min. 2014.
- Paisaje Urbano #2. Dir. Iñaki Gómez (Colombia). 04:30 min. 2014.
- Qollyur Rit’i. Dir. Maxwell García (Perú). 05:43 min. 2014.
- Reentre. Dir. Kiko Monzón (Perú/España). 07:16 min. 2013.
Muestras Invitadas:
Selección Ultramar 2014
Muestra de Cine Andaluz y del Mediterraneo Archidona Cinema
Comisario: Ángel García Roldán. Vera Icono Producciones. A.C.
- Con las manos en la mancha. Dir. Manolo Silicona. 4'15”
- El método Abramovic practicado por Verónica Ruth Frías (No funciona cuando tienes hijos. Dir. Verónica Ruth Frías. 4'49”
- El peso del aire. Dir. Araceli García Romero. 7'05”
Selección experimental del Festival Transterritorial de Cine Underground - Argentina
Muestra de cortos experimentales EXP1 (40')
- Expósito, de Sofía de Luca (arg, 4.13 mins, 2013)
- Acecinar, de Macarena Cordiviola (arg, 2.08 mins, 2010)
- Salers, de Fernando Domínguez (arg, 9.15 mins, 2014)
- Litoral, de Lujan Montes (arg, 7.36 mins, 2014)
- Pulso, de Andrés Velasco y Luis A. Delgado (arg/ Colombia, 8.15 mins, 2013)
- Caracoles y diamantes, de Paola Michaels (arg, 8.27 mins, 2013)
Muestra de cortos experimentales EXP2 (51')
- Empiria, de Melisa Aller (arg, 3.31 mins, 2013)
- Punta Indio, de Luciana Malavolta, Emanuel Muño, Manuel Ojeda - Saavedra y Gustavo Pastorino (arg, 3.33 mins, 2013)-
- The Sun of the natural World is pure Fire, de Diego Barrera (España, 10 mins, 2012)
- Seduction of the Armageddon Witches, de Diego Barrera (España, 3 mins, 2011)
- Om, de Maia Ferro (arg, 4 mins, 2013)
- Una manera de evocar el silencio, de Érika Montoya Suesca (arg, 12 mins, 2013)
- Las cuatro de la tarde, de Mariela Cantú (arg, 7 mins, 2014)
- Post Scriptum, de Santiago Parres (EZO) (España, 8.28 mins, 2013)
Presentación especial:
Tote Hasen. Las mariposas de Larusa. 2014.
Dir. Ángel García Roldán. Vera Icono Producciones. 22’42”
El ingreso es libre y espontáneo.
Laggart Club Tandapata 101 San Blas, Cusco, Perú.
05/12/2014
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