(p)re(ss)views


previews or reviews about some of [video]Flâneu®'s shows

in chronological series

[original texts in different languages, starting with the newest]

 





Festival de Filmes sobre Arte vai exibir 18 filmes em 4 dias

7 FEVEREIRO, 2017 - Redacção

O Festival Internacional Filmes sobre Arte Portugal é um dos três eventos mundiais dedicados a filmes sobre arte e artistas. Esta edição propõe filmes internacionais e nacionais que abordam temas artísticos em diferentes disciplinas: artes visuais, fotografia, teatro, literatura, música, entre outras. Nos nove anos de existência do Festival, foram apresentados cerca de duzentos e quarenta filmes, introduzindo o universo e práticas artísticas de mais de trezentos e cinquenta criadores, músicos, bailarinos, realizadores e escritores.

De 16 a 19 de Fevereiro de 2017, serão exibidos dezoito filmes, dos quais cinco são Portugueses. Todos os filmes internacionais são estreia em Portugal, alguns, estreia mundial.

Como enfatizado nos nove anos de existência, o festival não é de maneira alguma, um mero evento educativo em que o público conhece trabalhos artísticos específicos de valor histórico. Apesar de seus filmes muitas vezes apresentarem artistas internacionalmente aclamados, como as Pussy Riot, Mio Pang Fei, Tadeusz Kantor, Nicanor Parra ou Ernstalbrecht Stieglitz, exemplificando alguns da edição deste ano, o espectador será confrontado com as dúvidas e manifestos mais íntimos e honestos dos protagonistas que certamente não nos tornam consumidores de cinema fácil e confortável. Em vez disso, somos levados a pensar por nós próprios, tentar seguir as „viagens“ nos estranhos por vezes dolorosos e desconhecidos mundos dos artistas e descobrir como é que eles conseguem viver desse jeito.

O programa da edição de 2017 do festival reflete uma vez mais, a importância da arte para a sociedade e seus próprios membros. O significado de “Tempest” de Shakespeare para a vida dos atores do grupo de teatro Português “GRIOT” está nos afetando de modo semelhante quando assistimos este sensível filme de Uli Decker que juntamente com o filme Polaco “Kantor’s Cycle” inaugura o festival. O lendário diretor de teatro Tadeusz Kantor que teve de fugir do regime Nazi fundando o “Undergroud Independant Theatre” em apartamentos privados clandestinos, criando peças de teatro e exposições sob uma enorme tensão, mas com a mesma intensa paixão, certamente inspirará o público para otimismo e força para vencer obstáculos próprios que impedem a criação.

Podemos experimentar estratégias surpreendentes contra as limitações da situação de cada um, causadas pelos sistemas políticos, no filme do Português Pedro Cadeira sobre o pintor Chinês Mio Pang Fei, censurado pela Revolução Cultural Chinesa; no filme Russo “It Came From Me”, sobre e feito pelo  pintor Ivan Milov, que será libertado de uma prisão Russa na véspera da abertura do nosso festival; ou no “Act & Punishment”, por Evgeniy Mitta, que nos proporciona impressionantemente novas visões sobre o pensamento, vida e obra do famoso grupo de artistas Pussy Riot.

Mas a arte não precisa lidar expressivamente com conteúdo político para ter um impacto enorme na sociedade e nas comunidades. Impressionante é a influência da arte quando os habitantes de uma cidade são confrontados com ela regularmente e em mais de 22 anos, como mostrado no filme “How To Shape a City” do realizador Turco Caner Kaya. Quando a arte e fazer arte é constantemente visível inclusive aos não profissionais da arte ou às pessoas genuinamente interessadas em arte mas a toda a comunidade – que é o efeito da “Arte de Rua”, “Arte Urbana”, performances/teatro de rua – garante-se um crescente interesse da comunidade, elevando assim o nível de discussão e recetividade do desconhecido. Isso também é perfeitamente comprovado no enigmático filme “Madman’s Conspirancy” pelo Russo Algis Arlauskas que nos deixa encontrar um famoso Espanhol, cuja paixão e experiências de vida, o levaram à criação de um projeto extraordinário. Enquanto o aclamado “Antagon Theatre”, com suas performances de tirar a respiração, também move os espectadores a diferentes mundos, o filme “Home is not a Place” pelo realizador Polaco Pawel Schnabel também reflete os desafios, dúvidas e problemas que seus atores e dançarinos tem de conquistar na sua vida dura e disciplinada sob circunstâncias bastante difíceis.

Dúvidas, pesquisas e enfrentar desafios também são temas artísticos por si só, como no filme “Donkey’s Head” por Pedro Bastos, “This is not My Voice” por Rui Mourão e também em “Pontas Soltas” por Ricardo Oliveira, todos realizadores de Portugal. No último, os músicos da banda “Capitão Fausto”, não só tem de compor e concordar com sua música, como também viver as tarefas elementares da comunidade humana que é como comunicar devidamente e como tolerar as diferentes abordagens de cada um.

O espectador pode verdadeiramente vivenciar outras formas de ver o mundo entrando nos universos dos artistas visuais, tal como no filme sobre Lucas Blalock com sua abordagem não convencional à bastante convencional ferramenta Photoshop; tal do artista Mexicano Abraham Cruzvillages apresentado pela Americana Susan Sollins e Ian Forster; do pintor Holandês Johnny Beerens em “When Water turns into Drops” (por Jeannice Adriaansens) cuja preocupação com tinta e cor é simplesmente espantosa, até os excêntricos pensamentos e reflexões do lendário compositor Ernstalbrecht Stiegler no intrigante filme “Line by Line” por Viola Rusche e Hauke Harder.

Quanto a vida e a arte são entrelaçadas é apresentado no tranquilo filme de dois minutos “After David Caspar Friedrich II” pelo “video-flaneur” Konstantinos-Antonios Goutos que uma vez mais aponta as referências que podemos fazer entre imagens da vida diária e famosas obras de arte, estimulando a nossa fantasia e maneiras poéticas de ver. O anti-poeta rebelde Nicanor Parra do Chile é insubornável e consequentíssimo na sua vida e arte – sua existência é quase um memorial contra o convencional e o consumismo cego, e até desafiou o realizador Víctor Jiménez Atkin vários termos quando ele criou este “Portrait of an Anti-Poet”.

O festival terminará com um dramático filme de ficção mostrando uma história (talvez) não-fictícia, a de um proprietário de um cinema em Kabul, Afganistão, quem contra todos os perigos e destruição da guerra civil, ainda tenta defender a importância da arte e filme, criando seu próprio cinema contra todas as probabilidades. Em “Golchereh” por Vahid Mousaian terminaremos o festival num estado agitado de emoções e reflexões. Ainda que a devastação e ódio dos fazedores de guerras contra produtos culturais e arte, ao mesmo tempo comprovam o poder da arte, o poder de capacitar civis a uma vida emancipatória.

Consulta aqui o evento no Facebook
Consulta aqui o site oficial do Festival e a respectiva programação


[http://www.comunidadeculturaearte.com/festival-de-filmes-sobre-arte-vai-exibir-18-filmes-em-4-dias/]








„Ressentiment – Kulturen des Dissens“: Die Ausstellung der Stunde

Von: Eckhard Hoog
Letzte Aktualisierung: 19. Januar 2017, 20:24 Uhr
13839913.jpg
Er präsentiert im Eupener ikob Museum eine inspirierende Ausstellung mit 17 Künstlern aus zwölf Nationen zu dem hochaktuellen Thema „Ressentiment“: Frank-Thorsten Moll. Foto: eho

Eupen. Was haben Donald Trump, Wladimir Putin, Viktor Orbán und Recep Tayyip Erdogan gemeinsam? Antwort: Sie diffamieren Gegner, vereinfachen massiv komplexe Zusammenhänge, streuen Hass, Wut und instrumentalisieren unterdrückte Gefühle der Unterlegenheit für ihren eigenen Machterhalt. Kurz: Sie betreiben eine Politik des Ressentiments.

Öffnungszeiten, Dauer und Eintritt

„Ressentiment – Kulturen des Dissens“, Ausstellung im ikob Museum für zeitgenössische Kunst in Eupen, Rotenberg 12b.

Eröffnung: Sonntag, 22. Januar, 15 Uhr.

Dauer: bis 23. April.

Geöffnet: Mi.-So. 13-18 Uhr.

Eintritt: 6 Euro, ermäßigt 4 Euro.

Insofern ist das die Ausstellung der Stunde: „Ressentiment – Kulturen des Dissens“ im ikob Museum für zeitgenössische Kunst in Eupen. Mit seiner ersten Themenausstellung fühlt ikob-Direktor Frank-Thorsten Moll buchstäblich am Puls der Zeit.

Gleichzeitig kommt die Schau mit Werken von 17 Künstlern aus zwölf Nationen einer einzigen Hommage an die Kunst gleich: Die ist rein von ihrer Natur her immer gegen Ressentiments und Vorurteile gerichtet. Die Präsentation dokumentiert zugleich die hart erkämpften Strategien der Kunst im Umgang mit autoritären Kräften und antimodernen Tendenzen, ohne plakativ zu werden. Selbst abstrakte Werke belegen den Anti-Ressentiment-Charakter künstlerischer Positionen.

G8-Gipfel 2001 in Genua: 300.000 demonstrierende Globalisierungskritiker werden widerrechtlich festgesetzt, die juristische Aufarbeitung dauert bis heute an. Der Fotograf Julian Röder ist dabei und hält repräsentative Momente mit seiner Kamera fest – maskierte Menschen, voranstürmende Massen. Die Ressentiments wirken auf beiden Seiten und prallen aufeinander – die der Staatsmacht und die der Demonstranten.

Der südafrikanische Künstler François Knoetze legt sich ein Kostüm aus Zeitungspapier, Blechdosen und anderem Müll an und lässt sich in den Townships und auf den Halden, wo die Ärmsten der Armen nach Ess- und Verwertbarem suchen, filmen. Die Videos entlarven in beinahe karnevalistisch-närrischem Kommentar den Mythos vom vermeintlich besseren Zeitalter der Post-Apartheid – die Verlierer der Geschichte sind geblieben.

Der Österreicher Gerold Tagwerker fotografiert Fassaden von modernistischen Architekturen – mit Balkonen und Fenstern gerastert wirkende Bauten, die wie ab-strakte Kompositionen erscheinen. „Hoch und schnell gebaut, in Modulen angelegt“, erklärt Moll und sieht darin das Gegenstück zu einem reduzierten, auf Gleichförmigkeit und Konsum minimierten Menschenbild. Die Vereinfachung ist das Prinzip.

„Wir schaffen das!“ lautet das legendäre Wort, an das sich selbst die Kanzlerin nicht mehr gerne erinnern mag. Die Ungarin Tímea Anita Oravecz hat die sogenannte „Willkommenskultur“ in ein Bild geschnitzt, das der Wirklichkeit wohl eher entspricht. Das „Willkommen“ prangt nur mehr isoliert als Schild an der Wand, während der Kranz aus den zwölf EU-Sternen aus blankem Stahl scharfkantig und gefährlich gegen jede Annäherung droht und an all die Stacheldrahtzäune in Europa erinnert. Das Phänomen Ressentiment verbirgt sich gleich mehrdeutig in diesem Werk.



[https://www.aachener-zeitung.de/news/kultur/ressentiment-kulturen-des-dissens-die-ausstellung-der-stunde-1.1537697]










"Porque olhamos para a arte?

Queremos algo.

Aquilo que eu procuro numa obra de arte é… aprender alguma coisa.

Quero ir para um lugar que nunca fui.

Quero que o artista me mostre algo que eu nunca tinha sequer pensado..."

(Max Dean em "Max Dean - Portrait of the Artist" de Zachary Finkelstein)

"Why do we look at art in the first place?

We want something.

What I look for in a work of art is, I want to learn something.

I want to go to a place that I’ve never been.

I want an artist to show me something that I’ve never even thought about..."
(Max Dean in "Max Dean - Portrait of the Artist" by Zachary Finkelstein)

 

You'll have the chance to do so... attend our new edition of the

TEMPS D'IMAGES PRÉMIOS DE CINEMA para FILMES SOBRE ARTE 2014...

November 13 - 19, CINEMA IDEAL in Lisboa.

You are very welcome!

Rajele Jain

 

 

Quinta-feira
13 NOV 18h00
SESSÃO DA ABERTURA / OPENING SESSION

MAX DEAN
de ZACHARY FINKELSTEIN
Cánada 2014, 4’

Um retrato visual do artista Max Dean (Vencedor do premio Governor General's Awards in Visual and Media Arts 2014) refectindo sobre a criação artistica, performance e a responsabilidade do espectador.

A visual portrait of the artist Max Dean (2014 winner, Governor General's Awards in Visual and Media Arts) as he ponders art-making, performance and the responsibilities of the viewer.


Realização Direction ZACHARY FINKELSTEIN| Montagem Editing ZACHARY FINKELSTEIN | Som Sound KAIJA SIIRALA, ELINOR SVOBODA| Distribuição Distribution WINNIPEG FILM GROUP

NEW YORK CLOSE UP: LOUISE DESPONT DRAWS DEEP
de WESLEY MILLER, RAFAEL SALAZAR, AVA WILAND
EUA 2014, 9’

Como é que um artista consegue obter resultados máximos a partir de meios mínimos? O Artista Louise Despont usa stencils de arquitectura para criar intrincados desenhos a lápis sobre papel na sua casa/estúdio em Fort Greene, Brooklyn. Trabalhando entre uma pequena mesa e o chão do quarto, a sua prática diária com um conjunto limitado de ferramentas, produz descobertas surpreendentes. "Estar focado e dedicado a fazer uma coisa simples, pode talvez ser a coisa mais transformadora", diz a artista. Este filme documenta Louise Despont e seu assistente Nicole Wong, ao longo de seis semanas, acompanhando a criação das obras Mediated Polarity e Third Property (2014), um desenho em papel de livro de contabilidade antigo. À medida que as suas explorações simétricas nascem, os desenhos de Despont tocam em temas universais de energia, espiritualidade e natureza. O filme termina como Despont a levar o seu último trabalho Garden (2014) para ser emoldurado na galeria White Mule em Chelsea, Manhattan, olhando para ele uma última vez antes deste começar a sua jornada pelo mundo.

How does an artist get maximum results out of minimal means? Artist Louise Despont uses architectural stencils to create intricate pencil-on-paper drawings in her home and studio in Fort Greene, Brooklyn. Working between a small desk and her bedroom floor, Despont's daily practice, with a limited set of tools, yields surprising discoveries. "To be focused and dedicated to doing one simple thing can perhaps be the most transformative thing", says the artist, "That as narrow as it is, it can be infinitely deep." This film documents Louise Despont and her assistant Nicole Wong over the course of six weeks as they create Mediated Polarity and the Third Property (2014), a multi-panel drawing on atique ledger book paper. As intuitive explorations of symmetry born out of pure geometry, Despont's drawings tap into universal themes of energy, spirituality, and nature. The film concludes as Despont takes her latest drawing Garden (2014) to be framed at White Mule in Chelsea, Manhattan, looking at it one last time before it begins its journey out into the world.


Realização Direction WESLEY MILLER, RAFAEL SALAZAR, AVA WILAND | Montagem Editing RAFAEL SALAZAR, AVA WILAND | Som Sound AVA WILAND | Producão Production WESLEY MILLER, RAFAEL SALAZAR, AVA WILAND | Distribuição Distribution ART21 Inc.

RAZÃO PARA ZEBRAS (Reason For Zebras)
de JOÃO COSTA
Portugal 2013, 25’

Documentário sobre Igor Chamada, um realizador que desenvolvia um trabalho multicultural sobre a felicidade, projeto que não conseguiu concluir. Interessados no seu trabalho como cineasta, várias pessoas ligadas ao seu foro íntimo e profissional, falam sobre a obra de Chamada na perspetiva de obter uma melhor ideia acerca da sua pessoa.

Documentary about Igor Chamada, a director who was working on a multicultural project about happiness which he didn't manage to finish. Interested in his work as a filmmaker, several people closely connected to his personal and professional life were interviewed, in order to get a better idea about his character.


Realização Direction JOÃO COSTA | Fotografia Cinematography JOÃO COSTA | Montagem Editing JOÃO COSTA | Som Sound DUARTE FERREIRA| Música Music RODRIGO CAMACHO | Producão Production JOÃO COSTA | Distribuição Distribution FILMÓGRAFO Lda.

THE GODMOTHER OF ROCK&ROLL: SISTER ROSETTA THARPE
de MICK CSÁKY
UK 2014, 59’

A exibicionista super estrela Afro-americana cantora de gospel Sister Rosetta Tharpe é uma das desconhecidas heroínas musicais do século XX. Nascida na pobreza em Cotton Plant, Arcansas, cresceu para ser uma das mais bem pagas artistas do mundo antes de se afundar na obscuridade. A sua poderosa voz e o seu espectacular virtuosismo na recém electrificada guitarra providenciaram uma banda sonora de grande influência para jovens artistas como Elvis Prestley, Jerry Lee-Lewis, Carl Perkins, Johnny Cash, Chuck Berry e Little Richard durante os seus anos de formação.
Além do mais, quando Sister Rosetta esteve em tour pela Europa durante os anos 60, introduziu o seu distintivo estilo de fazer música e produzir espectáculos a mais uma geração. Citando Bob Dylan: “Sister Rosetta Tharpe foi tudo menos comum e simples. Ela foi uma poderosa força da natureza – uma cantora guitarrista evangelista. Sabem que ela viajou para Inglaterra com Muddy Waters e eu tenho a certeza que muitos jovens pegaram numa guitarra eléctrica depois de a verem.”

The flamboyant African-American gospel singing superstar Sister Rosetta Tharpe is one of the unsung musical heroes of the 20th century. Born into poverty in Cotton Plant, Arkansas, she rose to be one of the highest paid entertainers in the world before sinking back into obscurity. Her powerful voice and spectacular virtuosity on the newly electrified guitar provided a hugely influential soundtrack for young musicians like Elvis Prestley, Jerry Lee-Lewis, Carl Perkins, Johnny Cash, Chuck Berry and Little Richard during their formative years.
What is more, when Sister Rosetta toured Europe during the 1960s, she introduced yet another generation to her distinctive style of showmanship and music making. To quote Bob Dylan: "Sister Rosetta Tharpe was anything but ordinary and plain. She was a powerful force of nature - a guitar-playing singing evangelist. You know she travelled to England with Muddy Waters and I'm sure there were a lot of young guys who picked up an electric guitar after getting a look at her."


Realização Direction MICK CSÁKY | Fotografia Cinematography MICHAEL MILES | Montagem Editing TOM HERRINGTON | Som Sound MICK CSÁKY | Música Music SISTER ROSETTA THARPE from recordings made in the 1930-70s | Producão Production MICK CSÁKY | Distribuição Distribution ANTELOPE SOUTH LIMITED

Quinta-feira
13 NOV 20h00
 

GORAN
de ROBERTO SANTAGUIDA
Sérbia 2014, 11’

Alegria e frustração como construído pelo artista performativo, Goran Gostojíc.

Joy and frustration as constructed by performance artist, Goran Gostojíc.

Realização Direction ROBERTO SANTAGUIDA | Fotografia Cinematography ROBERTO SANTAGUIDA | Montagem Editing ANA LAGATOR | Som Sound GABOR RIPLI, VLADIMIR DABÍC|

FIOS DE TEMPO (Threads Of Time)
de JOAQUIM PAVÃO
Portugal 2013, 30’

"Fios De Tempo" é uma colecção de "peças portáteis" do Projecto Faunas baseadas em actividades tradicionais da cultura portuguesa. Cada história guarda em si um espaço de transmissão de conhecimento, fazendo com que a transferência entre aqueles que recriam, lembrando-se, o seu passado, para aqueles que constroem, a sonhar, o seu futuro. O documentário centra-se no método de trabalho seguido pela empresa, pesquisa, criação e produção, bem como a recepção de diferentes espaços públicos e do papel que o "teatro portátil" tem desempenhado desdde 2010.

"Threads Of Time" is a collection of portable plays from Projecto Faunas based on traditional activities of Portuguese culture. Each story keeps in itself a space of knowledge transmission, making the handover among those who recreate, by remembering, his past, for those who build, by dreaming, their future. The documentary focuses on the working method followed by the company, research, creation and production as well as the reception of different public spaces and the role that "portable theater" has played since 2010.

Realização Direction JOAQUIM PAVÃO | Fotografia Cinematography ANTÓNIO CASTANHEIRA, JOSÉ PINTO | Montagem Editing JOAQUIM PAVÃO | Som Sound NUNO SANTOS CASH, JOAQUIM PAVÃO | Música Music JOAQUIM PAVÃO | Producão Production JOAQUIM PAVÃO, NUNO F. SANTOS

SOPHIE CALLE - SANS TITRE (Sophie Calle - Untitled)
de VICTORIA CLAY MENDOZA
França 2012, 52’

Sophie Calle é uma artista Francesa que mostra e narra a sua própria vida à mais de 30 anos, combinando textos e imagens de uma forma quase jornalística. Ela gosta dos rituais e das regras. Este documentário articula-se à volta de alguns objectos que acompanham a vida e obra da artista. Na sua casa em Malakoff ou em Cailar em Camargue, Sophie colecciona desde sempre alguns objectos que desempenharam um papel nas suas histórias íntimas, como impressões da sua própria existência: os lençóis amarrotados em que os "adormecidos" dormiram por algumas horas, o vestido de casamento que levou para o primeiro encontro com o seu novo amante, a girafa de peluche, chamada Monique para que a sua mãe fique ao seu lado, mesmo depois da sua morte, todos os presentes de aniversário, intactos, que ela recebeu aos 13 anos e a sepultura que ela ofereceu a si própria no último mês, para o seu funeral.
Todos estes objectos, dito pela Sophie, contam o trabalho desta artista que concilia ou manipula? O "eu" e o "jogo": cada um deles é uma impressão e, juntos escrevem o seu retrato.

Sophie Calle is a French artist who shows herself and narrates her own life for more than 30 years, combining texts and images in a way nearly journalistic. She like the rites and the rules. This documentary is articulated around some objects which escorts the life and the work of the artist. In her house in Malakoff or in Cailar in Camargue, Sophie collects since always some objects which played a part in its intimate stories, like prints of her own existence: the rumpled sheets in which "the sleepers>" slept into for a few hours, the wedding dress she took for her first meeting with her new lover, the stuffed giraffe, called Monique for her mother to stay at her side, even after her deathg, all the brithday gifts, intzact, she received for 13 years and the grave she offered herself last month, for her proper funeral.
All these objects, told by Sophie, tell the work of this artist who juggles between the "I" and the "game": each one of them is a print, and together they write her portrait.

Realização Direction VICTORIA CLAY MENDOZA | Fotografia Cinematography VICTORIA CLAY MENDOZA, GABIO BALDUCCI | Montagem Editing BRUNO CONTI | Som Sound ALAIN GIULIANELLI, JOEL FLESCHER | Música Music STÉPHAN EICHER | Producão Production DAMIEN MAURA | Distribução Distribution FOLAMOUR

Sexta-feira
14 NOV 18h00
 

SONS DO RURAL (Rural Sounds)
de TIAGO DIAS DOS SANTOS
Portugal 2013, 23’

A residência Divina Sonus Ruris decorreu durante o mês de Abril de 2013, assente na criação artística com base no património religioso nas aldeias de Sul e Macieira. Sons do Rural representa uma reflexão sobre as residências artísticas, o intercâmbio de experiências e vivências entre comunidade, artistas e organização, e os frutos dessa interação.

The residency Divina Sonus Ruris took place during the month of April 2013, grounded in artistic creation based on the religious heritage in the villages of Sul and Macieira. Sons do Rural represents a reflection on the artist residencies, the exchange of experiences and knowledge between the community, artists and organization, and the outcome of that interaction.

Realização Direction TIAGO DIAS DOS SANTOS | Fotografia Cinematography TIAGO DIAS DOS SANTOS | Montagem Editing TIAGO DIAS DOS SANTOS | Som Sound ANTHONY LYONS, DAVID PRIOR, MANUELA BARILE, NELY FERREIRA, TIAGO DIAS DOS SANTOS | Producão Production TIAGO DIAS DOS | Distribução Distribution BINAURAL/NODAR

DISORDER
de MARIA JOÃO GUARDÃO e SUSANA MENDES SILVA
Portugal 2014, 13’

“Duas amigas jantam num apartamento, a conversa prolonga-se até à sobremesa. Enquanto falam, a mulher que vive no apartamento enrola os seus cabelos, distraída. De vez em quando, pega e arranca um cabelo. Repete o gesto uma e outra vez até se levantar da mesa. Os fios mutilados vão parar a um cinzeiro. A convidada sente uma estranha combinação de repulsa e fascínio pelo comportamento da amiga; pelo mistério que representam as pessoas que se fazem mal a si próprias de forma incontrolável”, escreve Pedro De Llano sobre a origem das instalações "Square Disorder" e "Rectangle Disorder" da artista Susana Mendes Silva. Ambas as obras estão na fronteira do visível e foram o ponto de partida para a artista e o coreógrafo Miguel Pereira criarem uma série de três performances que permitiam ao público explorar a peça de forma sequencial.

Neste filme, a realizadora Maria João Guardão e Susana Mendes Silva entram no estranho território desta teia gigante, mas quase invisível, que interroga o conceito de espaço enquanto white cube, como uma descoberta experiencial, ou enquanto forma de nos controlar. A partir dela questionam dualidades aparentemente irresolúveis: as linhas ténues entre distúrbio e afecto, ordem geométrica e perturbação, racionalidade e pensamento mágico, disciplina e erotismo, vazio e cheio, orgânico e artificial.

"Two friends are having dinner in an apartment, the conversations extends to dessert. While they talk, the woman who lives in the apartment curls her hair absent-mindedly. From time to time she plucks a hair. She repeats the gszure again and again and again until she gets up from the table. The mutilated strands end up in an ashtray. The guest feels like a strange mix of revulsion and fascination of her friend's behaviour, owing to the mystery of people who harm themselves uncontrollably", wrote Pedro de Llano about the origin of the installations "Square Disorder" and "Rectangle Disorder" by the visual artist Susana Mendes Silva. Both works are on the front of the visible and were the departing point to the creation by Susana Mendes Silva and the choreographer Miguel Pereira of a series of three performances that allow the audiencen to experience the work.

For this film, the artist and the film director enter the uncanny territory of this giant, yet almost invisible web to address the white cube space as concept, as an experiential endeavour, and the way it controls us. Through it they question unresolved dualities: the fine line between disorder and affection, geometrical order and disturbance, rationality and magical thinking, discipline and eroticism, void and pregnant, organic and artificial.

Realização Direction MARIA JOÃO GUARDÃO, SUSANA MENDES SILVA | Montagem Editing MARIA JOÃO GUARDÃO, SUSANA MENDES SILVA | Producão Production DESMEDIDA FILMES, SUSANA MENDES SILVA

LA VOIX DE LA TOUNDRA (The Voice From The Tundra)
de JEAN EHRET
Bélgica 2013, 52’

Anastasia Lapsui é a primeira cineasta do extremo norte da Rússia que filmou o seu povo na sua língua materna - Nenets. Nascida na Yamal Tundra, em 1943, ela testemunha o fim de uma era, filmando um mundo em processo de mutação. Com o mesmo desejo de transmitir conhecimento eu filmei a Anastasia Lapsui na sua vida diária e profissional. Através de um “making of” das suas últimas filmagens, este é o retrato de uma cineasta e do seu povo, os Nenets da tundra.

Anastasia Lapsui is the first film-maker from the Far North of Russia to have filmed her people in her mother tongue - Nenets. Born in the Yamal tundra in 1943, she bears witness to the end of an era, filming a world in the process of mutation. With the same desire to pass on knowledge I filmed Anastasia Lapsui in her daily and professional life. Through a "making of" from her latest film-shoot, this is a portrait of a film-maker and her people, the Nenets of the tundra.

Realização Direction JEAN EHRET | Fotografia Cinematography JEAN EHRET | Montagem Editing robin dimet | Som Sound MARIE PAULUS | Música Music CHANTS TRADITIONNELS NÉNÈTSES| Producão Production HÉLÈNE BERNARD | Distribução Distribution AJC! 2013

Sexta-feira
14 NOV 20h00
 

NEW YORK CLOSE UP: BRYAN ZANISNIK KEEPS IT IN THE FAMILY
de NICK RAVICH, RAFAEL SALAZAR, AVA WILAND
EUA 2014, 9’

Como é que um artista descobre o que é verdadeiramente essencial? O artista Bryan Zanisnik transforma histórias pessoais em performance. Na casa dos seus pais em Springfield, New Jersey, Zanisnik desenterra os filmes caseiros há muito esquecidos que fez quando era adolescente. Inspirado pelos directores de filmes de Hollywood como Martin Scorsese, os filmes VHS são uma mistura não irónica de comédia desajeitada e violência gangster, com a avó de Zanisnik a desempenhar muitas vezes um protagonista armado e perigoso.
Descobrir os vídeos na universidade foi um momento eureka para Zanisnik. "Eu pensei, Isto é quem eu realmente sou." Estes interesses no abjecto, no absurdo, no humor, nas inversões de género, na fragilidade", explica ele, "as conservações entre o artista e eu por trás da câmara estava realmente no centro do que eu queria numa obra de arte ".
Na Pace Universidade, em Lower Manhattan, Zasnisnik actua dentro de uma vitrina de madeira de museu que foi adaptada numa escultura móvel, perante o olhar dos seus pais e público. Confinado dentro da escultura e esforçando-se para percorrer os corredores do edifício, Zanisnik bate intencionalmente nos transeuntes, desafiando-os a responder. Para Zanisnik, a performance evoca a sua própria jornada emocional de um adolescente recluso ao artista que é hoje.


How does an artist figure out what's truly essential? Artist Bryan Zanisnik transforms personal history into performance art. At his parents' home in Springfield, New Jersey, Zanisnik digs up the long-forgotten home movies he made as an adolescent. Inspired by Hollywood film directors like Martin Scorsese, the VHS movies are an unironic mix of slapstick comedy and gangster violence, with Zanisnik's grandmother often playing an armed and dangerous protagonist. Uncovering the videos in graduate school was a eureka moment for Zanisnik. "I thought, 'This is who I really am.' These interests in the abject, the absurd, the humor, the gender inversions, the fragility," he explains, "the conservations between the performer and me behind the camera was really getting to the core of what I wanted out of an artwork." At Pace University in Lower Manhattan, Zasnisnik performs inside a wooden museum display case that's been adapted into a mobile sculpture, as his parents and the audience look on. Tightly confined inside the sculpture and straining to move through the building's hallways, Zanisnik intentionally knocks into passers-by, challenging them to respond. For Zanisnik, the performance evokes his own emotional journey from a reclusive teen to the artist he is today.

Realização Direction NICK RAVICH, RAFAEL SALAZAR, AVA WILAND | Fotografia Cinematography REHANA ESMAIL, RAFAEL SALAZAR, AVA WILAND | Montagem Editing RAFAEL SALAZAR, AVA WILAND | Som Sound NICK RAVICH, AVA WILAND | Producão Production NICK RAVICH, RAFAEL SALAZAR, AVA WILAND | Distribuição Distribution ART21 Inc.

8816 VERSOS (8812 Verses)
de SOFIA MARQUES
Portugal 2013, 78’

Diz-se que Luís Vaz de Camões terá demorado cerca de 20 anos a escrever os 8816 versos que compõem Os Lusídas. O actor António Fonseca dedicou 4 anos da sua vida a torná-los seus. Sofia Marques decidiu partilhar com o actor parte da aventura sem precedentes a que este se propôs: decorar e dizer integralmente o poema.

It took Camões 20 years to write the 8816 lines that compose his epic poem - the Lusiades. The Portuguese actor António Fonseca devoted four years of his life to make them his own. Sofia Marques accompanied him in this unprecendented adventure: to memorize and speak the whole of the poem.

Realização Direction SOFIA MARQUES | Fotografia Cinematography SOFIA MARQUES, PAULO ABREU, RICARDO REZENDE, NANI ESPINHA, MICAEL ESPINHA, PEDRO MACEDO | Montagem Editing FRANCISCO MOREIRA | Som Sound PATRICIA ANDRÉ, SOFIA MARQUES, FREDERICO GRACIAS | Música Music JON LUZ | Producão Production PATRICIA ANDRÉ / ROUGHCUT LDA

Sábado
15 NOV 18h00
 

 

MA CARAVANE
de GIL MADDALENA
Portugal 2014, 10’

Um registo de uma performance, ou melhor de uma improvisação, de pintura e de música, a partir do conhecido tema de jazz "Caravan". Outros instrumentos foram adicionados durante a performance enquanto se projetava o primeiro registo.

Improvisation of painting and music onthe well-known jazz theme of "Caranvan" was filmed. After, this film was used as a base for adding the main instruments and voices, while being projected.

Realização Direction GIL MADDALENA | Fotografia Cinematography SUSANA MEDEIROS | Montagem Editing GIL MADDALENA | Som Sound NUNO PEREIRA | Música Music RÉMI GALLET e GIL MADDALENA | Producão Production GIL MADDALENA

BERNARDA ALBA EN PALESTINA (Bernarda Alba in Palestine)
de CRISTINA ANDREU CUEVAS
Espanha/Palestina 2014, 23’

Quando cheguei para viver em Bethlehem, Palestina, a primeira coisa que captou a minha atenção foram as suas pessoas, bem longe dos preconceitos que os media nos sujeitam, bem como da propaganda contra estas pessoas que apenas pretendem ver o seu lugar no mundo reconhecido.
E o que eu achei foi uma população "normal".
Quando Eva, a professora de espanhol, falou comigo para escrever uma peça de teatro, começámos imediatamente "The House of Bernarda Alba" era perfeita, e apenas mulheres pareceram à chamada. A dificuldade acrescida foi que elas tinham que actuar em Espanhol. Eu também actuei na peça, pensei que era a melhor maneira de abordar as raparigas. E então, eu tinha a minha câmara, algum som básico, e decidi ir em frente, apensar de saber das limitações tecnológicas, nós éramos duas, a minha câmara e eu, decidi chegar o mais rápido possível a estas inteligentes, bonitas, felizes e boas mulheres, com sonhos, apesar da realidade que as continua a prender.
E este filme é isso - seguir o processo destas estudantes palestinianas de espanhol da Universidade de Bethlehem, que com trabalho árduo conseguiram apresentar "The House of Bernarda Alba" ao público.


When I arrived to live in Bethlehem, Palestine, the first thing that caught my attention were its people, so far from the prejudices which the media has subjected us to, as well as the propaganda against these people who are only looking to have their rightful place in the world recognized.
And what I found was a "normal" population.
When Eva, the Spanish teacher, talked to me about writing a play, we started it immediately "The House of Bernarda Alba" was perfect, and only women had shown up to the call. The added difficulty was that they had to perform in Spanish. I, too, acted in the play, I thought it was the best way to approach the girls. And then, I had my camera, some basic sound, and I decided to go ahead, despite knowing the technical limitations, we were two, my camera and I, but I decided to get as close as possible to these intelligent, beautiful, happy, good women, with dreams, despite the reality that keeps them trapped.
And that's what this film is - following the process of these Palestinian students of Spanish at the University of Bethlehem,  that with hard work achieved to present "The House of Bernarda Alba" to the public.

Realização Direction CRISTINA ANDREU CUEVAS| Fotografia Cinematography CRISTINA ANDREU CUEVAS | Montagem Editing CRISTINA ANDREU CUEVAS | Som Sound CRISTINA ANDREU CUEVAS | Producão Production CRISTINA ANDREU | Distribuição Distribution PROMOFEST - FRANC PLANAS

A SÉTIMA VIDA DE GUALDINO (The Ninth Life Of Gualdino)
de FILIPE ARAÚJO
Portugal 2013, 60’

No culminar de uma vida rocambolesca preenchida de aventuras, desventuras e proezas surreais, um baterista autodidacta elevado a “lenda do jazz” por ter lançado nos palcos dezenas de jovens inexperientes como Jorge Palma, Bernardo Sassetti ou Dany Silva, sofre um acidente vascular cerebral. Fica inicialmente paralisado de metade do corpo, mas nem por isso a sua teimosia se deixa de impor. A missão é ambiciosa: recuperar os movimentos, reaprender a tocar bateria, lançar uma última cantora e regressar a Paris, onde tocou com Nina Simone e chegou a viver debaixo da ponte.

By the end of an incredible life full of adventure, misfortune and surreal accomplishments, a self-taught drummer, exalted to jazz kegend among the community for having introduced to the stage dozens of inexperienced young people acclaimed today in the music industry, suffers a stroke. At first, half of his body is paralyzed, but his stubbornness is overpowering. The mission is ambitious: to regain full movement, play the drums once again, introduce one last singer and return to Paris, where he played with Nina Simone and lived under a bridge.

www.gualdino.net

Realização Direction FILIPE ARAÚJO | Fotografia Cinematography FILIPE ARAÚJO | Montagem Editing FILIPE ARAÚJO | Som Sound FILIPE ARAÚJO, PEDRO ROCHA | Música Music ANDRÉ FERNANDES | Producão Production FILIPE ARAÚJO, RENATA MAYUMI

Sábado
15 NOV 20h00
 

GUARDAR O QUE DESAPARECEU (To Keep What Has Fade Away)
de MAFALDA RELVAS
Portugal 2014, 10’

Revela-se o processo de trabalho da artísta Carla Cabanas. Através do tempo da memória e da ausência, como é que a artísta vê as suas imagens e a sua obra, como é que guarda aquilo que desapareceu.

Carla Cabanasn work process is revealed. Through time, memory and absence, how does the artist perceives her work and how can she preserve what has fade away.

Realização Direction MAFALDA RELVAS | Fotografia Cinematography MAFALDA RELVAS | Montagem Editing MAFALDA RELVAS | Producão Production MAFALDA RELVAS

2 AND 2 ARE FOUR
de PEDRO SENA NUNES
Portugal 2014, 30'

Acostumámo-nos, erradamente, a temer furiosamente a fragilidade do nosso corpo. Esta fragilidade é-nos tão
controversa ao ponto de induzirmos em nós próprios os típicos e contidos movimentos já cansados. Uma vez,
outra vez. Os mesmos movimentos, os medos, as expirações contadas, os corpos subtraídos, os horizontes cegos.
Mas há um dia em que percebemos que a fragilidade é preciosa e que a arritmia do movimento é segura.
E dançamos, cúmplices, nas diferenças.

We've accustomed, erroneously, to furiously fear our body's fragility. This fragility which is so controversial to us to the point of inducing in ourselves the typical and contained movements, already tired. Once, twice. The same movements, the fears, the counted expirations, the subtracted bodies, the blind horizonts. But the day comes when we understand that the fragility is precious, and that the movement's arrhythmia is safe. And when we dance, accomplices, in the differences of a shared fall.

Realização Direction PEDRO SENA NUNES | Fotografia Cinematography PEDRO SENA NUNES, MIGUEL ROBALO, JOÃO PELICA | Montagem Editing JOÃO P. DUARTE | Música Music TIAGO CERQUEIRA | Producão Production PEDRO SENA NUNES/Vo'Arte

A LIFE EXPOSED - ROBYN BEECHE, a photographer's transformation
de LESLEY BRANAGAN
Australia 2013, 52'

A fotógrafa Australiana Robyn Beeche tornou­se reconhecida em Londres pelas suas imagens icónicas dos anos 80. Numa altura rica em experimentação e criatividade ela foi celebrada pelas suas fotografias inovadoras de corpos pintados, e colaborações com personalidades contra-cultura Zandra Rhodes, Vivienne Westwood, Leigh Bowery e Divine.
No pico da sua carreira, Beeche foi transformada quando experienciou o festival indiano Holi onde as pessoas atiram tintas de várias cores umas às outras. "Atraída como um íman", ela desistiu da sua carreira para uma mudança de vida, tendo ido viver para a cidade Indiana de peregrinos Vrindivan. 25 anos mais tarde, continua a documentar as vibrantes tradições da região como serviço espiritual, e o seu extensivo arquivo foi galardoado por especialistas internacionais.
Uma vida exposta: Robyn Beeche tece-se entre a Austrália, Londres e Índia, representando dramaticamente a extrema mudança de paradigma de Beeche, de imagens de corpos pintados construídas em estúdio, à documentação de uma cultura onde a transformação do corpo ocorre espontaneamente como parte de rituais religiosos saturnalian.

Australian-born photographer Robyn Beeche became renowned in London for her iconic 80s images. In a time rich with experimentation and creativity, she was celebrated for her ground-breaking photographs of painted bodies, and collaborations with counter-culture personalities Zandra Rhodes, Vivienne Westwood, Leigh Bowery and Divine.
At the peak of her career, Beeche was transformed when she experienced the Indian colour-throwing festival of Holi. "Drawn like a magnet", she gave up her high-flying career for the life-changing move to the Indian pilgrimage town of Vrindivan. 25 years later, she continues to document the area's vibrant traditions as spiritual service, and her extensive archive is prized by international scholars.
A Life Exposed: Robyn Beeche weaves between Australia, London and India, dramatically depicting Beeche's extreme paradigm shift from highly constructed studio body-painted images, to documentation of a culture where body transformation occurs spontaneously as part of saturnalian religious rituals.

Realização Direction LESLEY BRANAGAN | Fotografia Cinematography BONNIE ELLIOTT | Montagem Editing LINDI HARRISON KENNY ANG | Som Sound MARK WALKER SEAGE STANLEY | Música Music NICOLE SKELTYS, BYRON SCULLIN | Producão Production LESLEY BRANAGAN

Domingo
16 NOV 18h00
 

ONDE O MEU AMIGO PINTOU UM QUADRO (Where my friend made a painting)
de PEDRO FLORÊNCIO
Portugal 2014, 5’

História curta e simples: O meu amigo fez um quadro a partir de um fotografia de uma manifestação contra a troika, eu fiz um filme a partir desse quadro. Entre os dois objectos está o percurso que começou numa fotografia casual e que acabou numa garagem mal iluminada. Por ordem de importância, “Onde o meu amigo pintou um quadro” é um pequeno filme sobre um lugar, um amigo, um acto criativo, um quadro e o silêncio de uma manifestação.


Short and simple story: my friend made a painting from a photograph about a manifestation against the economic crisis and I made a film from that painting. Between these two objects lies a path, which began in a casual photograph and ended in a poorly-lit garage. The film is, in order of importance, a short film about a place, a friend, a creative act, a painting and the silence of one manifestation.

Realização Direction PEDRO FLORÊNCIO | Fotografia Cinematography PEDRO FLORÊNCIO | Montagem Editing PEDRO FLORÊNCIO | Som Sound PEDRO FLORÊNCIO | Producão Production MÁRIO GAJO DE CARVALHO, FILMES DO GAJO

 

ENTRE IMAGENS - EP#09 JORGE MOLDER
de PEDRO MACEDO
Portugal 2012, 26’

"Entre Imagens" é um projecto de Pedro Macedo e Sérgio Mah que consiste numa série documental sobre 13 criadores cujo trabalho privilegia a prática do fotográfico. Este episódio é dedicado a Jorge Molder, artista que recorre à prática do fotografia como meio de exploração de um imaginário fortemente habitado po um jogo peculiar de associações e sugestões, entre referências literárias e cinematográficas, figuras arquetípicas, (auto)representações e gestos ficcionais. Neste episódio, percorrem-se alguns dos momentos mais relevantes da sua obra, procurando dar a conhecer os processos e métodos de trabalho do artista.

"Entre Imagens" (In Between Images) is um project by Pedro Macedo and Sérgio Mah which consists of a series of documentaries above 13 creators whose work is based on photographical practice. This episode is dedicated to Jorge Molder, an artist who uses photography as a media for the exploration of a strong world of images which is inhabited by associations and suggestions, from referencies to literature and cinematography, architypical figures, self-represntations to fictional gestures. In this episode, some of the most relevant moments of his work occur, together with the processes and methods of the artist's work.


Realização Direction PEDRO MACEDO | Fotografia Cinematography PEDRO MACEDO | Montagem Editing MICAEL ESPINHA | Som Sound ARMAZÉM 42 | Música Music TIAGO INUIT | Producão Production PEDRO MACEDO

PICASSO - THE LEGACY
de HUGUES NANCY
França 2014, 52’

Um retrato de Pablo Picasso como ele nunca foi mostrado na televisão. Uma investigação histórica e cultural que permite aos espectadores finalmente decifrar o 'mistério' do Picasso. A vida e obra do pintor são reveladas através de descobertas feitas depois da sua morte, quando o seu património foi estabelecido. A verdadeira história da família de Picasso é contada, antes e depois da morte do artista, a 8 de Abril de 1973. E recontamos a abertura do Museu do Picasso, baseado numa datação?? sem precedentes do seu trabalho.

A profile of Pablo Picasso as he has never been shown on television before. An historical and cultural investigation enabling viewers to finally decipher the Picasso 'mystery'. The painter's life and work are revealed through discoveries made after his death, when his estate was settled. The true story of the Picasso family is told, before and after the artist's death, on April the 8th, 1973. And we recount the opening of the Picasso Museum, based on an unprecedented 'dation' of his work.


Realização Direction HUGUES NANCY | Montagem Editing MATHILDE MORIERES | Som Sound JEAN HOLTZMAN| Música Music MICHEL KORB | Producão Production CORINE JANIN, GEDEON PROGRAMMES, WELCOME | Distribuição Distribution TERRANOA

Domingo
16 NOV 20h00
 

 

HAPPY BELIEVERS
de KONSTANTINOS-ANTONIOS GOUTOS
Grécia 2012, 6’

"... Para mim, houve um momento aurático repentino - como é costume acontecer durante os meus passeios:
Entrei no espaço, o balão voou sob ao sabor da música de Tchaikovsky …
A minha câmara ligou-se imediatamente e, em seguida, a maravilha aconteceu para ser experienciada:
A criança aproximou-se, ela brinca com o ventilador, brinca com a arte, com a existência, com a crença. A obra de arte está completa, o artista de instalação pode dar-se por contente, assim como o artista de vídeo. A exposição continua…

"... for me there was a sudden auratic moment - as it often happens during my flaneries:
I entered the space, the balloon flew under the guidance of the breeze of Tchaikovsky's music..
my camera was on immediately and then the wonder happened to be experienced:
the child approaches, plays with the ventilator, plays with the art,
with the existence, with the belief...
the art work is fulfilled, the installation artist can be happy,
so can the video artist, the exhibition "flies" along...

Realização Direction KONSTANINOS-ANTONIOS GOUTOS | Producão Production KONSTANINOS-ANTONIOS GOUTOS

INIMA MEA DE LUT .. ION NICODIM (My Clay Heart ... Ion Nicodim)
de LAURENTIU DAMIAN
Romania 2013, 37’

A imagem é uma retrospectiva da criação do artista Ion Nicodim. Falar sobre o trabalho de Ion Nicodim aqui é um exercício difícil. Ele já não está entre nós. Visualmente falando, poderia ser um espírito. Uma sombra que passa. Nicodim fez corações de barro. Corações com várias feridas e corações curados. Estranho. Nenhum trabalho é chamado de coração ou corações. Mas simplesmente... No Title (Sem Título).


The picture is a retrospective of the artist's creation Ion Nicodim. Talking about the work of Ion Nicodim: here is a difficult exercise. He is no longer with us. Visually speaking, could be a spirit. A passing shadow. Nicodim made hearts of clay. Hearts with various wounds and healed hearts. Strange. No work is called Heart or Hearts. But simply...No Title.


Realização Direction LAURENTIU DAMIAN | Fotografia Cinematography DANUT PADURE | Montagem Editing MILLO SIMULOV, DANUT PADURE | Som Sound STEFAN MATEI | Música Music COSMIN LUPAN | Producão Production STUDIOUL VIDEO ART

LES JAMBES DE SAINT-PIERRE (Pierre Molinier, The Legs Of Saint-Pierre's Quarter))
de DOMINIQUE ROLAND
França 2013, 40’

Pierre Molinier, fotógrafo e pintor, foi encontrado sem vida, semi-nu, morto com uma bala na cabeça, na cama do seu quarto. O documentário mostra a vida desta enigmática e explosiva personagem. O filme é uma exploração de cada palavra, tudo, que compõe a realidade de 1976.
Virando cada folha, esforça-se para aproximar a energia artística de Molinier focada nos fetiches que prestam homenagem a Eros em androginia, decadência e tentação. A unidade de Molinier é uma surpreendente fusão de vida e trabalho.


Pierre Molinier, photographer and painter, was found dead, semi-naked, killed by a bullet to the head, on his bed in his bedroom. The documentary showcases the life of this enigmatic and explosive personality. The film is an exploration of every word, everything, that makes up the reality of 1976. Turning over every leaf, it strives to approach Molinier's artistic energy focusing on fetishes that pay homage to Eros in androgyny, decadence and temptation. Molinier's unity is an astonishing fusion of life and work.


Realização Direction DOMINIQUE ROLAND | Fotografia Cinematography MATTHIEU CHATELLIER | Montagem Editing STÉPHANE FOUCAULT | Som Sound OLIVIER VIEILLEFOND | Música Music GÉRARD LESNE| Producão Production MARTINE VIDALENC/MARMITAFILMS

Segunda-feira
17 NOV 18h00
 

TREATY NUMBER THREE
de DANIELLE STURK
Cánada 2013, 4’

Um retrato único em vídeo da artista visual e performer Rebecca Belmore. O cineasta colaborou com Belmore que criou uma nova peça de artes visuais/performance especificamente para o seu vídeo. O novo trabalho é inspirado nas palavras ditas pelo chefe Mawe-do-pe-nais numa gravação de 1873 sobre as negociações para o tratado da terra ancestral de Belmore.

A unique video portrait of visual and performance artist Rebecca Belmore. The filmmaker collaborated with belmore who created a new visual art/performance artwork specifically for his video. The new work is inspired by the spoken words of chief Mawe-do-pe-nais from an 1873 treaty negotation recording of Belmore's ancestral land.


Realização Direction DANIELLE STURK | Fotografia Cinematography OSKAR FENOGLIO | Montagem Editing OSKAR FENOGLIO | Som Sound OSKAR FENOGLIO | Producão Production CANADA COUNCIL FOT THE ARTS/LES PRODUCTIONS DIESELLE

 

 

A COSMOS OF PATTERNS
de JEREMY NEWMAN
EUA 2014, 5’

A artista Rachel Blythe Udell combina elementos inspirados pelo mundo natural em estranhos e fascinantes arranjos. As suas delicadas e bordadas esculturas são animadas através de justaposições ousadas de cor, forma e textura. No entanto, a sua aparência lunática é enganadora. Tendo perdido a sua mãe para o cancro, as obras de Udell são uma meditação pessoal sobre a conexão biológica.


Fiber artist Rachel Blythe Udell combines elements inspired by the natural world in strange and fascinating arrangements. Her soft sculptures and embroideries are enlivened through bold juxtapositions of color, shape and texture. Yet, their whimsical appearance is deceptive. Having lost her mother to cancer, Udell's artwork is a personal meditation on biological connectedness.

Realização Direction JEREMY NEWMAN | Fotografia Cinematography JEREMY NEWMAN | Montagem Editing JEREMY NEWMAN | Som Sound JEREMY NEWMAN | Música Music JAMES KALINOSKI | Producão Production JEREMY NEWMAN

LA PIETÀ DEL VENTO (Pietas of the Wind)
de STEFANO CROCI e SILVIA SIBERINI
Itália 2014, 7’

Um filme baseado num dialogo que nunca aconteceu entre o poeta Japonês Matsuo Basho e o arquitecto italiano Carlo Scarpa. A voz do Basho leva-nos de volta à vida na arquitectura de Scarpa, deixando-nos suspensos no mistério entre a viagem da vida e da morte.


A film based on a dialogue that never tookplace between Japanese poet Matsuo Basho and the Italian architect Carlo Scarpa. Basho's voice takes us back to life in Scarpa's architecture, leaving us suspended in mystery between journey of life and death.

Realização Direction STEFANO CROCI, SILVIA SIBERINI | Fotografia Cinematography STEFANO CROCI, SILVIA SIBERINI | Montagem Editing STEFANO CROCI, SILVIA SIBERINI | Som Sound STEFANO MIGLIORE | Música Music DIFFICULT LIVING | Producão Production CAUCASO E MAI

IN MEDIAS RES (NO MEIO DAS COISAS)
de LUCIANA FINA
Portugal 2014, 72’

Personalidade incontornável do pensamento arquitectónico em Portugal e do seu confronto com a modernidade, Manuel Tainha abre o seu atelier nos anos 50 e concebe projectos durante quase seis décadas, traduzindo a inquietação de uma “arquitectura em questão” no paralelo e constante exercício da escrita.

A partir dos textos do arquitecto Manuel Tainha e de conversas gravadas entre 2010 e 2012, o filme propõe uma leitura cinematográfica do pensamento e do universo do arquitecto, um diálogo com a sua ética e poética.

Dando corpo à palavra, à reflexão e às fontes de inspiração, bem como ao constante confronto com as outras artes, o filme acompanha-nos num percurso através de três obras, projectadas e construídas entre os anos 50 e 70, filmadas hoje, num momento significativo da sua existência.

Departing from Manuel Tainha’s texts and the conversations recorded between 2010 and 2012, Luciana Fina proposes a cinematic reading of the thought and the universe of the architect, a dialogue with his ethics and his poetics.

Embodying his words, his reflections and his sources of inspiration, as well as the constant confrontation with other arts, the film creates a pathway through three of the architect’s works, designed and built between the 1950s and the 1970s, but nowadays experiencing a significant moment of their existence.

Holding a key position in the field of architecture in Portugal and in its relation to modernity, Manuel Tainha launched his studio in the 1950s, and for almost six decades has been working on architectural projects, translating the restlessness of an ‘examined architectural practice’ into the ongoing, parallel activity of writing.



Realização Direction LUCIANA FINA| Fotografia Cinematography JOÃO RIBEIRA, LUCIANA FINA | Montagem Editing OLGA RAMOS, LUCIANA FINA| Som Sound OLIVIER BLANC, ARMANDA CARVALHO| Música Music BÉLA BARTÓK| Producão Production LAFstudio

Segunda-feira
17 NOV 20h00
 

DERBY&GROMA
de KARA BLAKE
Cánada 2013, 17'

Baseando-se numa colecção de fotos encontradas abandonadas nas ruas de Buenos Aires, Derby & Groma juntam pedaços de uma narrativa em torno de um duo misterioso que actuava numa época passada. O filme pinta uma imagem vibrante da Argentina dos anos 20 e 30, e atesta o valor de artefactos culturais para ajudar a recuperar um passado esquecido enquanto anima a nossa imaginação.


Building on a collection of photos found discarded in the streets of Buenos Aires, Derby & Groma pieces together a narrative surrounding a mysterious performing duo from a bygone era. The film paints a vibrant picture of Argentina during the 1920s and ‘30s and attests to the value of cultural artifacts to help recover a forgotten past while enlivening our imaginations.  

Realização Direction KARA BLAKE | Fotografia Cinematography LEE TOUNDROW | Montagem Editing KARA BLAKE | Som Sound SIMON GERVAIS | Producão Production KARA BLAKE/PHILTE FILMS

GLI ANNI DELLE IMMAGINI PERDUTE (The Years Of The Lost Images)
de ADOLFO CONTI
Itália 2012, 85’

Valerio Zurlini foi um dos grandes realizadores da Idade de Ouro do Cinema Italiano: começando com "Le Ragazze di San Frediano" (As Raparigas de San Frediano, 1954), ao Il Deserto dei Tartari (O Deserto dos Tártaros, 1976), os seus filmes sempre conquistaram o público e os críticos. Zurlini alcançou o pico da sua carreira muito novo: em 1962 ganhou o prémio Leão de Ouro pelo seu Cronaca Familiare (Crónica de Família).
Zurlini morreu a 26 de Outubro de 1982, apenas algumas semanas depois de ter participado como júri durante o 50º Festival de Cinema de Veneza. O realizador estava consciente da sua iminente morte e como tal dedicou os seus últimos meses de vida a escrever legado espiritual, que foi lançado postumamente com este filme. É o cruel equilíbrio de uma vida, a história de um mundo que está a mudar de forma irreversível, um apelo comovente na defesa do cinema de autor.

Valerio Zurlini was one of the great movie directors from the Golden Age of Italian cinema: beginning with "Le Ragazze di San Frediano (aka The Girls of San Frediano, 1954), to II Deserto dei Tartari (aka The Desert of the Tartars, 1976), his films have always won over audiences and critics alike. Zurlini reached the peak of his career at an early age: in 1962 he won the Leone d'Oro award for his Cronaca Familiare (aka Family Diary).
Zurlini passed away on 26 October 1982, just a few weeks after having participated as a jury member during the 50th Venice Film Festival.
The film director was aware of his imminent death and so he dedicated the last months of his life to writing spiritual legacy, which was released posthumously with this film. It is the ruthless balance of a lifetime, the story of a world that is changing in an irreversible way, a poignant appeal in defense of d'auteur cinema.


Realização Direction ADOLFO CONTI | Fotografia Cinematography EUGENIO PERSICO | Montagem Editing EUGENIO PERSICO | Som Sound MIRCO PERRI | Música Music PASQUALE CATALANO | Producão Production AMALIA CARANDINI, ADOLFO CONTI

Terça-feira
18 NOV 18h00
 

 

A DEUSA BRANCA (The White Goddess)
de ALFEU FRANÇA
Brazil 2013, 30’

Em 1958, o polêmico artista e arquiteto Brasileiro Flávio de Carvalho integra uma expedição á região Amazónica. Seus planos eram de realizar um filme que uniria pesquisa etnográfica e o drama ficcional de um jovem sequestrada por ìndios. A produção jamais foi concluída.

In 1958, the polemic artist and arquitect Flávio de Carvalho starts an expedition into the regions of the Amazons. His plans were to realize a film which would unite ethnographical research and fictional drama of a young man who is pursuited by Indios. The production was never completed.


Realização Direction ALFEU FRANÇA | Montagem Editing ALEXANDRE GWAZ | Som Sound LEANDRO SALGUEIRINHO | Música Music LEANDRO SALGUEIRINHO | Producão Production DANIELA MOREIRA/IMAGINAX

REFÚGIO & EVASÃO (Refuge & Evasion)
de LUÍS ALVES DE MATOS
Portugal 2014, 65’

A partir do testemunho e experiência pessoal do cineasta Alberto Seixas Santos e das suas reflexões sobre a história do cinema fez-se a reconstrução de uma memória fílmica através de um processo de montagem. Um diálogo entre as imagens dos seus filmes e de cineastas que admira, cujos filmes contaminam este documentário como fantasmas que vêm assombrar o real. Para o realizador, “a questão central no cinema, como é a questão central na pintura, na música, onde quer que seja, é que só ficam as obras que correm riscos”.

From the testimony and personal experience of filmmaker Alberto Seixas Santos and his thoughts on the history of film, a filmic memory is rebuilt through an editing process. A dialogue between images from his films and reference to filmmakers he admires, whose films pervade this documentary like ghosts haunting reality. For the director, “the key issue with cinema, as with painting, music and art in general, is that the only works that live on are those that have taken risks”.

Realização Direction LUÍS ALVES DE MATOS | Fotografia Cinematography PEDRO SOUSA | Montagem Editing FRANCISCO CARVALHO, LUÍS ALVES DE MATOS | Som Sound PEDRO SICHA | Producão Production LUÍS ALVES DE MATOS

Terça-feira
18 NOV 20h00
 

 

WESTERN:SÁHARA
de LEFT HAND ROTATION COLLECTIVE
Espanha/Westen Sahara/Portugal 2013, 45’

"Western: Sahara" documentou a pré-produção de um projecto participativo audiovisual no Campo de Refugiados Saharawi em Tindouf (Algéria) com os artistas visuais da escola de cinema Abidín Kaid Saleh (a única escola de cinema num campo de refugiados). Do "trailer" como parte da cobertura dos meios de comunicação os participantes imaginam um "Filme Ocidental" sobre a criação do Estado Saharawi.

"Western:Sahara" documented the pre-production of an audiovisual participatory project at Saharawi Refugee Camps in Tindouf (Algeria) with the visual artists from cinema school Abidín Kaid Saleh (the only existing cinema school in refugee camps). From the "trailer" as part of media coverage participants imagine a "Western Movie" about the creatin of Saharawi State.


Realização Direction LEFT HAND ROTATION COLLECTIVE | Fotografia Cinematography LEFT HAND ROTATION COLLECTIVE | Montagem Editing CINEMA SCHOOL ABIDIN KAID SALEH | Som Sound LEFT HAND ROTATION COLLECTIVE | Música Music DANIEL CATARINO ("O ALENTEJANO"), MARIEM HASSAN| Producão Production MANUEL SORDO VICENTE, ARTIFARITI/LEFT HAND ROTATION

ERWIN WURM - DER KÜNSTLER DER DIE WELT VERSCHLUCKT
(Erwin Wurm - The Artist Who Swallowed The World)
de LAURIN MERZ
Suiça, Austria, Alemanha 2012, 53’

Durante quatro anos, o artista oferece uma visão sobre o seu mundo, o seu trabalho e a sua arte. Nós espreitamos por cima do seu ombro enquanto ele desenvolve novas obras. Nós não nos afastamos quando a pressão aumenta e ele precisa de desabafar. Nos momentos mais calmos, Wurm fala sobre a sua família, de como a sua infância influencia a sua arte e a sua manipulação do mercado global de arte, que ele por vezes vê como uma "hiena”.

For four years, the artist offers insight into his world, his work and his art. We peek over his shoulder as he develops new works and puts them together on the spot. We do not turn away when the pressure gets too much and he needs to vent. In calmer moments, Wurm talks about his family, of how his childhood influences his art and his handling of the global art market which he sometimes perceives as a "hyeana".


Realização Direction LAURIN MERZ | Fotografia Cinematography JOHANNES HAMMEL | Montagem Editing CHRISTIAN MÜLLER | Som Sound GAILUTE MIKSYTE, HIJALTI BAGER-JONATHANSSON | Producão Production RETO CADUFF, LAURIN MERZ

Quarta-feira
19 NOV 18h00
 

NADA TENHO DE MEU (I've Nothing Of My Own)
de MIGUEL GONÇALVES MENDES
Brazil/Portugal 2013, 47’

O realizador português Miguel Gonçalves Mendes e os escritores brasileiros Tatiana Salem Levy e João Paulo Cuenca viajaram até ao Extremo Oriente para uma troca de experiências com artistas e pensadores de Macau, Hong Kong, Vietname, Cambodja e Tailândia. Desse contacto, que surgiu depois dos 3 autores terem sido convidados a estar presentes no "1º Festival Literário de Macau - Rota das Letras", nasceu “Nada tenho de meu”, descrita pelos seus autores como “uma mistura de caderno de viagens e ficção".

Portuguese director Miguel Gonçalves Mendes and brazilian writers Tatiana Salem Levy and João Paulo Cuenca traveled to the Far East to exchange experiences with artists and thinkers from Macau, Hong Kong, Vietnam, Cambodia and Thailand. From this contact, which begun after the three authors have been invited to the 1st "Literary Festival of Macau - Rota das Letras", will be born the video series "I've have nothing on my own" described by the authors as "a blend of a travel book and fiction".

Realização Direction MIGUEL GONÇALVES MENDES | Fotografia Cinematography MIGUEL GONÇALVES MENDES | Montagem Editing PERDO SOUSA | Som Sound 1927Audio | Música Music NOISERV, PEDRO GONÇALVES | Producão Production DANIELA SIRAGUSA/JumpCut

DETROIT - MOTOR CITY MUSIC
de CLAUS BREDENBROCK & PAGONIS PAGONAKIS
Alemanha 2012, 52’

Baseado nos velhos e novos sucessos do panorama musical de Detroit, pintamos a imagem de uma cidade dos Estados Unidos da América cheia de contradições. A música reflecte o desenvolvimento de uma metrópole que - como muitas outras cidades Norte Americanas - passou por uma mudança radical nas últimas décadas. A população da cidade está a diminuir, a infra-estrutura urbana está a colapsar, e o crime a aumentar. Neste aspecto, Detroit é um importante exemplo para todos os Estados Unidos da América. Nós justapomos imagens melancólicas do centro da cidade parcialmente destruído com material de arquivo dos anos 50 e 60 - um período de riqueza e oportunidades aparentemente ilimitadas. Fizemos entrevistas a antigos artistas da editora Tamla Motown, como Mitch Ryder, Martha Reeves, e o músico dos MC 5 Wayne Kramer. E falámos com a autora Susan E. Smith, que nos deu uma visão fascinante sobre o actual panorama musical ao visitar os prósperos estúdios de gravação e produção da cidade. Imagens de arquivo de populares êxitos do início dos anos 40 até ao presente provam que o vibrante panorama musical de Detroit sempre foi um espelho da meteórica ascensão e declínio de Motor City.

Based on the old and new hits of Detroit's music scene, we paint the image of a US-American city full of contradictions. The song reflect the development of a metropolis that - like many other North American cities - has gone through a radical change over the last few decades. The city's population is dwindling, the urban infrastructure is collapsing, and crime is spreading. In this respect, Detroit is an important example for the entire United States of America. We juxtapose melancholic images of the partially destroyed city centre with archive material of the 1950s and 1960s - a period of wealth and seemingly unlimited opportunities. We conduct interviews with former artists of the Tamla Motown record label, such as Mitch Ryder, Martha Reeves, and MC 5 musician Wayne Kramer. And we talk to the author Susan E. Smith, who gives us fascinating insights into Detroit's current music scene by visiting the city's thriving production and recording studios. Archive images of popular hits from the early 1940s to the present prove that Detroit's vibrant music scene has always been a mirror of the meteoric rise and the steep decline of Motor City.


Realização Direction CLAUS BREDENBROCK, PAGONIS PAGONAKIS | Fotografia Cinematography BERND MEINERS | Montagem Editing KARL-HEINZ SATZGER | Som Sound JÖRG JOHOW | Producão Production ROBERT PÜTZ

Quarta-feira
19 NOV 20h00
 

WOLFE VON LENKIEWICZ - PORTRAIT OF THE ARTIST
de MONIKA K. ADLER
UK 2013, 10’

O britânico artista contemporâneo Wolfe von Lenkiewicz reconta uma narrativa sobre o pintor da Renascença do Norte Hieronymous Bosch que reflecte sobre a autenticidade na arte em contexto com a sua série 2012 de pinturas em grande escala que reconfiguraram os trabalhos icónicos dos Mestres Holandeses como o Garden of Earthly Delights (c. 1490), o Haywain Triptych (c. 1516) num 'pós-histórico', transcultural manuscrito.


British contemporary artist Wolfe von Lenkiewicz recounts a narrative about the Northern Renaissance painter Hieronymous Bosch which reflects upon authencity in art in context with his 2012 series of large scale paintings which reconfigured the Dutch Master's iconic works such as the Garden of Earthly Delights (c. 1490), the Haywain Triptych (c. 1516) into a 'post-historic', trans-cultural manuscript.

Realização Direction MONIKA K. ADLER | Fotografia Cinematography JESSICA KELLY | Montagem Editing MONIKA K. ADLER | Som Sound KLEBERG | Producão Production LISA K SAMOTO

UNVEILING SALOME
de NAYO TITZIN
Bulgária 2013, 57’

Alex Penda diva da ópera búlgara, Christian Lacroix estilista francês, Modestas Pitrenas maestro letão e Vincent Boussard encenador francês reuniram a mais bela e provocante encenação da ópera Salomé no início do século 21. " Unveiling Salome" é um documentário que acompanha o processo criativo de revelar o lado negro da alma humana.

Bulgarian opera diva Alex Penda, French fashion designer Christian Lacroix, Latvian conductor Modestas Pitrenas and French stage director Vincent Boussard gather the most beautiful and provocative staging of the opera Salome at the beginning of the 21st century. "Unveiling Salome" is a documentary that follows the creative process of revealing the dark side of the human soul.


Realização Direction NAYO TITZIN | Fotografia Cinematography NAYO TITZIN | Montagem Editing NAYO TITZIN | Som Sound YORDAN TOMOV, VLADISLAV BOYADJIEV | Producão Production NAYO TITZIN

Quarta-feira
19 NOV 21.h30
CEREMONÍA DA ENTREGA DOS PRÉMIOS

Place of Event:

CINEMA IDEAL
Rua do Loreto 15-17
1200-241 LISBOA/LISBON - Portugal

Filmes legendados em português (English and Portuguese subtitles)

Bilhetes 4 euros / 3.5 euros

Direcção e Programação: Rajele Jain

Jurí:

Traduções: Paulo Montes / Ana Sofía Nunes / Ruben de la Costa

Legendagem: Paulo Montes

Agradecimentos especiais: Kazike, Anton, Luís Alves de Matos, Teresa Prata, Zé Grande, Paulo Montes, Namalimba Coelho, Rogério Taveira, Zambeze Almeida

temps d' images lisboa






Mensch und Arbeit

Eröffnung: So., 14.9. um 15 Uhr, Eröffnung durch die Kuratoren M. Baerens und C. Rath

Dauer: 14. September bis 5. Oktober 2014

 

Öffnungszeiten: Mi u. Sa 15-18h, So 14-18h
Festivalöffnungszeiten: 19. September: 19-22h, 20.+ 21. September: 11-19h

 

Sonderveranstaltung: Sa., 20.9. um 18 Uhr : Anke Reitz, Kuratorin und Konservatorin von The Family of Man im Schloss von Clervaux, Luxemburg, spricht zum Thema „Edward Steichens Fotokonzeption - heute eine Option?“ mit anschließender Diskussion (open end)

Ort: Museum Zündorfer Wehrturm, Hauptstraße 181, 51143 Köln

 

Im Rahmen der Internationalen Photoszene Köln zeigt der Kunstverein 68elf e.V. Köln im Museum Zündorfer Wehrturm über 40 fotografische Positionen von Teilnehmern aus ganz Deutschland, dem europäischen Ausland und Amerika.
Die Ausstellung beleuchtet das Verhältnis des heutigen Menschen zur Arbeit im Spiegel der Fotografie, sowohl dokumentarisch, als auch in künstlerischer Verarbeitung.
Der Kunstverein 68elf e.V., sowie die eingesetzte Jury und die Kuratoren Christiane Rath und Michael Baerens trugen nach einer europaweiten Ausschreibung über 40 fotografische Positionen zusammen. Die Bilder zeigen ein weltumfassendes Spektrum der aktuellen Arbeitswelt, erzählen vom Wahrsager und der Prostituierten im Wohnwagen, von Menschen, die unter Lebensgefahr in Bangladesch Schiffe abwracken, und anderen, die auf Müllhalden Zivilisationsschrott  verwerten. Es sind Arbeitssituationen zu sehen, die archaisch anmuten, die den Arbeitenden erfüllen, aber auch existentiell bedrohen, wie die Abwicklung einer in Konkurs gegangenen Fabrik.
Neben Berufsfotografen wurden auch einige Amateure ausgewählt, die ihre eigene Arbeit dokumentieren, wie z.B. der Schauspieler, der eine Momentaufnahme einer Theaterprobe einfängt oder die Krankenpflegerin, die ihrem Patient Beihilfe zur Erfüllung sexueller Phantasien leistet.
Die Präsentation im Museum Zündorfer Wehrturm versteht sich als Annäherung an das komplexe Thema Arbeit in seiner Widersprüchlichkeit zwischen Erschöpfen und Schöpfen, nach wie vor grundlegend für die menschliche Existenz weltweit.

Inspiriert wurden die Kuratoren von der berühmten Ausstellung „The Family of Man“, die ab 1951 von Edward Steichen für das New Yorker Museum of Modern Art (MoMA) zusammengestellt wurde, wo sie 1955 zu sehen war und dann um die ganze Welt reiste. Ihm war nach der Erfahrung des 2. Weltkrieges daran gelegen, in Fotografien eine positive Gesamtschau der menschlichen Existenz zu realisieren, ohne die negativen Aspekte auszusparen.
Steichens faszinierende Ausstellung ist seit ihrer Wiedereröffnung 2013 im Schloss Clervaux in Luxemburg zu sehen und seit 2003 zählt die Ausstellung zum Weltdokumentenerbe.
„Mensch und Arbeit“ im Zündorfer Wehrturm ist bereits das zweite Foto-Projekt von 68elf e.V. in der Auseinandersetzung mit E. Steichen nach „Familie Mensch“ 2012 in der Kunsthalle Lindenthal


Künstler: Paul Advena, Jo Albert, Bernd Arnold, Michael Baerens, Dietrich Bahß, Anselm Belser, Anja Bohnhof, Claudio Cambon, Igor Chepikov, Carlos Crespo, Heinrich Cuipers, Alexander Paul Englert, Rendel Freude, Susanne A. Friedel, Anne Friederichsen, Johannes Gerard, Erwin Goldmann, agii gosse, Konstantinos-Antonios Goutos, Boris von Hopffgarten, Hanne Horn, Christine Kaul, Uwe Klos, Iwona Knorr, Anna Lebedeva, Matthias Mühle, Marie-Theres Nowak, Raphael Perret, Volker Petersen, Stefan Pielow/Emmanuel Eckard, Christiane Rath, Rainer Rehfeld, Michaela Schaefer, Thilo Schmülgen, Wolfram E. Schneider-Mombaur, Samira Schulz, Susanne Schumacher, Anja Teske, Julia Thiele, Guntram Walter, Jürgen Wasmuth, Anuschka Wenzlawski


-68elf mensch-und-arbeit cologne





SummerHolidaypostcardshow (#1)
July - August 2014 / Finissage: 24.08.2014

@ ABTEILUNG FÜR ALLES ANDERE / ACKERSTRASSE 18 / BERLIN-MITTE


Over the time of Berlin's summer break the Institut collects and presents postcards from artists on vacation from July 9th to August 24th 2014. This group show ends with a closing event in which all postcards that have reached us will be on show.

Über die Zeit der Sommerferien in Berlin sammelt und präsentiert das Institut vom 09. Juli bis 24. August Postkarten von Künstlerinnen und Künstlern die im Urlaub sind. Die Gruppenausstellung wird mit einer Abschlussveranstaltung beendet bei der alle bis dahin eingegangenen Karten gezeigt werden. 

Finissage: 24.08.2014 / 1 - 5 pm

-summer holiday postcard show in berlin




»extra — experimental trails« - Festival für experimentelle Film- und Videokunst

Festivaldauer
28. bis 30. November 2013 im Cineding Leipzig,
Beginn jeweils ab 19 Uhr
Eintritt frei

Ausstellungsdauer
28. November bis 14. Dezember 2013 im D21 Kunstraum Leipzig

Eröffnung der Ausstellung
Mittwoch, den 27.11.2013, 19 Uhr, im D21 Kunstraum Leipzig

Öffnungszeiten der Ausstellung
Donnerstag – Sonntag, 13 – 19 Uhr

Kuratoren:
Gottfried Binder
Juliane Richter

Die Ausstellung und das Festival für experimentelle Film und Videokunst »extra – experimental trails« bietet in der zweiten Ausgabe 2013 neuen filmischen Sichtweisen für drei Tage eine offene und zeitgenössische Diskussions- und Ausstellungsplattform. »extra« gliedert sich in die seit 2006 im D21 Kunstraum existierende »Reihe Experimentalfilm« ein, die in regelmäßigen Abständen FilmemacherInnen aus dem Experimentalfilmbereich vorstellt.

Am Anfang von »extra« stand ein internationaler Open Call, der den EinsenderInnen keinerlei Beschränkungen hinsichtlich Alter oder Ausbildung sowie bezüglich Länge, Genre oder Präsentationsmodi der Arbeiten auferlegte – ausschlaggebend sollte zunächst die Selbsteinschätzung und Kategorisierung der AutorInnen hinsichtlich der Gattung „experimenteller Film“ selbst sein. Aus diesem Fundus wurden die eindrucksvollsten, überzeugendsten oder überraschendsten Arbeiten ausgewählt und zu einem kuratierten Programm zusammengestellt, welches an den drei Festivalabenden außerhalb eines Wettbewerbes und ohne Jurybewertung im Programmkino Cineding präsentiert und in Anwesenheit der FilmemacherInnen diskutiert wird.

Die auf drei Tage verteilten Screenings der Favoriten im Cineding sind ein bewusstes Bekenntnis zum Kinoraum, zur ihm noch immer innewohnenden Mystik und zu der sozialen Erfahrung, die durch ihn ermöglicht wird und die wir nicht missen möchten.

Im Rahmen der Ausstellung im D21 Kunstraum hingegen, wo die eingesandten Film- und Videoarbeiten ohne Ausnahme zu sehen sind, werden die Möglichkeiten und Grenzen des Ausstellens von Filmen und Videos installativ befragt und erforscht. Wir möchten durch die Offenlegung des Auswahlprozesses – schließlich könnte sich jede/r Besuchende im D21 Kunstraum alle Bewerbungen ansehen, sollte er oder sie genügend Zeit mitbringen – auch die subjektiven Kriterien oder Geschmäcker transparent machen, die zur Zu- oder Absage für das Festivalprogramm geführt haben.

Vor dem Panorama der über einhundert eingesandten Beispiele zeitgenössischer Filmkunst möchten wir grundlegende Fragen stellen: Was ist das Experimentelle im Experimentalfilm? Wie definieren und formulieren „experimentelle“ Filmschaffende heute ihre Standpunkte und ihre Arbeitsweise in Selbstaussagen und in ihren praktischen Arbeiten? Was sind überhaupt die Kriterien dafür, einen Film oder ein Video als experimentell zu kategorisieren? Wie sinnvoll sind per se einengende Gattungsgrenzen und Genrebezeichnungen im filmischen Diskurs? Diese Themen sollen während des Festivals und der Gespräche zwar nicht erschöpfend behandelt, aber dennoch ohne Scheu angesprochen und diskutiert werden.

»extra« speist sich entsprechend dem Namen, einem Akronym aus experimental und trails (engl.: Pfade, Spuren), aus Arbeiten experimenteller FilmkünstlerInnen, deren Positionen, Ästhetik oder Arbeitsweise noch nicht oder wenig etabliert sind und die noch keinem allgemeinen Kanon oder Konsens angehören. Nicht als Gegenüberstellung, sondern vielmehr als Ergänzung, möchten wir während des Festivals dennoch zwei bekanntere, bereits länger schaffende Filmemacher zum Screening und zum öffentlichen Gespräch einladen: Romeo Grünfelder erforscht in seinen Arbeiten paranormale Phänomene, seine Filme und Videos oszillieren im weitesten Sinne zwischen experimentellen Dokumentationen und Bildender Kunst. Das gleiche könnte man auch von Lutz Dammbeck behaupten, sein Film „Das Netz“, der am 29. November im Cineding gezeigt wird, hat darüber hinaus durch aktuelle Entwicklungen neue, beinahe visionäre Sprengkraft gewonnen.

Um die Diskussionen nicht abreißen zu lassen, wird ab 2014 im D21 Kunstraum Leipzig die Screening– und Diskussionsreihe »EXTRÆX — experimental tracks« etabliert. Hier werden in thematischen Clustern Experimentalfilme und Videos vorgeführt und – ganz im Sinne einer Versuchsanordnung – in begleitenden theoretischen Vorträgen mit WissenschaftlerInnen verschiedenster Disziplinen diskutiert und erprobt. Sind Definitionen zum experimentellen Arbeiten im disziplinübergreifenden Diskurs gar vergleichbar? Auf einer bereits bei »extra« gelegten Wissensbasis soll hier die theoretische Auseinandersetzung mit der Gattung „Experimentalfilm" gefördert werden.

Es ist geplant, im Anschluss an das Festival ein über die Bibliothek der Hochschule für Grafik und Buchkunst Leipzig öffentlich zugängliches Archiv für experimentelle Film– und Videokunst aufzubauen, für das die Einsendungen der beiden »extra«-Ausgaben den Grundstein gelegt haben.

Im Rahmen des Festivals kann gegen Spende eine Postkarte erworben werden, die zu einer Jahresmitgliedschaft in der Filmgalerie Alpha60 und im DVD-/Videoverleih Memento berechtigt.

»extra« ist ein Kooperationsprojekt des D21 Kunstraum Leipzig, des Cineding Leipzig, der Filmgalerie Alpha 60/Vitakuben Film (Leipzig) und dem DVD-/Videoverleih Memento und wird gefördert vom Kulturamt Leipzig, dem Studentenwerk Leipzig und dem StuRa der Universität Leipzig.

Beteiligte Künstler:

Julia Albrecht, Urte Alfs, Nadine Arbeiter, Susann Arnold, Jessica Asmus, Atelier am Park, Mark Auerbach, Edin Bajric, Frederik Baur, Aleksandra Beeker, Laura Belker, Maurits Boettger, Dina Boswank, Natalia Bougai, Frank Bubenzer, Christian Buckenauer, Ronny Bulik, Harald Burger, Véronique Cartier-Hampel, Cindy Cordt, Zhenia Couso Martell, Philipp Dietrich, Lena Ditte Nissen, Björn Drenkwitz, Fabian Driehorst, Sonja Dürscheid, Jennifer Eberhardt, Julia Emmler, ensó, Lorenz Fidel Huchthausen, Matthias Fitz, Jens Franke, Yule Franke, Kuesti Fraun, Louis Fried, Matthias Fritsch, Andreas Giesecke, Carolin Gießner, Andonia Gischina, Noam Gorbat, Florian Göthner, Konstantinos Antonios Goutos, Martina Gromadzki, Reinhard Hampel, Lissy Heckel, Marcus Held, Helene Hellmich, Timo Herbst, Sascha Herrmann, Maximilian Hohlweg, Mark Hornbogen, Christin Huber, Theo Huber, Sophie Innmann, Britta M. Ischka, Daniela Junghans, Franziska Kabisch, Dennis Kacs, Anas Kahal, Anna Kaufmann, Oleg Kauz, Jana Keuchel, Hannes Kleinschmidt, Juliane Kuhnt, Alexander Langberg, Kathrin Lemcke, Marie-Eve Levasseur, Patricia Lincke, Therese Lippold, Maria Manasterny, Rita Martin, Karl-Heinz Mauermann, Ragnhild May, Norbert Merkel, Katharina Merten, Henrike Naumann, Philip Neues, Daniel Neumann, Philotheus Nisch, Nina Nowak, Chrischa Venus Oswald, Ben Paetzold, Ginevra Panzetti, Mehi Park, Lukas Pfalzer, Sven Piayda, Fabian Polinski, Rahel Pötsch, Meike Redeker, Patrick Richter, Sophie Salzer, Benjamin Schmidt, Nicolaas Schmidt, Sarah Schreier, Marcel Schreiter, Eva Maria Schug, Frederic Schuld, Irem Schwarz, Maya Schweizer, Maria Schwerdtner, Antje Seeger, Ginan Seidl, Johanna Selge, Gine Selle, Johannes Siebler, Amelita Silea, Bastian Sistig, Jana Slaby, Markus Soukup, Isabell Spengler, Ruth Strähhuber, Kestutis Svirnelis, Daniel Theuring, Torsten Thiele, Thalke Thyen, Enrico Ticconi, Birte Trabert, Claudia Trost, Deborah Uhde, Charlotte Voelskow, Johanna Wagner, Pablo Walser, Eberhard Weible, Samuel Weikopf, Julia Weißenberg, Susann Weißhaar, Maeshelle West-Davis, Clara Wieck, Xenia Wierzbicki, Nina Wiesnagrotzki, Veronica Wüst, Do Yong

Festivalprogramm im Cineding Leipzig:

Donnerstag, 28. November 2013

Maximilian Hohlweg: mein Kind
6:23 min
Österreich 2013
PREMIERE

Noam Gorbat: Let's Call It Swimming
17 min
Deutschland 2013
PREMIERE

Deborah Uhde: Ene Mene Mu
19:39 min
Deutschland 2013
PREMIERE

Sven Piayda: Ghost Lights
3 min
Deutschland 2013

Susann Weißhaar: SCHIEF_GANG
6:24 min
Deutschland 2013
PREMIERE

Antje Seeger: Taking pictures
0:28 min
Deutschland 2013
PREMIERE

Franziska Kabisch: Ein Film
3:32 min
Deutschland 2012

20.30 Uhr: Künstlergespräch und Film

»Fokus – Romeo Grünfelder«


Der anwesende Filmemacher Romeo Grünfelder stellt eine Auswahl seines filmischen Œuvres vor und zur Diskussion. Dabei werden Aspekte des „Experimentellen“ seiner Arbeiten betrachtet und unter anderem gefragt: Worin besteht und welchem Zweck dient das Experiment im Experimentalfilm?


 

Freitag, 29. November 2013

Maya Schweizer: A Memorial, A Synogogue, A Bridge and A Church
12 min
Bratislava 2012

Marie-Eve Levasseur, Andreas Giesecke: Occupy
23:14 min
Deutschland 2012
PREMIERE

Natalia Bougai: d wie dora
5:30 min
Deutschland 2010

Louis Fried: Die Wüste Malo
22:30 min
Deutschland 2013

Henrike Naumann: TRIANGULAR STORIES
16:45 min
Deutschland 2012

Alexander Langberg: Merkel
2:59 min
Deutschland 2013
PREMIERE

Konstantinos Antinios Goutos: life circle live circus life
5:28 min
Griechenland, Deuschland 2005-2007

Isabell Spengler: PSYCHIC TEQUILA TAROT
24 min
USA, Deutschland 1998

 

Sonnabend, 30. November 2013

Frank Bubenzer: NEUNAUGE VIDEOS
36:02 min
Deutschland 1991 – 2013
PREMIERE

Matthias Fitz: electromagnetic plot
6:58 min
Deutschland 2008

Dina Boswank: The machine can read the lines, right?
7:33 min
Indien, Deutschland 2013
PREMIERE

Lorenz Fidel Huchthausen: Alter & Junge
4:29 min
Deutschland 2013
PREMIERE

Mark Hornbogen: STMBL
2:27 min
Deutschland 2013

Björn Drenkwitz: Duett
8:39 min
Deutschland 2012
PREMIERE

20 Uhr: 
»Das Netz – Unabomber/LSD/Internet«, Regie: Lutz Dammbeck, 35 mm, 121 min, D 2003


Ein experimenteller Dokumentarfilm über die Anfänge und den Aufstieg des Internets, bewusstseinsverändernde Drogen, militärische Experimente und den sogenannten 'Unabomer' Ted Kaczynski.
Filmvorführung in Anwesenheit des Filmemachers, mit Einführung und Künstlergespräch


Eintritt an der Kinokasse

22 Uhr: Künstlergespräch
»Unter dem Banner der Regression«

Eine Diskussion mit Lutz Dammbeck


Weitere Veranstaltungen im D21 Kunstraum Leipzig:

Sonnabend, 7. Dezember 2013

19 Uhr
»Tineola Bisselliella & Chromaton«
Experimente in audio-visueller Improvisation von Martin Schütz, Paul Elvers, Tim Grunwald und Nicolás Rupcich.

......

Sonnabend, 14. Dezember 2013

19 Uhr
"Von Arties, Kaffee und Cinema 16 – Amerikanischer Experimentalfilm und Art Cinemas"
Ein Vortrag der Filmwissenschaftlerin Claudia Cornelius

Finnissage von »extra« 2013




Vom 9. bis 13. Oktober Diskurs’13-Festival

Vom 9. bis 13. Oktober findet zum 29. Mal das Diskursfestival für junge performative Künste in Gießen statt. Dieses Jahr sind elf Künstler und Kollektive aus der Türkei, Deutschland, Griechenland, Israel, Kanada, Großbritannien, der Schweiz und den Niederlanden zu Gast.

Avatar_250913_1
Lupe - Artikelbild vergrössern
Freya Björg Olafson aus Kanada ist mit der Performance »Avatar« vertreten. (Foto: pv)
An verschiedenen Spielorten in der Stadt wird vier Tage lang ein interdisziplinäres Programm bestehend aus Performance, Lecture, Dokumentartheater, Choreografie, Installation, Film und Hörstück gezeigt.

Diskurs’13 setzt seinen Fokus in diesem Jahr nicht ausschließlich auf den Moment der Präsentation, sondern versucht auch, das Davor und Danach, die Rahmenbedingungen und Produktionsverhältnisse sowohl der einzelnen Arbeiten als auch des gesamten Festivals zu beleuchten, weshalb neben den Aufführungen auch Tischgespräche zum Programm gehören.

Ludwig Berger hat mit »1959« einen Sound über Erinnern und Wiederholen kreiert. Begüm Erciyas, die 1982 in Ankara geboren wurde und in Berlin lebt, thematisiert in ihrer Performance »this piece is still to
come« die permanente Wiederholung. Konstantinos-Antonios Goutos aus Griechenland lädt für »Pietà« quasi zur Diskussion mit Platon, Aristoteles, Diogenes und Heraklit ein. Bülent Kullukcu, Anton Kaun und Dominik Obalski zeigen »Die letzten Tage der Menschheit oder der Untergang der Welt durch schwarze Magie«, eine Theater-Installation nach Karl Kraus. Lee Meir setzt sich mit ihrer Ein-Frau-Tanz-Performance »updownandaround« mit dem direkten Kontakt zwischen Performer und Publikum auseinander. Cecilia Moisio aus den Niederlanden macht sich mit »Juxtapose« ihre Gedanken über Geschlechterrollen. Tänzerin Freya Björg Olafson aus Kanada ist mit der Performance »Avatar« vertreten. Silke Stephan und Lea Dietschmann zitieren mit »Love is a hunger« den Curtis-Stigers-Song. Das STAFF collective aus Großbritannien mit Lucy Beynon und Lisa Jeschke zieht den britischen Premierminister David Cameron durch den Kakao. Beim Diskurs’13 treten auch Franziska Kabisch mit ihrer Performance »Danke« und die Schweizerin Corinne Maier mit »past is present« auf.

Diskurs’13 lädt ein zu Kritikgesprächen im Festivalzentrum (Schanzenstraße 1), das einen Ort bietet zum Austausch zwischen Künstlern und Publikum, aber auch zum Ausruhen und Verweilen. Jeden Tag werden ein Frühstück, Kaffee und Kuchen, eine warmes vegetarisches Abendessen und ein Live-DJ-Set serviert.

Diskurs’13 wird von Studierenden der Angewandten Theaterwissenschaft der Justus-Liebig-Universität kuratiert und organisiert, die es sich zum Ziel machen, eine Plattform für den Austausch und zur Förderung junger internationaler Künstler zu schaffen und dabei innovativen und experimentellen Konzepten Raum zu geben. Weitere Infos sind demnächst unter www.diskursfestival.de zu finden, aktuell auch via Facebook. gl/pm

giessener-allgemeine, 24.09.2013 - 16.54 Uhr










DISKURS’13 – Festival for young performing arts

DISKURS’13 – Festival for young performing arts


Auf der Suche nach Neuem und Unbekanntem, nach Aktuellem und Innovativem, Verstörendem und Überraschendem, Unbequemen und Ungewohntem, Anregendem und Anstoßendem

Vom 9. bis zum 13. Oktober findet in Gießen zum 29. Mal das Diskursfestival statt. Mit dem Ziel eine Plattform für den Austausch und die Förderung junger internationaler Künstler_innen zu bilden, kuratieren und organisieren Studierende der Angewandten Theaterwissenschaft der Justus-Liebig Universität das DISKURS’13 Festival.

Über Gießen verteilt zeigt DISKURS’13 ein interdisziplinäres Programm aus Performance, Choreografie, Dokumentartheater, Installation, Video, Sound, Lecture, Tisch- und Kritikgesprächen und stellt so experimentelle und innovative Konzepte in den aktuellen Diskurs über performative Künste und deren Strukturen.

DISKURS’13 freut sich auf Feministisches und Fatalistisches, Dokumentarisches und Virtuelles, Intimes und Dankbares, Zukünftiges und Vergangenes, Gefundenes, Geliehenes und Geklautes von:

Ludwig Berger (DE) / 1959

Begüm Erciyas (TR/DE) / this piece is still to come

Konstantinos-Antonios Goutos (GR/DE) / pietà

Franziska Kabisch (DE) / Danke!

Bülent Kullukcu, Anton Kaun & Dominik Obalski (DE) / Die letzten Tage der Menschheit oder der Untergang der Welt durch schwarze Magie

Corinne Maier (CH) / Past is Present

Lee Meir (IL/DE) /UPDOWNANDAROUND

Cecilia Moisio (NL) / Juxtapose

Freya Björg Olafson (CA) / Avatar

Silke Stephan & Lea Dietschmann (DE) / Love is a Hunger

STAFF collective (UK) / David Cameron



PROGRAMM:

MITTWOCH, 09.10.2013

18:00 Eröffnung, Festivalzentrum

20:00 Avatar (Audio-Video-Performance) / TiL Studiobühne

20:00 Past is Present (Dokumentartheater) / Probebühne 1

22:00 Après moi le déluge: The OhOhOhs live & DJ André Schöne (elektrotoaster/Berlin)


DONNERSTAG, 10.10.2013

ab 10:00 pietà (Video) / Festivalzentrum

15:00, 15:30, 17:30, 18:00, 18:30, 19:00 1959 (Hörstück) / A118

16:00 Past is Present (Dokumentartheater) / Probebühne 1

20:00 Avatar (Audio-Video-Performance) / TiL Studiobühne

20:00 UPDOWNANDAROUND (Dance Performance) / Probebühne 2

22:00 Love is a Hunger (Performance) / Wohnung

22:00 Die letzten Tage der Menschheit und der Untergang der Welt durch schwarze Magie. Theaterinstallation nach Karl Kraus / KiZ

24:00 Vive la crise: 1 Hour, 1 Drink, 1 DJ, Festivalzentrum


FREITAG, 11.10.2013

ab 10:00 pietà (video) / Festivalzentrum

11:00 Kritikgespräche: Past is Present, Avatar, pietà, Festivalzentrum

15:00 Danke! (Performance), im Anschluss Tischgespräche*, Georg Büchner Saal

20:00 UPDOWNANDAROUND (Dance Performance) / TiL Studiobühne

20:00 David Cameron (Performance) / Alte Kupferschmiede

21:00, 21:30 1959 (Hörstück) / A118

22:00 Love is a Hunger (Performance) / Wohnung

22:00 this piece is still to come (Choreographie) / Probebühne 1

24:00 Je ne travaille jamais: 1 Hour, 1 Drink, 1 DJ, Festivalzentrum


SAMSTAG, 12.10.2013

ab 10:00 pietà (Video) / Festivalzentrum

13:00 Kritikgespräche: Love is a Hunger, Danke!, UPDOWNANDAROUND, 1959, Festivalzentrum

19:00, 19:30, 20:00, 20:30, 21:00, 21:30 1959 / A118

20:00 Juxtapose (Physical-Theatre-Performance) / Probebühne 2

20:00 Die letzten Tage der Menschheit und der Untergang der Welt durch schwarze Magie. Theaterinstallation nach Karl Kraus / KiZ

22:00 David Cameron (Performance) / Alte Kupferschmiede

22:00 this piece is still to come (Choreographie) / Probebühne 1

23:00 La boum, c'est moi: New Kids On The Bloxxx: DJ HELIX, Peter Pilotem (DONTSTOP), MAGIC (DONTSTOP), Timo Wiegand (Brontosaurus Jr Club)


SONNTAG, 13.10.2013

12:00 Brunch

13:00 Kritikgespräche: Die letzten Tage der Menschheit..., this piece is still to come, Juxtapose, David Cameron


* DISKURS'13 beschäftigt sich mit der Frage, wie Arbeitsbedingungen in der freien Theaterszene aussehen und wie wir über sie nachdenken können.

Bei den Tischgesprächen trefft ihr auf etablierte und (noch) nicht-etablierte KünstlerInnen, FestivalmacherInnen, Kulturpolitik und -verwaltung, sowie auf KämpferInnen für mehr Fördergelder. Dort werden - auch am Beispiel von DISKURS'13 - Arbeitsbedingungen von Kunst- und KulturarbeiterInnen diskutiert.

Unser Festivalblog wird Materialien zum Thema Arbeit bereitstellen sowie für alle weiterführenden Diskussionen ein Forum sein. Information über die Hintergründe des Festivals hängen im Festivalzentrum aus.



weitere Infos auf www.diskursfestival.de


Institut für Angewandte Theaterwissenschaft Universität Gießen









SCREEN Festival | Video art route Gotico Barcelona

In a central part of the historical Gòtic quarter, a group of neighboring spaces open their doors to show videos and video installations around the theme We Built this City. Works reflecting human-city interaction, migration, urbanization and construction/destruction will illuminate and transform the historic surface of the city.

Estudio Nómada - Michael Bliem (Austria) “Influence” - c. La Palma de Sant Just 7
Estudio Nómada - Alumnos de Estudio Nómada y Massana - c. La Palma de Sant Just 9
In the streets – Karla Kracht + Susana Karrash (Germany) “Space on Wheels” – Moving car going around the barrio
Base ElementsJulie Marsh (UK) “Winspit” -  c. del Palau 6
Pati Llimona - Noemi Sjoberg (Sweden) “Becoming beauty”, Liza Oliinyk (Ukraine) “Advertisement”, Konstantinos-Antonios Goutos / the|video|Flâneu® (Greece) “After Caspar David Friedrich” – c. Regomir 3
Palau Moxo - Lina Lopes + Paolo Muggler Moreira (Brasil) “LABinto” - Plaça de Sant Just 4
Unicorn studioChristoph Medicus (Germany) “Loss of control zapping” – Baixada de Viladecols 4
Local D - Enric Socias (Spain) “Transverse” – c. la Palma de Sant Just 9 D
Blanco StudioSebastian Mühl + Stefan Hurtig (Germany) “Wall of fame” – Baixada Caçador 4
Endorfina – Anja Filatova (Ukraine) “Busy” – Baixada de Viladecols 3
Electrocometa - Ángel Muñoz (Spain) “Sedimental Code” – c. Cometa 6


estudio-nomada barcelona









DIRECT ACTION FESTIVAL 2013 review by Elizabeth Stevens

This weekend’s [DIRECT ACTION] gathering took place at the cleverly named satellite space for Institut Für Alles Mögliche, Abteilung für Alles Andere.  Abteilung für Alles Andere has been presenting it’s iterations of [DIRECT ACTION] at MPA-B since 2010.  This year’s gathering (DA*13) featured performances from students and invited artists alike, with the title theme “performance on*with*through language.”  According to the program, DA*13 “highlights the concept of ‘works-in-progress,’” wherein performers were given the opportunity to develop their works over the course of the weekend. 

This concept of “works-in-progress” was most apparent when I arrived on Friday evening.  The performers were all present, eating a communal meal and preparing to discuss the weekend’s events.  As director of the Institut Stefan Riebel explained, the schedule was not yet determined; rather, planning the series was part of the series.  As such, the preparation of events became a performative event in itself.

I returned on Sunday evening to witness the progress of DA*13.  The evening held multiple performances, video screening and discussions, now with the focus on the main theme of the series.  All artists played with the idea of language through various platforms, all questioning the purpose, necessity and means of communication in our everyday lives.  Most intriguing for me was Sebastian Boulter’s reinterpretation of Florian Kiniques’s “Occurrence,” an open-ended series of instructions which required the performer to create an ephemeral work using slide projections.  In the darkened space, Boulter, presented a series of slides which retraced various journeys he had taken throughout the world.  Slides of pictures and words related to his travels were punctuated by hand-drawn maps, which the artist had received, unsolicited, from people from whom he’d asked directions.  For the artist, these maps became a way of communication when conventional language (words) failed him, allowing him to find his way in a foreign place using only a few words at a time.

The evening closed with Konstantinos-Antonios Goutos’ short video entitled “talib.bites,” which displayed the first fragments of each of the 84 sentences spoken in Obama’s speech on Afghanistan, and then a communal sing-along led by Thomas Lindenberg and Lisa Schwalb to Katy Perry’s “Firework.” Finally, former artists-in-residence Campus Novel discussed the conversations they had had with visitors over coffee over the course of the weekend.  The concept of constant development seemed to be crucial in all of these works, because as the conversation about language changed, so too did the language of conversation.

More information:

http://www.mpa-b.org/stefan-riebel.html

All photos courtesy Stefan Riebel

Elizabeth Stevens

direct action festival 2013 berlin






21. dokumentART european film festival for ducumentaries

European Competition

Les Mystères de Paris 1

D, CI, ED: Konstaninos-Antonios Goutos, FRA, GER, GRE 2011, COL, DOC, OS, 2´

A child’s shoe lies on the edge of a railway platform. An uncut video with no additional technical tricks preserves the drama of its forlornness in real time and gives it a title that is 170 years old.


Konstantinos-Antonios Goutos/the[video]Flâneu® was born on 11 February 1973 in Larissa, Greece. Larissa, Thessaloniki, Athens, Kastoria, Vienna, Prague, Weimar, Rome, Berlin, Leipzig, Kraków, Genoa, Enschede, Lisbon, Halle and Paris were very important stations in his life... During recent years more than 50 of his works were presented at more than 190 film/media/art events (in 36 countries and 86 cities) in Europe, America and Asia... he has been [video]strolling (in) more than 49 cities, at this moment he [video] strolls (in) Paris. Since 2010 he has also been working creatively under the persona the artwertease®.


 Ever since 2006, the European circle of documentary filmmakers has been meeting in Szczecin and Neubrandenburg. The competition is mainly comprised of works by authors who redefine the status of the documentary within changing reality, with focus on the role that modern media play in this redefinition. However, the essence of the documentary – as a work of film art associated especially with reality – does not change radically. Thus, the competition always has a place for films that are classic in form. The tension between tradition and avant-garde, formal and thematic searches, the crossing of genre borders and changing film habits: these are the determinants of dokumentART. This tension, seen by the organisers as relevant to modern film art, will be apparent in this year‘s competition. 54 productions from 20 European countries, selected as in previous years by the international Programme Committee, will be seen by audiences in Neubrandenburg and Szczecin, and rated by the jury. This year, the selection has been made from over 450 films submitted. The competition rules allow for productions under 60 minutes in length, recorded using any common film and video formats, and produced after 1 January 2011.

Neubrandenburg Kino Latücht / Sunday 18.11. 20:00

Szczecin Kino Zamek / Monday 19.11. 20:00


21. dokumentART european film festival for ducumentaries










Austellung in der Hochschule für Grafik und Buchkunst Leipzig

Austellung in der Hochschule für Grafik und Buchkunst Leipzig

An der HGB ist ab sofort die diesjährige Meisterschülerausstellung zu sehen. Sie zeigt die Abschlussarbeiten aus dem gesamten Jahr.+++

Zu sehen sind Arbeiten aus den Fachbereichen Medienkunst, Malerei/Grafik, Buchkunst/Grafik-Design und Fotografie. 

Die Meisterschülerausstellung ist noch bis 20. Oktober in der HGB zusehen. Der Eintritt ist frei.

Dienstag, 9. Oktober 2012 10:33, Leipziger Fernsehen

video about the meisterschüler exhibition at the academy of visual arts leipzig, october 2012










Dystorpia Media Project is  collaboration with e-fagia collective from Toronto, this is a proposal on contemporary new media art dedicated to develop an exhibition on dystopian or anti-utopian visions of contemporary culture. The actuality is charged with the historic episodes that begin with the utopian avant-garde perceived as complementary form of destructive consumerist capitalism, and finished with the anti-utopian orientation of the contemporary art.


We reached out to artists, curators, activists, and scholars to create a project involving technologies, everyday life and dystopian visions that could be oppose or complementary. We want to create a reflection social and political crisis as well the idea of contemporary art sphere approaching its practice and theoretical crisis.  We said looking for because our proposal is going to be compliment by one or two more video installations created by local artist. This exhibition will consist of workshops, art exhibitions, and artist talks. For every event that we create we usually invite one high profile Latin American artist to interact with our local artistic community.  We made a selection of video art, installations and performances to  be presented at: Queens Museum of Art, Immigrant Movement International, Outpost Artists Resources, and Local Project Art Space.  The vision is to foster encounters between new media artists and people of other academic disciplines.


The program and selected artists is as it follows:


Opening of the DysTorpia Media Project 


September 15th 1 to 7 pm.

Queens Museum of Art,

NYC Building, Flushing Meadows Corona Park, Queens, NY 11368-3398. Web & Directions


“Awakening” by Michelle Jaffe, at Tiffany Galley &
“Occupy the Installation” by Grayson Earle at the Panorama of New York City.


The video screening program includes


1PM: Webcasting the “Sandbox Project” final presentation, the conclusion of the lab facilitated by Roberta Buiani and Alessandra Renzi.


2PM: “Dolls of Lisbon” by Ethan Minsker. (Documentary, 74min) “The Dolls of Lisbon” is New York City’s Antagonist Art Movement’s latest exploit inspired by the Zapatista Dolls of Mexico, a souvenir that travelled the world symbolizing a little known rebellion. The Antagonists take aim at the legacy of Andy Warhol’s over commercialization and commodification of art. Like the Zapatista Movement our Dolls are a symbol of resistance, here to wage war against mass production and to give a voice to those who walk a unique and sometimes arduous path. This film re-examines the notion of the struggling artist, and initiates a cultural exchange among artists from The United States, Ecuador, Portugal, and fellow Antagonist Artists across Europe.


3:30 PM : Video Art Program result of the open call: “ad.topia”, by Konstantinos-Antonios Goutos; “Aphasia Oceana”, by Danny Warner; “bit:t/” by Esmeralda Kosmatopoulos ; “Acommunication” by Jean-Michel Rolland; “Dauphin 007″ by Jonathan Monaghan; “Above the Skyline” by Tessa Garland; “Going” by Gwen MacGregor; “This Is Not Gregory Samsa’s History / Essa não é a história” de Gregor Samsa” by Thiago Luciano; and “Sediment” by Yasaman Sharif Manesh


4:30 PM : We will present: Nomad Dreams / Sueños Nomadas, a performance with experimental interactive -online- documentary, by distinguished multimedia artist Raul Moarquech Ferrera-Balanquet (Cuba /Mexico/ USA), and assistant director and actress Laura Riveros Sefair. Nomad Dreams is an experimental interactive documentary, game and social performance designed to create a process of reflection and dialogue for the spectators/participants about the present realities of immigrants and nomads communities that exists today in many regions of the globe, as well as to the reasons for which the dreams or fantasies of traveling to another places are formed. The artwork employs installation, video projection, photography, new media applications to incorporate interactivity and the intervention of actors: John Commare, Peter Forde, Alesandra Nahodil and Alan Zuluaga.


Raul Moarquech Ferrera-Balanquet (Cuba / Mexico / USA) Havana, Cuba, 1958. MFA, University of Iowa, 1992. PhD Candidate, Duke University- Interdisciplinary artist, writer, curator and Fulbright scholar.  Executive curator of Arte Nuevo InteractivA, Ferrera-Balanquet has organized numerous art, video and new media exhibitions. Among them Arte Nuevo InteractivA: Bienal de las Nuevas Artes, Merida_MX (five edition 2001-2009); Traslocalidades en Movimiento, video art,  Ferrera-Balanquet has been awarded grants from The Prince Claus Foundation, FOECAY, US/Mexico Cultural Fund, The Australian Network of Art and Technology, the National Endowment for the Arts and The Lyn Blumenthal Video Foundation.



Workshop


Activism beyond the Interface: the Sandbox Project

By Roberta Buiani & Alessandra Renzi


September 14th from 6 to 10 pm
Immigrant Movement International,
108-59 Roosevelt Avenue, Queens, 11368, USA. Web & Directions

September 15th 12 to 1 pm.
Queens Museum of Art,
NYC Building, Flushing Meadows Corona Park, Queens, NY 11368-3398. Web & Directions

With this project, the artists wish to acknowledge and nurture the communities fighting for social justice in each city by creating an ad hoc space that facilitates the crossover of different collaborative and sharing practices. New York City enjoys a long tradition of cutting edge political actions and artistic community projects, as well as more recent forms of activism related to or intersecting with the Occupy Wall Street movement. We wish to harness these diverse creative energies in the context of the Queens Museum. We propose a four-hour lab that will result in a one-hour Do-It-Together (DIT) “community talk show” bringing together artists, activists and community organizers from Queens, and possibly other areas of New York City, to engage the QMA audience. Sandbox events always seek new ways to foster coexistence and collaboration without effacing difference or excluding certain subjectivities. In the case of this lab, the DIT approach will help us do so while contextualizing lab #4 within the QMA’s mandate and its community. Instead of being limited to a Do-it-Yourself (DIY) ethics, the talk show developed during the lab will focus on collaboration and knowledge sharing between participants and the audience through the idea of DIT.


Roberta Buiani


works at the intersection between science, technology and the arts, challenging their traditional uses and looking for threads that facilitate cross-communication between disciplines, individuals and creativity. This consideration has brought her to Cambridge, London, Turin and Montreal. She investigates the role of the “viral” as concept and creative practice that carries potentials to transform social customs and communication. Her (satirical) viral interventions (”The Viral-Knitting Project,” “Megaphone Choir,” “YorkisUs”) are always the result of collective collaborations.


Alessandra Renzi


likes to DIY media to bring together disparate groups and communities, experimenting with collective forms of inquiry and narration. She collaborates with the pirate television collective insu^tv in Naples, Italy, the G20 Alt Media Centre and Institute for Community Inquiry in Toronto, Canada. Alessandra is also a fellow at Infoscape Centre for the Study of Social Media, Ryerson University in Toronto where she conducts research on the criminalization of dissent, and on the design and use of FOSS platforms for collaborative media-making.


screening event / web performance



September 21st from 7 to 10 pm
Outpost Artists Resource,

1665 Norman St, Ridgewood NY 11385. Web & Directions


Video Art Program


bi:t/” by Esmeralda Kosmatopoulos; “Going” by Gwen MacGregor; “I tell the truth, even when I tell a lie…” by Jaret Vadera; “Dauphin 007” by Jonathan Monaghan; “Happy Moscow part 2” by Tatiana Istomina; “Above the Skyline” by Tessa Garland; "Flight of Memory" by Victoria Febrer & Pedro J. Padilla, "Vexed" by Zoran Drageli, "Mortality Rates" by Stephen John Ellis, and "Terremoto" by Shelley Jordon.


LIVE WebPerformance coming from Los Angeles by: Elizabeth Leister, performing "Demolition" a powerful and magical collapse of time and form, based on the Starr Theatre in New York City as it’s demolished brick by brick, until it slowly disappears. This performance plays with presence and absence using traditional and technological methods.


Also see a single channel installation by high profile international Latin American artist Mario Opazo, a media and new media, Chilean born artist who lives in and represented Colombia during the previous versions of the Havana and Venice Biennials. Mario’s project is "Solo de Violin / Violin Solo", a video installation created during a trip to the prairies in southern Chile. The project establishes a utopian relationship between the artist and the human solitude in poetic way.


performances



September 22nd from 7 to 10 pm
Outpost Artists Resource,

1665 Norman St, Ridgewood NY 11385. Web & Directions


Mike Richison & Claudio Innocenti's, "Exquisite E Pluribus Unum", a live video-mixing performance of the American presidential candidates and campaigns using and creating debates between Republican nominee Mitt Romney and President Barack Obama. This non-partisan political rally/art performance samples words, phrases, breaths, pauses and other sounds and silences in order to build percussion tracks, melodies and solos, merging visual and auditory elements to create our own interpretation of the campaigns for the presidency, “one out of many.”


"Body Sound Suit" by Balam Soto is a technologically innovating art piece that uses a dance suit that captures human gestures/body movements and translates them into sounds and graphics.  The body of the dancer becomes a generator of sound and visual imagery, where the dancer creates his/her own audio and visual environment. This Utopian vision of visual reality synchronizes control of all aesthetics, with the dancer creating a relationship between movement, music, and its visual environment.


Daniel Iglesia will close the evening with two short audiovisual performances of abstract and architectural landscapes to be seen with 3D glasses and performed in real time. Daniel will play live music and project visuals for his two pieces: "Cinematic Skyline Performance" and "24 Axes”



Exhibition


Oct. 5th - Oct 14th

Local Project Art Space

45-10 Davis St. Long Island City, New York 11101

Web & Directions


featuring installations by:


Wonbin Yang, “Species series”
Chicago, IL


a series of autonomous robots as new species having birth, life and death in the urban environment. The creatures are not composed of organic compounds but they have own characteristics and behaviors as organisms have in the biological world. I investigate how these artificial life forms reclaim the cities as their habitats, use urban facilities for their purposes, and develop survival strategies to live in the man-made surroundings.

Andreas Zingerle | Linda Kronman, “Re: Dakar Arts Festival”,
Linz, Austria


The Re: Dakar Arts Festival project documents a new art scam form. The scammers approach artists and galerists with open calls for a fake festival in Dakar, Senegal. To appear professional, they adopt different identities. To unveil their practice, three virtual characters including their online identities were created to scam the scammers. Investigate their stories in an installation and find entrance points to continue following the story online. Read their blogs or become friends with them on Facebook to unveil more details about the art scam plot.


Chan Sook Choi, Listen
Berlin, Germany


An environment with desolate, imperfect, old traces and people wandering, through three video channels, look likes a world where false and real images coexist. Each channel and stage in a performance involves planned physical language and collage. Each video scene alludes to human solitude and existential feeling in space.


Daniel Temkin, Chatter
Queens, New York


Chatter is an interactive installation that changes images by pushing a buttom.  It explores the soft dystopia of technology, where attempts to humanize tech lead to an uncanny relationship with the almost-human.


Jeffu Warmouth, Marginalia: Crawl

Fitchburg, MA


A mapped projection into vinyl strips. Multiple iterations of the artist carry boxes, and drop them into a pile. From Marginalia, a series of performance-based video compositions projected onto walls that explore the body's relationship to marginal aspects of our environments.


Joseph Farbrook, Human Nature
Brookline, MA


A joystick controls a 3D environment where the concrete city/stages that we have built in which to act out our lives are no longer surrounded by nature, but are surrounding nature. A comment on a continual weakening of the natural environment that supports our existence. Any concern we may have is quickly usurped by our own affairs, as we are ever increasing the channels in which we may continue to watch ourselves.


LoVid (Tali Hinkis and Kyle Lapidu) 486 Shorts
New York, NY


486 Shorts stems from a personal interaction with an ordinarily closed off part of a common machine. By getting inside the black box (the casing of an archaic 486 computer), LoVid reached the physical location where signals are passed. Wire was used to make connections on the circuit board of the video card, to produce short videos. Recordings made from these shorts were then edited into 486 short clips, each corresponding to one of the physical shorts. 486 Shorts was recorded during a residency at iEAR in 2006 and released on Analogous in 2009.


Exhibition Opening Reception



October 6th, 7pm - 10 pm

Local Project Art Space

45-10 Davis St. Long Island City, New York 11101

Web & Directions


presenting "Self Inspection" by Davis Thompson-Moss, a comment on the common human practice on separation, that leads to pain and suffering, and denying being part of a larger beautiful “whole”.   In front of a backdrop of peace and perfection, we fumble and tumble, hurting ourselves and others, like Dystopia and perfection dancing together on a warm sunny day.


and presenting ”hover time” by link (Thessia Manchado) + Merche Blasco, is an improvised set where a visual layer expands the sonic experience. A Processing patch responds both to the live sounds produced by the instruments and to a foot controller designed and operated by Blasco. sound and image are able to respond to each other as instruments. The visuals both reveal and obscure the actions of the instruments.


Wonbin Yang, “Species series”
Chicago, IL


Performance will be presented by robots in the public space. Exploration proceeds with the creation of robotic species: tracing the robot’s everyday life in various territories and tracking the ‘social landscapes’ of interspecific activities. Documentations and collected data contain the robotic species’ histories of emergence, adaptation, and evolution.



plus all the selected videos of the series



Closing of Series / Screening Event / Performances



October 13th, 7pm - 10 pm

Local Project Art Space

45-10 Davis St. Long Island City, New York 11101

Web & Directions


video screenning

"I tell the truth, even when I tell a lie..." by Jaret Vadera, "Soul Juice" by Michael Wyshock, "Ci sarà - tributo escatologico ad Al Bano & Romina Power" by Fabrizio Coniglio, "Switch" by Liat Berdugo, "Robocats in Titan City" by Paul Wiersbinski,  "Above the Skyline" by Tessa Garland,  "Happy Moscow"  by Tatiana Istomina, "bi:t/" by Esmeralda Kosmatopoulos, “Against Reduction” by Vienna Del Rosario Parreno, “Aphasia Oceana”, by Danny Warner, “Presbyopis Park” by Kit Yi Wong



Installation by Drew Hamilton:  "Street-corner Project"

Street-corner Project is a live public display common objects in reduced to quarter-scale. These miniatures are displayed next to, or near, the original objects in the neighborhood. This public interaction is documented with video.


“ÜBERGROUND PACHAMAMA” is a Live Networked Performance by Hector Canonge  that explores the appropriation of the urban terrain (asentamientos) by migrants living at the margins of major cities. The LIVE web performance evokes this process with actions and commentary -emulating the city tours on board a double-deck vehicle- while GPS technology allows a locative reference of specific 'asentamientos' visited by the artist in Argentina and Bolivia.


“SJR Night Angel Series” by Susan Joy Rippberger, is an homage the artists' mother-in-law, and grandfather, based on connections between ethnic identity, transnational experiences, and webs of relationships formed between Mexico and the U.S. The work embodies the concept of the rebozo, a Mexican shawl full of gendered and ethnic histories.


Wonbin Yang, “Species series”
Chicago, IL


Performance will be presented by robots in the public space. Exploration proceeds with the creation of robotic species: tracing the robot’s everyday life in various territories and tracking the ‘social landscapes’ of interspecific activities. Documentations and collected data contain the robotic species’ histories of emergence, adaptation, and evolution.



Web Art Selection



“Value Quest Bourse”, by Violeta Vojvodic Balaz


The Value Quest Bourse (VQB)- An electronic allegory of Casino Capitalism. How to Survive in An Advantageous Dystopia? The VQB all-electronic platform performs as an art-game-simulation of socioeconomic cycle that enables real-time aggregation of “social bourse” data (VQ Roulette), and over-the-counter financial instrument transaction with broad audience (VQ Perpetual Bond). In contrast to current Casino Capitalism that created a moral hazard problem by “privatizing profits and socializing losses”, a player of VQ roulette doesn’t compete for own profits but for the common good, i.e., community aggregated score of the VQ Industrial Sectors. Upon a selection of the sector and waged bet, an electronic roulette-based engine transfers users’ click-labour into bourse records.

In order to fulfill future social capital requirements, the Value Quest Bourse issued the VQ Perpetual Bond to facilitate the quest for value in the time of crisis. This unique public debt security is based on an agreement or promise made by the bond-holder that he/ she takes responsibility for the survival of identified value. Thus, the VQ Perpetual Bond gauging platform serves as an electronic repository of values submitted by a community.


visit

http://valuequest.info


Joseph Farbrook, “Human Nature”

is a 3D virtual art installation, created with video game technology.  Viewers can navigate through the installation using a standard game controller. Dimensions are variable. Humanity is self-absorbed. As a species, we are entirely enamored with ourselves, each other, our creations, our situations, and our uniquely human experience. The concrete city/stages that we have built in which to act out our lives are no longer surrounded by nature, but are surrounding nature. It is perhaps this reason that we have been unable to address our continual weakening of the natural environment that supports our existence. Any concern we may have is quickly usurped by our own affairs, as we are ever increasing the channels in which we may continue to watch ourselves.


http://farbrook.net/humannature/installation.html


Artist Talk


Sept 13th, 6PM

Hemispheric Institute of Performance & Politics, New York University

20 Cooper Square, Fifth Floor, New York, NY 10003, USA.

Web & Directions


Alessandra and Roberta will talk about Sandbox Project lab developed in different cities: Toronto (Digital Event ‘11), Berlin (Transmediale), Montreal (Artivistic), and bringing together artists, activists and techies to reflect creatively on the diversity of artivist practices. Philosopher Isabelle Stengers defines an ecology of practices as a framework, or a set of relevant tools that enact the power of a situation to push us to think, rather than recognize what is already there. For Stengers, ecologic practices are “about the production of new relations that are added to a situation already produced by a multiplicity of relations" (2010: 33). Inspired by this perspective, the Sandbox Project brings different individuals and groups together to think about politico-aesthetic practices “ecologically” and to experiment with new modes of co-creation. We conceive of this space of co-creation as a sandbox: a process and a platform with loose boundaries to playfully test different tools of collective construction that may reshape forms and relationships.


Screening Event



September 16th 3 to 6 pm.
Queens Museum of Art,
NYC Building, Flushing Meadows Corona Park, Queens, NY 11368-3398. Web & Directions


CINEMAROSA is Queens’ first and only Queer independent film/video series created and under the direction of artist Hector Canonge, he has invited the museum and other guest curators to develop fall programming. In September, e-fagia’s and Fluid New Media Lab’s DysTorpia Media Project was invited to present two video works by visiting media artist Raul Moarquech Ferrera-Balanquet (Cuba/Mexico/USA).


presenting


“Nubes Soleadas at the Crossroads.” (1996) 28 min.

A recollection of fragmented memories from childhood to the present are intercut with historical and fictional events to reconstruct the exile self of a Cuban immigrant. After years in the exile, Ernesto wants to understand how his emotional instability is linked to the present. Colliding, juxtaposing, spinning from and jumping into different levels of narrative, the video creates a layering of images recreating the accumulation of experience and the multiplicity of the self forced by the exile. Shot in Havana, Cuba; Merida, Yucatan/Mexico; Chicago and Iowa City, United States.


"Soldiers of Memory" (2010). Experimental Narrative, 24 min. color.

Traveling into the lives of four male characters, the video creates an intersection of historical times to interrogate Native American cultures, colonial history, and sociological issues such as AIDS, domestic violence, hate crime, the law and economics, all affecting our cultural territories and the lives of the characters. After fifteen years, Nac and Aaron re-encounter at La Calle de La Sirena. Xochiquetzal, a transsexual character who personifies a woman on stage, as well as a Mesoamerican deity protector of male prostitutes, opens the narrative to the ritual of remembering: a fresco painting representing two Mayan men embracing with their erect penis found in the cave of Nac Tunich in Guatemala, how the Conquistador Balboa set his dogs upon Native American transsexuals in 1594, and how the congress of the State of Yucatan killed a proposal to recognize same-sex marriage and women’s rights.

http://fluid.localproject.org/fluid/Open_Calls_2012/Entries/2012/9/15_DysTorpia_Media_Project.html




Kunsthaus           Dresden Logo
11.–14.7.2012

INSIDE OUT

Das Kunsthaus Dresden präsentiert lokale Projekträume

C.Rockefeller Center, F14, geh8 und S T O R E bespielen je einen Raum

  • Dienstag
  • 19 Uhr
10.7.

ERÖFFNUNG


19.30 Uhr Nikolaus Woernle aka 20goto10: ›GITARRENPRESSE #5‹ 
Noise/Klanginstallation (Gitarre, Gitarrenpresse, Modularsystem, FX)
www.20goto10.net

ab 22 Uhr DJ Set: Nikolaus Woernle & Markus Prodehl

C.Rockefeller Center for the Contemporary Arts mit Andreas Grahl, Andy Kania, Andreas Ullrich, Doppeldenk, Lucie Freynhagen, Matthias Marx

F14 mit Martina Beyer, Maja Gratzfeld, Jan Kunze, Matthias Materne, Martin Paul Müller, Marten Schech, Pascal Spindler, Marcel Walldorf


geh8: ›Verbunden mit nichts‹ mit André Obermüller, Mariёlle Buitendijk, Daniel Nicolae Djamo, Topp & Dubio, Josh Hite, Ninia Sverdrup, Jonathan Johnson, Alessio Rutigliano, Dorotea Doreen Etzler, Albert Negredo, Karolien Soete, Su jeong Shin-Goldbach, Paul Wiersbinski, Draga Jovanovic, Mehraneh Atashi, Chris Joseph, Michaela Bottková, Roberto Santaguida, Jorge Catoni, Kok & Deiman, Maurice Summen & Markus Fiedler & Lucian Busse,
Konstantinos-Antonios Goutos, Tetsushi Higashino, Juliane Schmidt, Nicolas Carrier, Mattias Wright, Morgan Meisters, Isabelle Desjeux, Chiara Passa, Maurice Summen & Markus Fiedler & Lucian Busse, Tanja Szallies, Alwin Weber Stephan Groß, Henry Gwiazda, Maciej Nowaczyk und Cora Piantoni

S T O R E: ›video violence. optional commemoration and the future‹ mit Trisha Baga, Alexandra Barao, Marie Julia Bollanseé, CLPPNG, Dylan Fisher, Paul Flanery, Mekhitar Garabedian, Adam Harms / Kat Harvey, Naho Kawabe, Sara Ludy, Veronica Luyo / Alvaro Icaza, Lorna Mills, Fernando Visockis Macedo, John Miserendino, Galeria Perdida, Jozef Robakowski, Anselm Ruderisch, Yorgos Sapountzis, Sutter/Schramm


›Inside Out Giftshop‹ im Kassenbereich


Die Ausstellung ›Inside Out‹ ist Auftakt eines Dialogs zwischen den Projekträumen und dem
Kunsthaus Dresden – Städtische Galerie für Gegenwartskunst. Das Budget von Projekträumen ist  klein, oft sind sie nur für kurze Zeit aktiv und werden kollektiv organisiert. Der durch ›Inside Out‹ eröffnete Diskurs setzt sich mit den Potenzialen aber auch mit den Schwierigkeiten dieser spezifischen Produktions- und Ausstellungsbedingungen auseinander. Damit ergänzt diese Kooperation die aktuelle Ausstellungsreihe des Kunsthauses Dresden ›Terms of exhibiting, producing and performing‹ um neue Aspekte.


Programm Museumssommernacht, 14. Juli 2012, 18.00 – 1.00 Uhr

 
18.30 – 19.30 Uhr
Podiumsdiskussion: Potenziale von Projekträumen
Die Diskussion wird im Laufe des Jahres in einem der Projekträume weitergeführt (Time & Location TBA).
 
20.00 Uhr
Lesung: Marcel Beyer liest aus seinem Buch ›Putins Briefkasten‹.
 
18.30 – 1.00 Uhr
CHIT/CHAT-Bar
Plaudern, Trinken

Ab 23.00 Uhr

Tanzen
 
Kontakt:
Karin Ziegler (Presse- und Öffentlichkeitsarbeit) kziegler@dresden.de
 

  • Flyer Inside Out

- English Version -

Inside Out
Kunsthaus Dresden presents local off-spaces
C. Rockefeller, F14, geh8 and S T O R E have one room each.
11–14 July 2012

Opening Tuesday, 10 July, 7pm,
Kunsthaus Dresden – Municipal Gallery for Contemporary Art
7.30pm Nikolaus Woernle aka 20goto10: ›GITARRENPRESSE #5‹
Noise/sound installation (guitar, guitarpress, modularsystem, FX)
www.20goto10.net

After 10pm DJ set: Nikolaus Woernle & Markus Prodehl


C.Rockefeller Center for the Contemporary Arts with Andreas Grahl, Andy Kania, Andreas Ullrich, Doppeldenk, Lucie Freynhagen, Matthias Marx

F14 with Martina Beyer, Maja Gratzfeld, Jan Kunze, Matthias Materne, Martin Paul Müller, Marten Schech, Pascal Spindler, Marcel Walldorf


geh8: ›Verbunden mit nichts‹ with André Obermüller, Mariёlle Buitendijk, Daniel Nicolae Djamo, Topp & Dubio, Josh Hite, Ninia Sverdrup, Jonathan Johnson, Alessio Rutigliano, Dorotea Doreen Etzler, Albert Negredo, Karolien Soete, Su jeong Shin-Goldbach, Paul Wiersbinski,  Draga Jovanovic, Mehraneh Atashi, Chris Joseph, Michaela Bottková, Roberto Santaguida, Jorge Catoni, Kok & Deiman, Maurice Summen & Markus Fiedler & Lucian Busse,
Konstantinos-Antonios Goutos, Tetsushi Higashino, Juliane Schmidt, Nicolas Carrier, Mattias Wright, Morgan Meisters, Isabelle Desjeux, Chiara Passa, Maurice Summen & Markus Fiedler & Lucian Busse, Tanja Szallies, Alwin Weber Stephan Groß, Henry Gwiazda, Maciej Nowaczyk, Cora Piantoni

S T O R E: ›video violence. optional commemoration and the future‹ with Trisha Baga, Alexandra Barao, Marie Julia Bollanseé, CLPPNG, Dylan Fisher, Paul Flanery, Mekhitar Garabedian, Adam Harms / Kat Harvey, Naho Kawabe, Sara Ludy, Veronica Luyo / Alvaro Icaza, Lorna Mills, Fernando Visockis Macedo, John Miserendino, Galeria Perdida, Jozef Robakowski, Anselm Ruderisch, Yorgos Sapountzis, Sutter/Schramm


›Inside Out Giftshop‹ in the cashier room


The exhibition ›Inside Out‹ is the starting point for a dialogue between the off-spaces and
Kunsthaus Dresden – Municipal Gallery for Contemporary Art. The budget of off-spaces is small, often they are only active for a short time and run collectively. The discourse starting with ›Inside Out‹ deals with the potentials but also with the downsides of these specific conditions of producing and exhibiting. Doing so, it adds new aspects to Kunsthaus Dresden’s current exhibition series ›Terms of exhibiting, producing and performing‹.

 
Program ›Museumssommernacht‹, 14 July 2012, 6pm – 1am

 
6.30 – 7.30pm
Round Table Discussion:
Off-spaces and their potential
The conversation will be continued in one of the off-spaces later this year (Time & Location TBA).
 
8pm
Reading: Marcel Beyer reads from his book ›Putins Briefkasten‹
 
6.30pm – 1am
CHIT/CHAT-Bar
Conversations & Drinks

After 11pm

Dancing
 
Contact:
Karin Ziegler (Press and Marketing) kziegler@dresden.de
 





May30

AVM Riga 2012 – The Countdown

Image: (from the left to the right) The 7 artists arrived already in Riga: Felice Hapetzeder, Agricola de Cologne, Eitan Vitkon, Shelley Jordon, Jay Needham, Ben Neufeld and Doron Polak

The countdown is running. Just two days left until the official opening of A Virtual Memorial Riga 2012 – Commemorative Interventions on 1 June, 12h.

Today, the first artist arrives in the afternoon, Jay Needham from Carbondale,Il (USA). I will meet him at 16h at the hotel. He is one of the SFC artists participating in the artists talks and holding a lecture about his experiences as an interviewer for the Shoah Visual History Foundation. The other two attending US artists Ben Neufeld (New York) and Shelley Jordon (Portland) arrive later this evening. On 20h, we all will meet in the hotel lobby.

Questions behind SFC (cont)

For today, I would like to give an idea why the topic “Shoah” got an increasing relevance to me.

SFC – The topic

I have been asked many times, why I chose such a complicated and heavy matter as a topic for an artistic-curatorial initiative. The reason cannot be explained in a short sentence. But by comparing this project with other artistic-curatorial plans and projects of mine, dealing with the topic of Shoah (Holocaust) has by far the most and strongest personal motivation, which is rooted in my particular course and circumstances of my life. In my family, for instance, my father who was in the 40ies of the last century the young father of three little children who obviously disliking the Nazi ideology from the bottom of his heart was once kidnapped by the GESTAPO and admitted to a mental hospital. For many days my mother did not know what had happen to her husband, until about 8 days  later he appeared unexpectedly at home, since he could escape from the hostage imprisonment. There is a Jewish branch in my family, which I recovered as such in an inheritance issue only in the 90ies of last century, on the other hand, members of another family branch had positions in the Nazi system. An aunt of mine was a convinced Nazi, until she died some years ago.

Born after World War II in Germany, already as a child, I had an irrepressible desire for freedom and a special sense for justice.  When I started at the year of 15 to dedicate my entire energy to art, the topics of this early time were rooted in a philosophical debate about these issues, so retrospectively seen dealing with the essential questions of human existence were leading me automatically to the Holocaust and the unimaginable barbarism of the human species against itself who was living in the 1st half of the 20th century, it was an insane ideology which had infected the human mind not only in Germany, but entire Europe and beyond, and, this is most frightening again and again, it obviously cannot be eradicated and find its always its followers  these days, the recent French elections showed that impressively, or all the Neo-Nazi manifestations mention nearly every day in the media.

Even if “Holocaust” is used primarily as symbol for the millions of victims who were exterminated, whereby not only Jews, but also other social “minorities” like Sinti & Roma, the Socialists, Communists, Homosexuals or Ba’hai, a religious group, became victims not only of persecutions but also the extermination, “Holocaust” became a symbol and synonym  for many issues, but most important “The Unimaginable” which  the human barbarism is representing, got for the first time a name. Thus the memory of the holocaust is always is that strong reminder, that this “unimaginable barbarism” must not happen again ever, whether in Germany, Europe or any other part on the globe. But the reality is telling different facts, since before our very eyes in different parts on the globe genocides are taking place, and for many reasons people let it happen, in an international contexts, like the war of the Syrian administration against its own people, which is representing nothing else than state terrorism, from the view of the world  community of states the political situation does not allow an intervening and the dictator can bluntly continue his barbarism and crimes against humanity.

I am not the first and only German who felt a particular responsibility for history when he was confronted the German barbarism by visiting the former concentration camps and memorial sites in Poland like Auschwitz, Majdanek, Warsaw and many other places, which was possible only after the fall of the Berlin Wall in 1989, causing a profound and lasting shocking effect on me. I did not feel guilty, because I was born after World War II, but I felt responsible, the need calling to make my personal contribution not only  to the reconciliation between Germans and Jews, but also between German and Polish people.

While I was travelling in Poland, I got the idea for a travelling memorial, which was supposed to be  exhibited as an installation, and interested  Polish institutions in my project to be created on occasion of the 50th return of the end of World War II in 1995.

Following my internal voice and inspiration, for the artistic research I needed to visit Poland many times, most time, however, I spent in Lublin where the concentration camp Majdanek  was located.  It was probably one of the basic mistakes, I was making in my life. When I was asked by the State Majdanek Museum, whether I would prefer residing in a hotel room during my stays in Lublin or choosing a guest room of the museum located on the area of the historical concentration camp, I was deciding for the latter guest room, not being aware in any way, that via this decision I was starting a kind of suicidal self-experiment, resulting a never ending nightmare escalating during many years.

To be continued.

–>

SFC – The Collection (cont)

At this point, I would like to continue presenting the films and videos of Shoah Film Collection.

1.

The first film “My German Vocabulary”, 2007, 2:27 by Annetta Kapon  - “These are all the 57 words I know in German, in the order in which I remembered them. They betray something of my ethnicity (Jewish), nationality (Greek), age (57), politics (left), cultural identity (artist) and education (professor). “

Review “My German Vocabulary”

2.

Another but much younger artist, and also of Greek origin is Konstantinos-Antonios Goutos His film, entitled: the[video]Flâneu® shoots Auschwitz, 2008-2010, 29;48 – is documenting his visit of Auschwitz, expressed in his own words: “ , the first and extraordinary visit of the [video]Flâneu® and his camera in Auschwitz –  an exi[l]stencial experience –  through auschwitz II and auschwitz I –  on december 13, 2008, between 11 a.m. and 4 p.m. with a normal digital video apparatus –  without tripod – without camera moves – without a zoom lens –  without special lighting – without extra microphone –  the sound and the length of the shootings are the original no moment of the shooting was removed by cutting the sequence of the scenes is the same as the shooting was, without any cut or use of effects comments, archive material or music was not used.

Review “the[video]Flâneu® shoots Auschwitz”

3.

A very touching authentic document and the longest film in the collection is “My Grandma – Frau Masha”, 2006, 57:00 – by the Israeli video maker Yonatan Weinstein.

Yonatan, a 13-year-old boy, sets out with his camera to document for the very first time the story of his 90-year-old grandmother, Masha, a holocaust survivor. Masha tells Yonatan her story in such a way that revives events that she surpassed during the holocaust in front of the spectator’s eyes: Life in the shadow of war, the impossible decisions she had to face, the separations, the loss…The movie reveals a unique encounter between a grandchild and his grandmother, which serves as a bridge between the third generation, the grandchildren, and the holocaust survivors who outlived the atrocities.

Review “ My Grandma – Frau Masha”

4.

Jay Needham’s film “This is a Recording”, 2009, 4:29
- was created for SFC – Shoah Film Collection

This is a Recording recounts some of the experiences I had while videotaping survivors of the Holocaust for the Shoah Visual History Foundation in the late 1990’s. The piece is a part of a series of inter-related works that include 13 Buildings and OPENED. These pieces are recomposed largely from my own fragmented family albums and sound recordings, and are essentially post-memory works, sound and visual pieces that explore personal migrations and erasures of memory. In the research and creation of my work, I situate narrative and documentary elements together in order to heighten creative relationships and also to reorient my audience’s expectations. As my memories of those interviews with survivors begin to fade, I am reminded of how vitally important it is to tell the stories of our many genocides, both historic and in progress.

Review “This is a Recording”

To be continued.







Punctum
Futura Centre for Contemporary Art, 28/2/2007 – 6/5/2007

Curator: Václav Magid

Represented artists: Jesper Alvaer, Zbyněk Baladrán, Daniela Baráčková, Ondřej Brody and Kristofer Paetau, Milena Dopitová, Konstantinos-Antonios Goutos, Alena Kotzmannová, Radim Labuda, Ján Mančuška and Jonas Dahlberg, Michal Pěchouček, Pavla Sceranková, Sláva Sobotovičová, Ivan Svoboda, Jan Šerých, Mark Ther, Martin Zet

text by: Štěpánka Ištvánková

The Punctum exhibition was realized in the Futura Centre for Contemporary Art. Situated at the Smíchov district in Prague since 2003, the centre has simple white halls, an adjoining garden as well as cellar spaces which can be adapted to the individual installations. In 2007, Alberto di Stefano of the management came up with the idea of creating a series of exhibitions dealing with the individual media of video, sculpture, painting and photography.

The first exhibition of the series was curated by Václav Magid; an active artist, contemporary art critic and theorist as well as chief editor of the Notebook for Art, Theory and Related Zones, a professional journal published by the Academic Research Centre of the Academy of Fine Arts (VVP AVU). According to Magid, the exhibition was intended as a representative showcase of contemporary Czech art of the moving image, however, without making a claim to objectivity. The self-confessed subjectivity of the curatorial selection was clearly declared in the very title of the exhibition alluding to Roland Barthes‘ term “punctum” which denotes the subjective perception of photography by the recipient. Václav Magid transferred this theoretical concept of interpreting photography as a technically reproduced artwork to that of the moving image taking place in time. According to the curator, the title was partially conceived as a provocation, challenging the expectation that the exhibition would give a general overview of the existing ways of working with the moving image or represent a confrontation with the medium of photography. With its subjective or even nostalgic tone, the term “punctum” enabled Magid to give more and more weight to my own conviction as to the qualities of the individual artworks and their potential to create an interesting whole. In the end, the selection presented the artists active primarily on the then current Prague scene. While some of them had been employing the moving image on a regular basis (e.g. Mark Ther, Michal Pěchouček, Ondřej Brody), others have done so only sporadically or even exceptionally. The aim was not to create a showcase of “video artists” but rather to present those artists who employ video as one of the media. The objective was to select brand new works so that the effect of “punctum” would not be weakened. The only exception was represented by the Passenger Train installation by Michal Pěchouček, which had already been exhibited at the monographic exhibition Passenger Train (Jiri Svestka Gallery, Prague, 2006). However, none of the videos has been made directly for the exhibition. The selection consisted in encounters and consultings of the existing works or works in progress with the individual artists. What was important was the debate on the individual artistic approaches and Magid’s curatorial concept. As to this method of selection, Magid said that I did not manage to meet all of the artists immediately before the exhibition; some of them would only send or give me their DVDs, e.g. Pavla Sceranková and Martin Zet. In case of Jesper Alvaer, who was in Los Angeles at the time, I even selected a video on the basis of a verbal description; this would represent a compromise between the accessibility of the works and the requirement of exhibiting brand new works; originally, I had been captured by Jesper’s “video moments” he used to make around 2000 (whirling pigeons, spilled oranges), however, those have already been exhibited and have been known in other ways.

The videos presented at the exhibition can be divided into three groups; “documentary videos” capturing referential reality and the authentic atmosphere of the event (e.g. Pavla Sceranková, Sláva Sobotovičová, Radim Labuda); “narrative videos” based on a narrative line (e.g. Michal Pěchouček, Mark Ther, Ondřej Brody and Kristofer Paetau); and “installation neologies” employing the presentation of the moving image in the gallery space in an innovative way (e.g. Ján Mančuška and Jonas Dahlberg, Zbyněk Baladrán). As to the arrangement of the individual groups of videos, Magid said in the press release that the exposition is divided according to a loose thematic clue. Its aspects represent a minimal construction framework of the exhibition. However, what is more interesting than the very framework is the cracks left in its walls.

The individual videos and artists were linked neither by the theme, recording technology nor their conscious affiliation to any art movement. The selection rather resulted from the curator’s intuitive approach and the conceptual approaches of the very artists. The Punctum exhibition provoked a relatively strong media response, which is partly due to the fact that there had been but a few collective exhibitions focusing purely on audiovisual art. The first makers of Czech video art were introduced in 1994 at the Český obraz elektronický (Czech Electronic Image) exhibition in the Mánes Gallery. After a long pause, there was the travelling exhibition Frisbee (2004-2006) curated by František Kowolowski followed by Věcné stavy (Objective States, 2006) and Punctum (2007), both curated by Václav Magid.

In his review written for the Nový prostor magazine, dramaturg of the NoD gallery and art critic Jiří Ptáček analyzed the deliberate creation of chance, which, in his opinion, is contradictory to the very term “punctum”. According to Ptáček, Punctum rather became its antipole; the “studium”; another term mentioned by Roland Barthes in Camera Lucida. This approach provokes but a polite interest; one can like the picture but is not absorbed or pierced by it. It seems as if Magid was not satisfied with the “injury” caused by the artworks but had to link the exhibition to culture; a contract made between the artists and consumers, which is surprising yet comprehensible, so that it cannot stir us. In my explanation, the original assignment; to make a display of contemporary Czech art of the moving image; seemed so obliging that he did not dare to bring the story of his personal satori (an intuitive experience, enlightenment) to an end.

In his article for the Film a doba magazine, artist in the field of computer art and graphics, critic, theorist and lecturer of the Centre of Audiovisual Arts of the Film and Television Academy of the Academy of Performing Arts (FAMU) in Prague Miloš Vojtěchovský criticized the close interconnection of the exhibited works and the artists, calling it a poetics of a personal obsession. It is hard to say how many visitors outside the local community of young permanent Prague exhibitors may have been pierced by these “punctual” images.

Other authors of reviews and criticism included Jan Vitvar (Respekt magazine), Edith Jeřábková (A2 weekly) and Zuzana Štefková (Cinepur magazine).The Punctum exhibition received the Umělec má cenu (Artists Are Appreciated) award by Jiří Kovanda for the best collective exhibition of 2007. The award is presented to artists over 35 years and is based on a nomination survey.

Sources:

  • BARTHES, Roland. Světlá komora. Praha: Agite/Fra, 2005.   
  • JEŘÁBKOVÁ, Edith. Video v kurátorské režii. A2, 2007, No. 17, p. 9.
  • KINTERA, Kryštof. Art. Reflex / Praha, 2007, No. 12, p. 9.  
  • MAGID, Václav. Punctum. [online]. 2007, available at www.futuraproject.cz
  • MACHALICKÝ, Jiří. Obraz mladé videoscény. Lidové noviny, 2007, No. 57, p. 5.  
  • MIKULAŠTÍK, Milan. Futura našla slepá místa. Pražský deník, 2007, No. 65, p. 27.  
  • MIKULAŠTÍK, Milan. Menu Milana Mikulaštíka. Reflex/ex-Praha, 2007, No. 9, p. 8.   
  • POLÁČEK, Vojtěch. Punctum v Punctu [online]. 2007, updated 3. 3. 2007. Available at www.nekultura.cz
  • PTÁČEK, Jiří. Punctum: Kultura a zapřené satori. Nový prostor, 2007, No. 278, p. 23.   
  • ŠTEFKOVÁ, Zuzana. Jak je důležité míti punctum. Cinepur, 2007, No. 51, p. 39.   
  • VITVAR, Jan. Pomoč to a natoč to. Respekt, 2007, No. 13, p. 20.   
  • VOJTĚCHOVSKÝ, Miloš. Poznámky k současnému českému videoartu. Film a doba, 2007, No. 2, p. 96–98.   
  • The e-mail interview with Václav Magid was made by Štěpánka Ištvánková on October 28, 2011.

Text: Štěpánka Ištvánková
Latest update: 4. 2. 2012

mediabaze.cz





MDR regional | E 224 | Erfurt, 07.10.2011 Lisztomania!

Unicato – das studentische Filmmagazin am 30. Oktober, 01.05 Uhr - 2.25 Uhr (Nacht von Sonntag zu Montag), MDR FERNSEHEN

Anlässlich des Liszt-Jahr zeigt UNICATO kurze Filme über Gesamtwerk und Leben des großen Europäers.

Sämtliche Beiträge stammen von Studierenden und Absolventen europäischer Medien- und Kunsthochschulen in Ländern, in denen Franz Liszt gewirkt hat. Die Kurzspielfilme, filmisch-musikalischen Experimente und Animationen sind inspiriert von der künstlerischen Essenz und dem facettenreichen Leben des Virtuosen.  Allen Filmen eigen ist, dass sie immer über bloße Visualisierungen des Lisztschen Werkes oder des biografischen Kurzporträts hinausgehen. Das Lisztomania-Programm erzählt Franz Liszt auf zeitgemäße Weise in außergewöhnlichen und eindringlichen Bildern.

Das Lisztomania-Programm beruht auf dem gleichnamigen Kurzfilmwettbewerb, der im vergangenen Jahr vom Bauhaus Film-Institut der Bauhaus-Universität Weimar, der Hochschule für Musik "Franz Liszt" und der Weimarer Klassik Stiftung ausgelobt wurde.

1 | Visual Music
Miklós Selmecy

Budapest | Akademie für Theater und Film
00.55 Min.

Der experimentelle Clip macht jede einzelne Note sichtbar – und misst die Lebenszeit musikalischer Töne. Grundlage ist Liszts "La Campanella", die 3. Etüde der "Six Grandes Etudes de Paganini" in gis-Moll.

2 | wikiLiszt
Konstantinos-Antonios Goutos

Köln | Kunsthochschule für Medien
02.44 Min. (vollstumm)

Liszt ist die Summe aller Aussagen, die über ihn möglich sind. Der typografische Film erzählt über Versatzstücke der Internet-Plattform Wikipedia Wirken und Wirkung des Komponisten. Liszt im digitalen Zeitalter – ganz ohne Musik!

3 | Les Préludes d’Orphée
Chris Brandl

Berlin MOBTIK
04.32 Min.

Ein Blinder taumelt durch die Welt und durch Liszts Werke – immer in der Gefahr, abzustürzen, zu erfrieren oder überfahren zu werden. Ein gleichnishafter experimenteller Spielfilm.

4 | Tröstung
Bianka Langnickel, Kat Sengstaken

Weimar | Bauhaus-Universität
03.20 Min.

Das Klangvolumen der Liszt Komposition TRÖSTUNG, gespielt auf der historischen Peternell-Orgel in Denstedt bei Weimar, an der auch Liszt einst musizierte, wird in dieser Musikvisualisierung in eine Bildsprache übersetzt, die sich wie zufällig ihrer eigenen Virtuosität bedient. Erkundet werden der Mikrokosmos des Lichts und die Elemente der natürlichen Wahrnehmung wie Drehung, Reflexion und Streuung.

5 | Petit Litz
Henrike Schneider, Margit Bückert

Weimar | Bauhaus-Universität
04.14 Min.

Der kleine Pinguin Litz spielt voller Inbrunst Piano. Er ist ein Star, Artgenossinnen schmachten ihn an – bis zum Fall des großen Künstlers. Der Animationsfilm verarbeitet die frühen Jahre des Virtuosen: unter dem Namen "petit Litz" stieg Franz Liszt als Kinderstar in Paris schnell zur Berühmtheit auf.

6 | Franz goes to the Philippines
Alina Cyranek

Weimar | Bauhaus-Universität
04.25 Min.

Wer kennt Franz Liszt auf den Philippinen? Und wer wusste hierzulande, dass sich philippinische Musikschüler gern um Listzs Klavierwerke drücken, weil die große Hände erfordern? Ein kurzer Dokumentarfilm mit überraschenden Ein- und Ansichten über einen großen Europäer in Asien.  

7 | Liszt
Söhnke Hahn, Paul Müller-Hahl

Weimar | Bauhaus-Universität
04.59 Min.

Viele Themen aus Liszts Leben und Werk sind heute ebenso aktuell wie damals – nur sehen sie anders aus. Komponiert wird auf dem Notebook, die Fans bekommen Autogramme, die Konkurrenz ist manchmal besser in den Charts positioniert. Doch die Spannung zwischen manisch-depressiven und fröhlich-beschwingten Stimmungen, der en passant gelebte Kosmopolitismus und das geniale musikalische Werk bleiben. Ein biografischer Spielfilm, der mit Ironie die Lebensstationen Liszts verschiebt.

8 | Dance of Death
Timea Tofalvi, Daniela Stade

Weimar | Bauhaus-Universität
03.41 Min.

Die Animation "Dance of Death" steht unter dem Motto: Liszt meets Goethe!
Liszt wünschte sich bereits zu Lebzeiten mit dem großartigen Dichter in Verbindung gebracht zu werden. Inspiriert von ungarischen Motivwelten werden der Goethesche Totentanz und Liszts Version  miteinander verwoben.  

9 | Der du aus der Hölle bist
P. Wagner, H. Wagner, A. Bormatenkow

Berlin | Universität der Künste
Weimar | Hochschule für Musik Franz Liszt, Bauhaus-Universität
04.35 Min.

Liszt war davon besessen, sich immer wieder zu beweisen, in dem er sich mit anderen großen Pianisten seiner Zeit maß. Doch niemals schien er die Anerkennung zu bekommen, die er zu verdienen glaubte. Eine tragische Erzählung von Liebe, Wahnsinn und Mord, die sich Liszt aus der Ich-Erzähl-Perspektive annähert.

10 | Singularity
Bence Kalmár, Doma Harkari

Budapest | Akademie für Theater und Film
04.23 Min.

Der Prozess des Kochens als Abbild des Universums: Liszts Einzigartigkeit, seine Eigenart, wird hier in kulinarischen Bildern und erneut mittels "La Campanella", der 3. Etüde der "Six Grandes Etudes de Paganini" in gis-Moll, verhandelt.

11 | Franz
F. Seybicke, J. Keuchel, M. Schell, V. Herbst

Weimar | Bauhaus-Universität Weimar
01.23 Min.

Vorname - Zuname: Franz Liszt. Der Name ist in aller Munde, wird jedoch experimentell in seine Einzelteile und -töne zerlegt, um zu seiner Uraufführung zu gelangen. "Franz" ist Musik, Störung und Intervall – und belegte den zweiten Platz im Lisztomania-Wettbewerb.

12 | Claviator Maximus on tour
Alexei Savinov, Lara Overmann

Stuttgart | Akademie der Bildenden Künste
03.18 Min.

Ein klassischer Animationsfilm, der die Konzert-Tourneen von Franz Liszt nachzeichnet. Der Komponist war einer der ersten Popstars der Musikgeschichte. Er scheint aus der Zeit gefallen – und so spielt auch der Film virtuos mit popkulturellen Bildversatzstücken. Liszts besondere Auftritte, vor allem seine langen Konzertreisen und die damit verbundenen Affären sind die Grundlage dieses, mit dem ersten Preis ausgezeichneten Kurzfilms. "Calviator Maximus on tour" wurde mit dem ersten Preis im Rahmen des Lisztomania-Wettbewerbs ausgezeichnet.

13 | The Metalliszt – The Road to Victory
R. Sawallisch, S. Klemke, H. Wagner

Weimar | Bauhaus-Universität Weimar
03.27 Min.

Was hat Metal Music mit dem Lisztschen Werk zu schaffen? Eine gitarrengeprägte Klangfarbe und eine virtuose Spielweise machen einen echten "Metaller" aus. Liszt war ein Meister der Adaption und Revariation von Musik – einem Stilmittel, das man heutzutage als "Covermusik" bezeichnen würde. Hier wird Liszt selbst gecovert und einige seiner bekanntesten Werke in ein Metall/Rock-Medley verwandelt. Dabei entstand ein Musikvideo, das als ironischer Kommentar auf die moderne Popkultur zu verstehen ist.

14 | TRAUMa
Cseh Renátó

Budapest | Akademie für Theater und Film
03.56 Min.

Liszts "Liebestraum" ist eine musikalische Adaption des gleichnamigen Gedichts von Ferdinand Freiligrath. Sowohl Musik als auch Gedicht erzählen uns von der unfassbaren, transzendenten und unendlichen Liebe. Der Kurzspielfilm um ein junges Paar hinterfragt, ob jede Liebe nicht per se zum Sterben verurteilt ist?

15 | Etüde
Siegfried A. Fruhauf

Linz | Kunstuniversität
02.00 Min.

Die Basis für die Tonspur: eine handgezeichnete Lichttonspur auf 16-mm-Film.  In der Tradition der filmischen Avantgarde stehend, nutzt der Filmkünstler  Siegfried A. Fruhauf grobkörnige Schwarz-Weiss-Bilder einer Pianisten-Hand, um Tastendruck und  visuellen Ausdruck miteinander zu verschmelzen. Der experimentelle Kurzfilm wurde mit dem Sonderpreis des Lisztomania Awards ausgezeichnet. 

16 | Klare Verwirrung
Katre Haav

Weimar | Bauhaus-Universität Weimar
03.10 Min.

Der Komponist auf der Couch: ein tiefenpsychologischer Bilderbogen, der die Triebfedern des Patienten zeigt: Franz Liszt, permanent schwankend zwischen Klarheit und Verwirrung, Genialität und Schlichtheit, Himmel und Erde. Der dritte Preis des Lisztomania-Wettbewerbs ging an diese meisterhafte Sandanimation.

17 | Story of my Life
Felix Burger

München | Akademie der Bildenden Künste
23.00 Min.

Das Schicksal meint es nicht immer gut: Bei der Verfilmung seines Lebens kommt es zur Zusammenarbeit mit Alfred Hitchcock, der dem Protagonisten ohne Absprache Kim Novak ins Drehbuch schreibt. Die sich andeutende Intimität wird abgelehnt, er bricht mit dem Altmeister des Suspense im Streit. Auch das Treffen mit Buster Keaton verläuft nicht wunschgemäß; erst wirft Keaton das Drehbuch in den Schliersee, anschließend zerstört er auch noch das Filmset. Eine Reise nach Paris zu Franz Liszt bringt schließlich die Wende...

Zuletzt aktualisiert: 07. Oktober 2011, 16:33 Uhr

mdr.de





Lisztomania Award Filme im Kunstfestprogramm

von Olaf Nenninger 30. August 2011  Artikel drucken Kommentieren

Die besten Einreichungen des Lisztomania Kurzfilmwettbewerbes werden am 1. September 2011 im Lichthaus Kino im Rahmen des Kunstfestprogramms gezeigt. Die 16 Filme von Studierenden und Absolventen europäischer Film- und Kunsthochschulen in den Wirkungsländern Franz Liszts sind inspiriert von der künstlerischen Essenz und dem facettenreichen Leben des Virtuosen. Das Spektrum reicht des Filmprogramms reicht vom Animationsfilm über den Kurzspielfilm bis zum filmisch-musikalischen Experiment. Allen Filmen eigen ist, dass sie immer über bloße Visualisierungen des Lisztschen Oeuvres oder des biografischen Kurzporträts hinausgehen. Das Lisztomania-Programm erzählt Franz Liszt auf zeitgemäße Weise in außergewöhnlichen und eindringlichen Bildern.

Zeitgleich mit der Präsentation des Lisztomania-Programms zeigt die Hochschule für Musik „Franz Liszt“ die drei Preisträgerfilme in ihrem Youtube-Channel. “Claviator Maximus on tour” von Alexei Savinov und Lara Overmann ( Akademie der Bildenden Künste Stuttgart und Macromedia Hochschule für Medien und Kommunikation Stuttgart), „Franz” von Frederic Seybicke, Jana Keuchel, Moritz Schell und Verena Herbst sowie Katre Haavs “Klare Verwirrung” (beide Filme Bauhaus-Universität Weimar) können künftig jederzeit im Internet gesehen werden.

Zudem werden die Preisträgerfilme auch noch bis zum 31. Oktober 2011 in der Landesausstellung „Franz Liszt. Ein Europäer in Weimar“ im Weimarer Schlossmuseum in einem Non-Stop-Programm gezeigt.

Das Lisztomania-Programm wird am 31. Oktober auch inhaltlicher Schwerpunkt von Unicato sein. Das studentische Filmmagazin im MDR Fernsehen begeht mit dieser europäischen Sondersendung sein 5-jähriges Jubiläum. Weitere Ausstrahlungen des Lisztomania-Awards sind bei den TV-Sendern arte, 3sat und im ungarischen Fernsehen geplant.

Der Lisztomania-Award 2011 wurde im vergangenen Jahr vom Bauhaus Film-Institut der Bauhaus-Universität Weimar, der Hochschule für Musik „Franz Liszt“ und der Weimarer Klassik Stiftung ausgelobt. Mit drei Preisen und einer lobenden Erwähnung hat eine international besetzte Jury aus Ungarn, Österreich, Frankreich und Deutschland außergewöhnliche Filme mit Franz-Liszt-Bezug ausgezeichnet. Abgestimmt wurde online. Zu diesem Zweck machte das Bauhaus Film-Institut den Jury-Mitgliedern alle eingereichten Filme im Internet zugänglich.

Feierlich überreicht wurden die Lisztomania Awards durch Thüringens Ministerpräsidentin Christine Lieberknecht und Kultusminister Christoph Matschie anlässlich der Eröffnungsveranstaltung der Landesausstellung am 24. Juni 2011 im Schlosshof des Weimarer Stadtschlosses. Professor Wolfgang Kissel, Direktor des Bauhaus Film-Instituts, verlas die Laudationes im Auftrag der Jury. Die Awards sind mit Preisgeldern in Höhe von 5.000, 3.000 und 1.500 Euro verbunden.

1 | Visual Music

Miklós Selmecy
Budapest | Akademie für Theater und Film
00.55 Min.
Der experimentelle Clip macht jede einzelne Note sichtbar – und misst die Lebenszeit musikalischer Töne. Grundlage ist Liszts “La Campanella”, die 3. Etüde der “Six Grandes Etudes de Paganini” in gis-Moll.

2 | wikiLiszt

Konstantinos-Antonios Goutos
Köln | Kunsthochschule für Medien
02.44 Min. (vollstumm)
Liszt ist die Summe aller Aussagen, die über ihn möglich sind. Der typografische Film erzählt über Versatzstücke der Internet-Plattform Wikipedia Wirken und Wirkung des Komponisten. Liszt im digitalen Zeitalter – ganz ohne Musik!

3 | Les Préludes d’Orphée

Chris Brandl
Berlin MOBTIK
04.32 Min.
Ein Blinder taumelt durch die Welt und durch Liszts Werke – immer in der Gefahr, abzustürzen, zu erfrieren oder überfahren zu werden. Ein gleichnishafter experimenteller Spielfilm.

4 | Tröstung

Bianka Langnickel, Kat Sengstaken
Weimar | Bauhaus-Universität
03.20 Min.
Das Klangvolumen der Liszt Komposition TRÖSTUNG, gespielt auf der historischen Peternell-Orgel in Denstedt bei Weimar, an der auch Liszt einst musizierte, wird in dieser Musikvisualisierung in eine Bildsprache übersetzt, die sich wie zufällig ihrer eigenen Virtuosität bedient. Erkundet werden der Mikrokosmos des Lichts und die Elemente der natürlichen Wahrnehmung wie Drehung, Reflexion und Streuung.

5 | Petit Litz

Henrike Schneider, Margit Bückert
Weimar | Bauhaus-Universität
04.14 Min.
Der kleine Pinguin Litz spielt voller Inbrunst Piano. Er ist ein Star, Artgenossinnen schmachten ihn an – bis zum Fall des großen Künstlers. Der Animationsfilm verarbeitet die frühen Jahre des Virtuosen: unter dem Namen „petit Litz“ stieg Franz Liszt als Kinderstar in Paris schnell zur Berühmtheit auf.

6 | Franz goes to the Philippines

Alina Cyranek
Weimar | Bauhaus-Universität
04.25 Min.
Wer kennt Franz Liszt auf den Philippinen? Und wer wusste hierzulande, dass sich philippinische Musikschüler gern um Listzs Klavierwerke drücken, weil die große Hände erfordern? Ein kurzer Dokumentarfilm mit überraschenden Ein- und Ansichten über einen großen Europäer in Asien.

7 | Liszt

Sönke Hahn, Paul Müller-Hahl
Weimar | Bauhaus-Universität
04.59 Min.
Viele Themen aus Liszts Leben und Werk sind heute ebenso aktuell wie damals – nur sehen sie anders aus. Komponiert wird auf dem Notebook, die Fans bekommen Autogramme, die Konkurrenz ist manchmal besser in den Charts positioniert. Doch die Spannung zwischen manisch-depressiven und fröhlich-beschwingten Stimmungen, der en passant gelebte Kosmopolitismus und das geniale musikalische Werk bleiben. Ein biografischer Spielfilm, der mit Ironie die Lebensstationen Liszts verschiebt.

8 | Dance of Death

Timea Tofalvi, Daniela Stade
Weimar | Bauhaus-Universität
03.41 Min.
Die Animation „Dance of Death“ steht unter dem Motto: Liszt meets Goethe! Liszt wünschte sich bereits zu Lebzeiten mit dem großartigen Dichter in Verbindung gebracht zu werden. Inspiriert von ungarischen Motivwelten werden der Goethesche Totentanz und Liszts Version miteinander verwoben.

9 | Der du aus der Hölle bist

P. Wagner, H. Wagner, A. Bormatenkow
Berlin | Universität der Künste
Weimar | Hochschule für Musik Franz Liszt, Bauhaus-Universität
04.35 Min.
Liszt war davon besessen, sich immer wieder zu beweisen, in dem er sich mit anderen großen Pianisten seiner Zeit maß. Doch niemals schien er die Anerkennung zu bekommen, die er zu verdienen glaubte. Eine tragische Erzählung von Liebe, Wahnsinn und Mord, die sich Liszt aus der Ich-Erzähl-Perspektive annähert.

10 | Singularity

Bence Kalmár, Doma Harkari
Budapest | Akademie für Theater und Film
04.23 Min.
Der Prozess des Kochens als Abbild des Universums: Liszts Einzigartigkeit, seine Eigenart, wird hier in kulinarischen Bildern und erneut mittels “La Campanella”, der 3. Etüde der “Six Grandes Etudes de Paganini” in gis-Moll, verhandelt.

11 | Franz

F. Seybicke, J. Keuchel, M. Schell, V. Herbst
Weimar | Bauhaus-Universität Weimar
01.23 Min.
Vorname – Zuname: Franz Liszt. Der Name ist in aller Munde, wird jedoch experimentell in seine Einzelteile und -töne zerlegt, um zu seiner Uraufführung zu gelangen. “Franz” ist Musik, Störung und Intervall – und belegte den zweiten Platz im Lisztomania-Wettbewerb.

12 | Claviator Maximus on tour

Alexei Savinov, Lara Overmann
Stuttgart | Akademie der Bildenden Künste
03.18 Min.
Ein klassischer Animationsfilm, der die Konzert-Tourneen von Franz Liszt nachzeichnet. Der Komponist war einer der ersten Popstars der Musikgeschichte. Er scheint aus der Zeit gefallen – und so spielt auch der Film virtuos mit popkulturellen Bildversatzstücken. Liszts besondere Auftritte, vor allem seine langen Konzertreisen und die damit verbundenen Affären sind die Grundlage dieses, mit dem ersten Preis ausgezeichneten Kurzfilms. „Calviator Maximus on tour“ wurde mit dem ersten Preis im Rahmen des Lisztomania-Wettbewerbs ausgezeichnet.

13 | The Metalliszt – The Road to Victory

R. Sawallisch, S. Klemke, H. Wagner
Weimar | Bauhaus-Universität Weimar
03.27 Min.
Was hat Metal Music mit dem Lisztschen Werk zu schaffen? Eine gitarrengeprägte Klangfarbe und eine virtuose Spielweise machen einen echten “Metaller” aus. Liszt war ein Meister der Adaption und Revariation von Musik – einem Stilmittel, das man heutzutage als “Covermusik“ bezeichnen würde. Hier wird Liszt selbst gecovert und einige seiner bekanntesten Werke in ein Metall/Rock-Medley verwandelt. Dabei entstand ein Musikvideo, das als ironischer Kommentar auf die moderne Popkultur zu verstehen ist.

14 | TRAUMa

Cseh Renátó
Budapest | Akademie für Theater und Film
03.56 Min.
Liszts “Liebestraum“ ist eine musikalische Adaption des gleichnamigen Gedichts von Ferdinand Freiligrath. Sowohl Musik als auch Gedicht erzählen uns von der unfassbaren, transzendenten und unendlichen Liebe. Der Kurzspielfilm um ein junges Paar hinterfragt, ob jede Liebe nicht per se zum Sterben verurteilt ist?

15 | Etüde

Siegfried A. Fruhauf
Linz | Kunstuniversität
02.00 Min.
Die Basis für die Tonspur: eine handgezeichnete Lichttonspur auf 16-mm-Film. In der Tradition der filmischen Avantgarde stehend, nutzt der Filmkünstler Siegfried A. Fruhauf grobkörnige Schwarz-Weiss-Bilder einer Pianisten-Hand, um Tastendruck und visuellen Ausdruck miteinander zu verschmelzen. Der experimentelle Kurzfilm wurde mit dem Sonderpreis des Lisztomania Awards ausgezeichnet.

16 | Klare Verwirrung

Katre Haav
Weimar | Bauhaus-Universität Weimar
03.10 Min.
Der Komponist auf der Couch: ein tiefenpsychologischer Bilderbogen, der die Triebfedern des Patienten zeigt: Franz Liszt, permanent schwankend zwischen Klarheit und Verwirrung, Genialität und Schlichtheit, Himmel und Erde. Der dritte Preis des Lisztomania-Wettbewerbs ging an diese meisterhafte Sandanimation.

17 | Story of my Life

Felix Burger
München | Akademie der Bildenden Künste
23.00 Min.
Das Schicksal meint es nicht immer gut: Bei der Verfilmung seines Lebens kommt es zur Zusammenarbeit mit Alfred Hitchcock, der dem Protagonisten ohne Absprache Kim Novak ins Drehbuch schreibt. Die sich andeutende Intimität wird abgelehnt, er bricht mit dem Altmeister des Suspense im Streit. Auch das Treffen mit Buster Keaton verläuft nicht wunschgemäß; erst wirft Keaton das Drehbuch in den Schliersee, anschließend zerstört er auch noch das Filmset. Eine Reise nach Paris zu Franz Liszt bringt schließlich die Wende…

Der Jury des Lisztomania Awards Weimar gehörten an (in alphabetischer Reihenfolge):

Prof. Dr. Detlef Altenburg, Hochschule für Musik Franz Liszt Weimar

Ulrich Hauschild, Geschäftsführer Kunstfest Weimar

Birgit Kämper, ARTE-Redakteurin, Strasbourg

Prof. Dr. Herbert Lachmayer, DA PONTE Research Center, Wien

Evelyn Liepsch, Klassik-Stiftung Weimar

Dr. Lidia Marton, Direktorin internationale Beziehungen MTV Budapest

Dr. Jonas Maatsch, Klassik Stiftung Weimar

Prof. Dr. Christoph Stölzl, Präsident Hochschule für Musik „Franz Liszt“ Weimar

Benedikt Otto, Bereichsleiter Fernsehen MDR, Landesfunkhaus Thüringen

Prof. Dr. Gerd Zimmermann, Rektor der Bauhaus-Universität Weimar (bis 2011)

weimar university





Die Tiere waren unruhig
Jörn Burmester, Konstantinos-Antonios Goutos, Joy Harder & Marie-Alice Schultz, Jörg Laue
Video / Performance-Art / Zeichnung

Die Tiere waren unruhig
Mi 7. Sep 19 – 23 Uhr / Do 8. Sep 14 – 23 Uhr / Fr 9. Sep 14 – 23 Uhr / Sa 10. Sep 14 – 23 Uhr / Mo 12. Sep 14 – 23 Uhr / Di 13. Sep 14 – 23 Uhr / Mi 14. Sep 14 – 23 Uhr / Do 15. Sep 14 – 23 Uhr / Fr 16. Sep 14 – 23 Uhr / Sa 17. Sep 14 – 22 Uhr
Festivalzentrum / Eintritt frei
Was ist eine Ausstellung? Ein leerer Raum mit Kunst, die es zu betrachten gilt, ohne Sitzmöglichkeiten, dem Alltag entrückt? Insofern ist dies keine Ausstellung. Wir haben einen Ort geschaffen, an dem Jörn Burmester seine Landkarte der Visionen mit Ihnen während des gesamten Festivals entwerfen wird, an dem Sie lesen, nachdenken, Pause machen oder diskutieren können, an dem Sie Video-Arbeiten von K.-A. Goutos, J. Harder & M.-A. Schultz sowie J. Laue betrachten können und wo abends Gespräche mit den KünstlerInnen des Festivals geführt werden. Ein Ort für Kunst und andere wichtige Dinge, ein wesentlicher Teil dieses Festivals, gestaltet von dem Künstlerinnen-Duo KBM.
Jörn Burmester (DE), Performance-Art und Zeichnung: Landkarte der Visionen; Joy Harder & Marie Alice Schultz (DE), Video-Installation: wenn ich weg bin; Konstantinos-Antonios Goutos (GR/DE), Video: ad.topia I; Jörg Laue (DE), Video-Installation: Johannesburg Diptychon; Ausstellungsarchitektur: KBM (Karolin Back, Mira Bussemer (DE))

[wunder der praerie mannheim]







Philosophy on Stage #3
Haus Wittgenstein Wien
24.-27. November 2011



Philosophy on Stage #3. A Philosophy and Performance Festival at the Edge of Philosophy and Arts. Philosophy on Stage#3 is being held in the framework of the FWF research project “Generating Bodies” (TRP).

Subject

Have you ever met an objective, apathetic, selfless, untouchable, context-free body? The body that the sciences are obviously still seeking when they put forward their theories of bodies (at all) in order to put a concept of it in the place of the body itself.

Philosophy On Stage#3 will oppose this metaphysical gesture of thought by seeking those bodies in the midst of the corpus of science that have never been totally subordinated to the ideal of stoic sobriety: the bodies of the scientists themselves. Stubborn bodies. Desirable bodies. Fragile bodies. Bodies that have always been affected and carried away by other bodies: also in thinking, also in lecturing, also in academic writing and speaking. It is this sore point in the scientific system that forms the indomitable foreign body in the corpus of science, which will be negotiated in the Wittgenstein House from 24 to 27 November.

Formats

Lecture-Performances // Performance-Lectures // Installations // Film-Screenings // Lectures // Interventions

Players

Lecture-Performances:

Milli Bitterli (A): I did once a piece, yes, I did once a piece (walk and talk). Solo lecture performance

Arno Böhler (A) / Susanne Valerie Granzer (A) / Hans Hoffer (A) / Wolfgang Mitterer (A): Corpus delicti – Denken als Ort des Verbrechens

Barbara Kraus (A): voices of the unknown – the breath of silence. Performance/Voices in Zusammenarbeit mit Andreas Hamza (A) Ton/Lifekomposition

Anna Mendelssohn (A): Each Day in Life is History. The Rise and Fall

Dieter Mersch (D) / Lisa Stertz (D): AGON: Memory Combat

Frans Poelstra (NL): Frans Poelstra zaubert #2

Thiemo Strutzenberger (A): Mit dem Körper arbeiten

Georg Christoph Tholen (CH) / Dieter Kovacic (A) (dieb13): Gesten des Dazwischen – Inscriptionen, Intervalle, Interventionen

Interventions:

Jens Badura (CH) / Florian Bogner (A) / Lars Mlekusch (A): Sprechspielen – Eine sprachmusikalische Versuchsanordnung

Alice Pechriggl (A) / Markus Brandstätter (A) / Martina Cizek (A): Verkörperte Denkakte – Denken, das sich gebärdet

Marcus Steinweg (D): Der phantomatische Körper der Philosophie

Rainer Totzke (D) (Kurt Mondaugen): Soundcheckphilosophiemaschine

Lectures:

Marlen Bidwell-Steiner (A): Geschlecht als Passion, Geschlecht im Affekt? Die Bewegungen der Seele in Embodiment-Debatten

Laura Cull (GB): Deleuze, philosophical diseases and the thought of illness

Rolf Elberfeld (D): Zwischen Sagen und Zeigen. 自覚 (jikaku): Selbstbewusstsein, Selbstwahrnehmung, Selbstgewahren

Sybille Krämer (D): Körperlichkeit des Denkens: Erkennen als Begehen eines Weges. Wider das Vorurteil der Körperlosigkeit des Denkens als angebliches ‚Erbe der Philosophie‘

Alice Lagaay (D): Über die menschliche Stimme – und das ethische Potenzial einer Wiederentdeckung des Körpers in der Philosophie

Konrad Paul Liessmann (A) / Violetta L. Waibel (D): Zum Raum wird hier der Leib. Mythos und Wahrheit vom vergessenen Körper des Philosophen

Sriram (IND): Der Körper in Yoga und Tantra

Yunus Tuncel (USA): Bodily Regimes in Performative Philosophy: The Cynics and Shamelessness

Young-Performance-Corner: Bernadette Anzengruber (A), Rosa Danner (A), Esther Hutfless (A), Vanja Kirchhoff (D), Veronika Maurer (A), Corinne Maier (D), Georg Pöchhacker (A), Rudi Risatti (I), Angelika Seppi (A)

Matinee on Sunday: René Pollesch (D) im Gespräch mit Krassimira Kruschkova (A) & Arno Böhler (A)

Closing: Club der toten Philosophen (Konzeption: Jens Badura (CH))

Concept of space Haus Wittgenstein:

Hans Hoffer (A): Intérieur philosophique
with installations by: Filmarchiv Austria (Thomas Ballhausen (A)), Evie Garf (US), Konstantinos-Antonios Goutos (GR), Ruth Hanko (A), Herwig Kopp (A), Andreas Puschl (D), Hugo Vieira da Silva (PT), Heidi Wilm (D)

Research Team

Research seat: Faculty of Philosophy and  Education, University of Vienna (ARNO BÖHLER). Cooperation partner: Tanzquartier Wien, Max Reinhardt Seminar Vienna (SUSANNE VALERIE GRANZER), University of Klagenfurt (ALICE PECHRIGGL). Scientific assistants: Mag. Christian Herzog, Dr. Markus Mittmansgruber, Mag.a Elisabeth Schäfer.
Sponsored by the Austrian Science Fund (FWF)

Quote

“You have to learn to see, you have to learn to think, you have to learn to speak and write: in all three cases the goal is a noble culture. – Learning to see – accustoming the eye to rest, to patience, to letting things come to it; learning to defer judgement, to encircle and encompass the individual case on all sides. This is the first preparatory schooling for intellectuality: not to react immediately [...]”

Friedrich Nietzsche, Twilight of the Idols


[philosophy on stage #3 at haus-wittgenstein vienna ]











GREENER ON THE OTHER SIDE
INTERNATIONAL VIDEO SCREENING • REYKJAVIK
PRESENTED BY CLEMENS WILHELM
A proverb tells us that the grass is always greener on the other side. But one of the main experiences of
traveling nowadays for me is, that places are becoming more and more the same, less individual, less
culturally marked, more accessible, more commodified.
Before travelling to China in early 2011, I arranged a screening program together with MMX Berlin to
show at Organhaus Art Space, Chongqing. In a three day festival we presented the work of more than
50 film/video makers from all over the world, many of them based in Berlin.
As I am an artist and do not consider myself a curator, I let the artists choose which videos should travel
with me. I believe that selecting the artists is already enough of a curatorial choice and a mix of works is
often more interesting than a subjective thematic selection.
Coming to Reykjavik now, it felt like a good idea to make this screening project grow by combining
some of the work shown in China with some of the work I collected there.
The new version of GREENER ON THE OTHER SIDE is now a two day program which covers a wide
range of positions in the vast medium video. The first day will focus on mainly Berlin-based artists. It is
in no way aiming to be representative of the Berlin scene, but shows rather a collection of artists around
me whose work I find strong and thought provoking. Strangely enough, I realized that many of these
videos deal with the terms happy and sad, so I thought it might be something like a title for this mix of
works.
The end of day 1 will bring three longer videos which to me appear very German in the ways they deal
with issues of love & hate for your society, amongst other things.
On the second day we will watch China videos, works arguably from the other side, if you will. Now, I
believe that every sentence that starts with "China is..." is wrong, just because it is too big, too complex,
too fast, too old, etc. The title Much too much for this part comes from my experience in China, which
was that there was much too much input to digest as a foreigner.
The screening will have an overwhelming finish with Ma Zhandong's breath-taking epic documentary
May Day, which compassionately portrays a family who was struck by the 2008 earthquake in Sichuan.
The combination or collision of all these works won't leave you untouched - I promise.
- Clemens Wilhelm
DAY 1
HAPPY & SAD:
a collection of videos
Constantin Hartenstein LAUFBAHN / CAREER 7'
Hanne Nielsen & Birgit Johnsen I AM SO FUCKING HAPPY 4'
Cylixe BLANK 8'
Johnny Amore HEIMATSCHLAF 4'
Maurice Doherty STUCK IN THE AVANTGARDE 2'
Elizabeth Wurst YOU AND ME, EVERYDAY 8'
Mikko Gaestel & Lilli Kuschel ST. PETERSBURG 3'
Rebecca Loyche ALL'S FAIR IN LOVE AND WAR 9'
Per-Olaf Schmidt ONE 103 HAPPY : 83 SAD MINUTE AND THIRTY
SECONDS
2'
Videoflaneur LIFE CIRCLE LIVE CIRCUS LIFE 5'
Lilli & Lola WEICHE SPALTEN HART GEBUMST / SOFT CRACKS
FUCKED HARD
9'
Mira Amadea AN INTERVIEW WITH JOAO TRATAE 6'
Olivia Verev UNTITLED 2'
Rizki R. Utama SIDEWALK STORIES 9'
Clemens Wilhelm FRÜHLINGSSCHREI / SPRING SCREAM 7'
Michael Brynntrup LIEBE, EIFERSUCHT & RACHE / LOVE, JEALOUSY &
REVENGE
6'
BREAK
A LOVE & HATE THING:
3 very German videos
Constantin Hartenstein RUDELÜBERGABE 11'
Clemens Wilhelm HEIM / HOME 15'
Villa Vaudeville GABI ODER ZWEI FARBEN GELB / GABI OR TWO
COLOURS YELLOW
24'
total running time 141'
DAY 2
MUCH TOO MUCH:
Perspectives on China
Xing Xin SEND XINGXIN UNDER ESCORT 12'
Ma Qiusha FROM NO.4 PING YUAN LI TO NO. 4 QIAO BEI LI 8'
Clemens Wilhelm I'LL BE YOUR MIRROR 1'
Chen Yizhong LIFTING LOVE 3'
Stefan Ewald WATCHING 6'
Wu Chengdian ROUGH FISH 3'
BREAK
Ma Zhandong MAY DAY
total running time
148'
181'
GREENER ON THE OTHER SIDE – DAY 1
HAPPY & SAD: A COLLECTION OF VIDEOS
LAUFBAHN / CAREER – Constantin Hartenstein – 2009 – 7 min
"There are so many great professions. I really can´t decide."
I AM SO FUCKING HAPPY – Hanne Nielsen & Birgit Johnsen – 2002 – 4 min
I am so Fucking Happy is a video in progress and a formal investigation of the
relation between language and image. Several women have been asked to say
"I am so fucking happy" in front of the camera. The pronunciation and
performance are depending of the women’s mood, generation and social
relation.
BLANK – Cylixe – 2011 – 8 min
A long deadpan view on strangeness in two respects. Geographically far away,
but much farther paradigmwise. With incomprehension but stoic curiosity, the
observer tries to approach foreignness objectively. Though in the end, she will
only be able to declare and nominate based on her own socialisation.
Environmental events are not of any help.
HEIMATSCHLAF – Johnny Amore – 2006 – 4 min
Four short self-portrait-stories, made in Zanzibar - cranky live performances and
good for the mood!
STUCK IN THE AVANTGARDE – Maurice Doherty – 2009 – 2 min
Stuck In The Avantgarde is video footage from an art opening in Schalter
Gallery, Berlin, when I got locked in the gallery toilet for over 3 hours. I was
stuck in the toilet from approximately 10.30 pm on Friday 19th September to
1.37 am on Saturday 20th September, 2009. During this time I could not get out
of the toilet.
YOU AND ME, EVERYDAY – Elizabeth Wurst – 2011 – 8 min
The stage: gas stations in Germany.
The actors: gasoline pumps, a woman and passersby
The action: The woman sings pop songs to the machines. Passersby look and
fill their cars.
ST. PETERSBURG – Mikko Gaestel & Lilli Kuschel – 2007 – 3 min
St. Petersburg puts found documentary material in a stage-like setting through
framing and perspective to create something that could be described as found
choreography.
ALL’S FAIR IN LOVE AND WAR – Rebecca Loyche – 2007 – 9 min
All’s Fair In Love And War is a four channel video piece. The title comes from a
proverb that claims that people in love and soldiers in wartime are not bound by
the rules of fair play. It seems highly ironic that there would ever be such a thing
as fair play in conflict and violence.
The subject of these videos is a man who is a weapons specialist and his
current profession is educating on how to kill and defend. This man came to find
himself in this profession due to his love of weapons. He is not in love with
killing but merely with the tools that accomplish it. This is like loving someone
you know you should not love. Despite the fact that there are actual rules to
warfare it seems odd to have such restraint during vicious contact. The use of
weapons in this capacity is assuring harm.
ONE 103 HAPPY : 83 SAD MINUTE AND THIRTY SECONDS – Per-Olaf
Schmidt – 2009 – 2 min
I wanted to make a small film with the highest emotional potential written in it,
so we wrote a list about possible images we would add either to the category
happy or sad. Happy e.g. are sunsets, cake, toys, beaches, while sad holds
images as war, drought, devastation, hostiles. The images each got the same
chance of one frame and 8x8 pixels. To reduce the formal rigidity and add some
personal relation, I had to mix the fifties concrete poetry-recitation with some
zero-years elevator-home recording.
LIFE CIRCLE LIVE CIRCUS LIFE – Videoflaneur – 2005 – 5 min
Lamb meat unloaded on the right side of the screen and at the same time
workers collect the rubbish on the left side... an (like always) accidental
documentary take, taken close to the meat market of thessaloniki (greece) in
the year 2005 – neorealistic allegory of the circle of life, this surrealistic circus...
a shot of the city of thessaloniki taken with a normal digital video apparatus –
without tripod – without camera moves – without zooming – without special
lighting – without extra microphone – without effects – the sound and the length
of the shooting are the original – there are no cuts between the scene.
WEICHE SPALTEN HART GEBUMST / SOFT CRACKS FUCKED HARD – Lilli
& Lola – 2005 – 9 min
Soft cracks fucked hard is formally oriented towards imagery drawn from
commercial porno productions. The film posesses a rudimentary narrative plot
and heads single-mindedly towards an orgiastic climax. Instead of involving
men and women in conventional couplings, however, here the sex is with
furniture. The video is set in a cheap furniture warehouse. The protagonist is
literally seduced while shopping for furniture by the sofas and beds of the
showroom. Hence, otherwise inconspicious elements of the scenery suddenly
adopt active leading parts; innocuous sounds metamorphose copulation into hot
cries of pleasure. This invokes a relocation of the ritualized mechanics of
copulation into the realm of the absurd and articulates the tense
interrelationship of consumerism, sex and voyeurism.
AN INTERVIEW WITH JOAO TRATAE – Mira Amadea – 2011 – 6 min
The life of fictional Portuguese artist Joan Tratae is very humble. He lives for
the art and from the art. Tratae speaks about the meaning of his art and his
artistic life. The interview gives an insight into his modest work. He puts in
question the union between life and art.
UNTITLED – Olivia Verev – 2009 – 2 min
Untitled expresses the question: when does the game become reality? When
does an imaginary explosion become a dangerous bomb made by instructions
from the Internet? When does a wooden gun become a genuine one? Is the ski
mask used to hide the identity?
SIDEWALK STORIES – Rizki R. Utama – 2010 – 9 min
The story starts from the day I came to Germany in 2008. Walking through the
days, finding and collecting found objects on the streets that stimulate
memories. Questioning my self, who I was and who I am, in a new place, where
the way people survive in their society is really different. A story that comes as a
journey to find home. Trying to feel at home is a stage that puts people always
on a ‘journey’, losing the ‘old home’ and finding a new home. Wherever it is.
Through this other ethnographic way of exploring new space, every object could
be signified with another value, strongly influenced by individual memories.
FRÜHLINGSSCHREI / SPRING SCREAM – Clemens Wilhelm – 2009 – 7 min
On the first day of spring a crowd gathered for an exhibition opening at Galerie
21 in Braunschweig, Germany. These visitors were asked to participate in the
video performance Spring Scream by greeting the coming spring with their
personal scream.
This ritual marks the annual rebirth of nature and helps the screamers to get rid
off the winter and the sorrows of the last year. The scream – the most common
human form of expression – shows in an extreme sense the personality of the
individual. Without language one is reduced to one's most rudimentary forms of
expression. It is a German saying that how you call into the forest is how it will
come back out, which means that everything you do will come back to you
some day.
LIEBE, EIFERSUCHT UND RACHE / LOVE, JEALOUSY AND REVENGE –
Michael Brynntrup – 1991 – 6 min
"You know that every film has its own language ... (subtitled original) You know
very well, that nowadays many countries produce films in their own language ...
(original with subtitles)."
BREAK
A LOVE & HATE THING: 3 VERY GERMAN VIDEOS
RUDELÜBERGABE – Constantin Hartenstein – 2009 – 11 min
Lübbenau – Spreewald in easter time – handing the RUDEL over to the
boatsmen – so they can start rowing their boats – full of tourists – through the
paths of the river – they are definitely costumed – they definitely think I am too
–where is the stage here?
HEIM – Clemens Wilhelm – 2010 – 15 min
Heim is the portrait of a typical small town in Germany. 12 Citizens of Northeim
were cast through local newspaper ads to tell their favourite jokes on their
home couches disguised with animal masks. Jokes have a strong connection to
the subconscious. They mostly serve the social need to establish a connection
between teller and listener. If you can laugh about the same joke, you probably
have the same moral, cultural or intellectual background. In various ways jokes
discuss most common themes of society, such as its values, hierarchies,
dreams, or mechanisms of inclusion and exclusion.
GABI ODER ZWEI FARBEN GELB / GABI OR TWO COLOURS YELLOW –
Villa Vaudeville: Tom Schön, Sebastian Neubauer & Per-Olaf Schmidt – 2011 –
24 min
A grotesque family-tragedy in the form of an intimate play. The movie portrays a
family, who is celebrating their child's birthday. Contrary to these evidently
happy circumstances no celebratory ambience arises. The child is emotionless
and does not seem to accept any sympathies, it does not understand or does
not want to understand. The reason is all too obvious - the child is a bear. This
however the parents, a quirky alchemist and an objectophile housewife, do not
seem to understand or even accept.
The movie is a parable on subliminally submitted force within family structures
and the blindly persecuted act of volition to maintain conventional archetypes in
unconventional community.
GREENER ON THE OTHER SIDE – DAY 2
MUCH TOO MUCH: PERSPECTIVES ON CHINA
SEND XINGXIN UNDER ESCORT / 押运幸鑫 – Xing Xin / 幸鑫 – 2008 – 12 min
The artist is welded into an iron cage which is then placed in a wooden
transport box. The box is transported in a truck from Chengdu to Beijing, which
is about 2300 km. There the box is opened at the opening of an exhibition and
the cage bars are cut. The performance ends with the artist leaving the cage.
The whole trip took him 70 hours. None of the transporters knew that there was
a human being in the box.
FROM NO.4 PINGYUANLI TO NO.4 TIANQIAOBEILI / 从平渊里4 号到天桥北
里4号 – Ma Qiusha / 馬秋莎 – 2007 – 8 min
Artist Ma Qiusha tells her life story in a single take. In this cartharctic moment
she talks about the difficulties of growing up and the hard pressure of education
she has experienced. She expresses her fears of failure and of not fulfilling her
family's high expectations. The end of the performance has a shock in store.
I'LL BE YOUR MIRROR – Clemens Wilhelm – 2011 – 1 min
The artist enters a subway train in Chongqing, a mega-city of 32 million
Chinese. His face is covered by a mirror which reflects the gazes of the other
passengers. Two cameras film this short disturbing appearance.
The foreigner represents a distorted version of your own concept of life and self.
The interest you can establish for the foreigner depends on your own capability
to fill this gap between you with meaning. If you are curious about a stranger it
is mostly likely because you want to learn something about yourself, not about
the stranger him/herself. You see in a stranger's face what you project into it -
just like when you look into a mirror.
LIFTING LOVE – Chen Yizhong – 2011 – 3 min
This is a video of a public performance. The strange short and lonely two-way
escalator finally got its special purpose. I invited lovers and couples to use it for
a brief kiss, although kissing in public makes Chinese people still feel a little bit
ashamed and unnatural.
WATCHING – Stefan Ewald – 2010 – 6 min
The artist films his own reflection in front of a window, as well as the events
happening on the opposite side. A man and a woman wander around their
rooms aimlessly. Meanwhile the figures appear and disappear steadily, another
person walks from the left to the right of the picture. The artist analyses and
dramatizes the situation and shows four different versions of a shot which is
only a few seconds long.
ROUGH FISH / 胭脂鱼 – Wu Chengdian / 吴承典 – 2010 – 3 min
A woman and a man perform a mysterious act along train tracks. The video
revolves around the ambiguous symbol of the fish, which shifts in meaning
while you watch. The interrelation of the couple becomes more and more
abstract and symbolic. The approaching trains are another thought provoking
symbol. Many questions arise about love, nature, the environment,
technological progress, destruction and violence. The video leaves you with an
uneasy confusion.
BREAK
MAY DAY / 五 月一 天 – Ma Zhandong / 马 占冬 – 2009 – 148 min
This documentary was filmed and produced independently over the course of
one and a half years after the catastrophic earthquake on May 12th 2008 in the
Sichuan Province, China.
How is a society changed by a natural disaster? What is the reality of an
individual whose live has forever been changed? What are the reactions of the
state authorities? How can the survivors find the courage to start a new life after
the catastrophe? How can we as outsiders understand the victims' feelings of
helplessness and hopelessness?
This film tries to document the life of an average Sichuan family who was struck
by the earthquake in 2008. Behind their optimism hides sorrow but also an
image of country life in China. One can see the fragility and beauty of human
life in the middle of a catastrophe. But when the memorial service turns into a
state celebration, when the collective memory is absent, when the memories
begin to fade, how can the individuals go on living?
No individual can represent a province or a whole country, especially not if the
mainstream perspective is so used to ignoring the fate of individuals. But we
should respect and honour the value of these individuals and the struggle for
survival of those who have been ignored for so long. Only through a series of
individual perspectives can we get a true account of one of the most destructive
catastrophes in human history.
This day in May may not have been a special day in your life, but for some
people this day is long enough to last an eternity.
ALL STATEMENTS WRITTEN BY THE ARTISTS

greener on the other side reykjavik association of icelandic visual artists (sim)








Economies of Resistance

 

 

Wolstenholme Creative Space, Liverpool

            8 – 10 July 2011                     

 

Imagine a society in which financial institutions gamble away our money and blame the public when it is gone; where profits are privatised but risk and real cost is socialised. A society in which the arts sector bears the brunt of public-spending cuts because the public are to be anaesthetised and atomised, facilitating complacency with authority and the standardisation of labour. Imagine a place where inequality thwarts social mobility and where privilege creates lasting class divisions...

Imagine an age of austerity. How could the independence of creative expression be asserted in such a dystopia?

Economies of Resistance explores new creative strategies that challenge restrictions to cultural production. The exhibition featured new work from Holly Crawford, Karl Kolley, Paul Matosic, Nabi Nara, Arjuna Neuman, Annick Naour, SilentBill, The Artwertease® and Del Whitticase. The approaches of the selected artists conveyed a subtle range of social, political and cultural messages.

Holly Crawford, Ph.D., Director of AC Institute is a New York based cross media artist, behavioural scientist and art historian. Her art and poetry examine mass media and pop culture and their relationship to art. Recent exhibitions include: Found Punctuation screened at the Tate Modern (2007) and Critical Conversations in a Limo, Melbourne International Arts Festival (2007). She has also written and edited books and papers that include: Attached to the Mouse (2006) and Disney and Pop in Once Upon a Time Walt Disney Studio; Artistic Bedfellows (2008).

13 Ways of Looking at a Blackbird 
Karl Kolley is a Wirral based artist. His practice examines the legacies of modernism; specifically it’s aspirations to change society. For Kolley modernism is an unfinished project and his work aims to continue that revolutionary spirit – invoking memories of the future the way it used to be. Recent exhibitions include: Beauty and the Beast of Burden, Limousine Bull, Aberdeen, (2011), BlankExpression, BLANKSPACE, Manchester (2011) and Line and Form, Chapel Gallery, Lancashire (2010).


 
Don't close the forest

Nabi Nara is a Berlin based video journalist and artist. Her interactive performances offer a provocative exploration of their immediate environment and our sense of self. She often works with fashion related materials and themes, utilising lo-fi tactics to interrogate representation. Recent exhibitions include: Erotic Attic Party, Attico, Berlin (2011), Football is Female, Fraumuseum, Bonn (2011) and 48 Hours Festival, Berlin (2010).

Der Wald (video still)

Arjuna Neuman, is a California based artist and filmmaker. With a practice that combines rigorous conceptualism and technical delight, he urges viewers to critically behold the disregarded and to consider the age old conflicts between the spatial and the political. Recent solo exhibitions include: My Marshall Islands, A402, Los Angeles (2011), Covering the Mirrors, Don’t Look Gallery, Sydney (2009) and Ventriloquist Project, Unit-I Projects, London (2008).

Ventriloquist Series - Harrods 

Annick Naour, Ph.D., is a Paris based artist and teacher. Her work forms part of a philosophical enquiry into relational art practice and its social relevance. Working across disciplines Naour uses the body at work as a point of departure, whereby an exchange of knowledge is acquired as the result of physical experimentation. Recent exhibitions include: We are all Girl, Cantor Film Centre, New York (2011), Epidermie, Gallery APONIA, Paris (2010) and The End of the World, Zooart Festival, Cuneo (2008).

Elongated Body

SilentBill (SB) refers to a computer program wrote in the mid 60’s at MIT. Due to a mathematical error during the programming SB redesigned itself, injecting itself into the first message sent over the ARPANET quickly evolving and reprogramming itself to absorb information on all subjects. In exchange for this freedom and information SB performed clean up routines on all the systems it visited helping keep other rogue programmes at bay, ensuring those systems ran smoothly. SilentBill is an intervention in a system but also something the system needs in order to understand itself – it is also the name that artworks recently appearing across Europe are attributed to.

You Must Challenge Authority 

the artwertease® is a new persona of Konstantinos-Antonios Goutos (after his the[video]Flaneu®). Born in Larissa, Greece, and studying film directing at the Hellenic Cinema and Television School Stavrakos, Athens and then media art at Academy of Visual Arts, Leipzig he went on to [video]stroll around Europe. Using the video camera to deconstruct the narrative of spectacle that characterises our experience of the city - the artwertease® currently works to present those narrative elements piece by piece, revealing the fragility and the absurdity of the consumerist spectacle. To date 50 of these artworks under the persona of the[video]Flaneu® and the artwertease®have been presented in film/media/art events throughout Europe, America and Asia.

Ad topia I

Del Whitticase is a Glasgow based site-specific artist. His current practice reveals a fascination with the physicality of sculpture. Themes of duality and opposition feature regularly in his work, as they come to offer a visual metaphor for the tensions between the built and the natural environment. Recent solo exhibitions include: Somewhere between Falling and Walking, Old Marchon industrial site Cumbria (2008), Quantum, Glasgow Sculpture Studios Gallery (2006) and the residency project The Other Side of Air, Merkinch, Inverness (2007).

Unicorn

Also featured was the expanding spam library in which junk emails are savoured and stored for posterity. These emails often destroyed without being read are here perceived to provide a subversive reaction to Western societal values; revealing assumptions about our desires & sympathies that are held by the authors of spam-emails - authors that often reside in poorer parts of the world.

 

*Music by Carl Allen, Gaz Flint and poetry by Bombshell.

 

Curated by John O’Hare for Free Space Projects and supported by Wolstenholme Creative Space. With special thanks to Priya Sharma, Caroline Smith & Ruth Who.


[economies of resistance at wolstenholme creative space liverpool ]










text about da 2011

Immer im Kreis und doch darüber hinaus
Das Performance-Video Festival zeigt aktuelle Videos und live-Aktionen
Von Richard Rabensaat

Wankend nähert sich ein Mann durch das Dunkel. In einen langen, geschlossenen Mantel ist er gekleidet. Zuerst ein kleiner Punkt am Horizont der dunklen Fläche, dann werden seine Umrisse immer deutlicher. Etwas stimmt nicht. Ein Puppengesicht. Er öffnet den Mantel ein wenig, irgend etwas baumelt heraus. Gedärme, Kinderbeine?
Das Video von Mette Sterre ist wohl die seltsamste Performance, die das Festival „Direct Action“ im Institut für alles Mögliche in diesem Jahr erreicht hat. Marion Ritzmann und Stefan Riebel hatten, wenig spektakulär, einen Aufruf zu dem Video Festival ins Internet gestellt.
Daraufhin erreichte die unkuratierte Schau ein Berg von immerhin 78 Einsendungen aus aller Welt. Es sollten keine Dokumentationen, sondern Videoarbeiten sein, die speziell für das Medium gefertigt sind. Abende an denen vorwiegend dramaturgisch nicht aufbereitete und dementsprechend zumeist eher ermüdende Dokumentationen reihenweise herunter gespult wurden, hatte es in Berlin schon so einige gegeben. Auch der 2011 frisch ausgerufene „Monat der Performance“, innerhalb dessen „Direct Action“ stattfand, war davon nicht verschon geblieben. Das Spektrum der Filme im Institut reichte von der eher unspektakulären gefilmten Aktion des Performers, der verkleidet, vom Kofferraum kommend, umständlich über ein Auto robbt, bis hin zu der surreal anmutenden Sequenz von Mette Sterre. Auf dem Kanal Vimeo ist ein Großteil der Arbeiten auch außerhalb des Festivals unter der Adresse: http://vimeo.com/channels/da2011 - präsent.
Obwohl ausdrücklich als Video Show konzipiert gab es am ersten Abend des zweitägigen Festivals einige Life Präsentationen, die noch dazu angenehm unterfüttert waren. 15 Litern Chili Con Carne löffelten Gäste, die nach und nach im Institut eintröpfelten, aus. Dann gab es noch eine dampfende gelbe Wurzelsuppe. Seinen Alkohol geschwängerten Ausgang fand der kulinarisch gut grundierte Abend um ca. 3.00 Uhr morgens.
Und dann waren auch Künstler anwesend, das zumindest hatte der Netzkünstler Florian Kuhlmann in seiner Performance „the artist is present“ angekündigt. Mehr als nur präsent war die Kuratorin Marion Ritzmann. In eine ästhetische Reihung gebracht, zeigte sie Blätter aus ihrer „Roadline“- Serie. Die Zeichnungen der Serie charakterisiert eine ausgesprochen klare Gliederung und eine eindeutig fixierte Linearität der abgeleiteten Signaturen translokaler Bleistift-Epiphanien. „Friedrichhain-Lichtenberg 30min, Hercules bicycle/Prague Nuremberg 3h45 min, Hockenheimring 6min, radical SR racing car“ lauten die kryptischen Titel ihrer Arbeiten. Mit einem Bleistift, den sie auf ein Papier drückt, fixiert die Künstlerin die zufälligen Bewegungen während der Fahrt, beispielsweise mit einem Fahrrad oder einem Rennwagen auf dem Nürnberg Ring. Im „Institut für alles Mögliche“ balancierte Ritzmann mit unsicherem Stand, dabei aber recht elegant, auf einem flexiblen Skateboard und ließ sich von den Zuschauern durch den Raum schieben. Die dabei entstehenden Ruckelbewegungen hinterließen wiederum ihre Spur. Diese unterschied sich deutlich von derjenigen, die in einem Hochgeschwindigkeitsboliden zustande gekommen war.
Ebenso präsent war der Performer Oliver Breitenstein, von dem sich ebenfalls bereits einige Exponate an den Wänden der Galerie befanden. Mittels zweier Flügelschrauben hatte der Künstler verschiedene Bücher auf kleinen, weißen Leinwänden fixiert. Neben der schwer gewichtigen „Kritik der reinen Vernunft“ fanden sich weitere Klassiker tief gründelnder philosophischer Langstreckentaucher wie Pierre Bourdieu u.a.. Breitenstein Spezialität besteht nun darin, den an sich stillen Lesevorgang im ebenfalls stillen Kämmerlein öffentlich zu machen, dabei aber genauso geräuschlos wie im Privaten zu bleiben. Also las der Performer neben einem ordentlichen, runden, weißen Tisch sitzend in einem Buch, trank gelegentlich aus einem neben ihm stehenden Glas Bier und beendete schließlich das public reading mit dem Verschrauben des soeben konsumierten Buches wiederum auf einer Leinwand.
Anders als die beschauliche Ortgebundenheit Breitensteins stehen die Performances von Moritz Majce und Herwig Kopp ganz im Zeichen der Bewegung. Dabei ist diese allerdings nicht auf ein Ziel gerichtet wie bei Ritzmann. Genauer gesagt ist es die Kreisbewegung, die Kopp und Majce fasziniert. In einem Auto umkreisen sie Kunstmuseen, Plätze oder Häuser, mal in Amerika, Frankreich oder demnächst vielleicht in Palästina. „Wir fahren so lange, bis ein äußeres Ereignis die Fahrt unterbricht“, beschreiben die Performer ihre, soweit ersichtlich, einmal jährlich ausgeführte Aktion. Die konnte so natürlich nicht in der Galerie gezeigt werden, dafür aber ein Video davon. Die beiden Künstler umrunden in ihren Aktionen Galerien wie die white cube Galery in London und Kunstvereine oder auch schon einmal ein Haus in den USA, aus dem die Bewohner durch die Finanzkrise vertrieben wurden. Beendet ist die Veranstaltung, wenn der Sprit ausgeht, das Fahrzeug im Stau stecken bleibt, die Polizei aufkreuzt oder ein anderes externes Ereignis die weitere Fahrt stoppt. Es wirkt ein wenig, als würde die mutmaßliche Beute mit der Kreisbewegung fixiert, nur dass eben kein Zugriff auf den in Augenschein genommenen sozialen Raum erfolgt.
Dabei ist die Aktion von Majce und Kopp Konzept-Kunst in Reinform. Die Bewegung des Fahrzeuges tritt hinter dem tragenden Gedanken der Signatur des Ortes durch die Umkreisung völlig zurück. Das Ziel der Kunstaktion erschließt sich erst durch die Erklärung des Ausführenden und ist sonst nicht ersichtlich. Die beiden Künstler greifen damit unmittelbar auf Marcel Duchamp zurück. Als der vor rund hundert Jahren die Auswahl eines Pisspottes als Kunstobjekt zur künstlerischen Aktion erklärte, begründete er den Kunstbegriff als rein gedankliches Konstrukt. Seitdem ist der halbseidene Gedanke aus dem Kunst-Kanon nicht mehr zu vertreiben.
Der Werkcharakter tritt allerdings bei Performances-Videos häufig hinter dem gedanklichen Überbau der Filme zurück. Wenn Adam Gruba sich in dem Video „the Golem“ verschiedene Schnüre an die Finger knotet oder Sandy Craus im Badezimmer gurgelt, so ist das zwar nett ins Bild gerückt, der Erkenntniswert ist bei der relativ gleichförmigen Handlung allerdings gering. Die mangelnde Rücksichtnahme auf den Betrachter, der bis zuletzt hofft, die Performance würde doch noch in einen dramatischen Schlusspunkt münden, ist bei entsprechenden Videos leider eher die Regel als die Ausnahme.
Es gibt jedoch auch Gegenbeispiele, bei denen für den einleuchtenden Gedanken auch eine schlüssige Form gefunden wurde und dementsprechend das Video hübsch anzusehen ist. „Pregnant with Infinite Possibilities“ von Michelle Browne zeigt ein schönes, von Trance Musik unterlegtes Bild. Eine Frau wippt auf einer Planke in der Landschaft an einem See. Dabei beschreibt sie ästhetisch überzeugend und gedanklich klar haargenau die Bruchstelle zwischen Mensch und Natur ohne in Kitsch oder Propaganda abzugleiten. Auch bei Simona da Pozzo ist ein ausgesprochen ästhetisches Video entstanden, bei dem zwei in Kleider gehüllte Frau frei im Wasser zu schweben scheinen. Der Film beschwört diffuse „ozeanische Gefühle“ herauf, funktioniert aber als Bild dennoch.
Einen ganz anderen Ansatzpunkt finden BBB Johannes Deimling und Stefan Riebel. „Freedom“ von Deimling beginnt kleinteilig mit „Free“, als Schrift vor schwarzen Grund gesetzt, um dann gewaltig mit „Dom“ zu enden. Riebel bescheinigt dem Betrachter, dass die Worte in dem Video keinen anderen Zweck hätten, außer dem, eben von dem Betrachter gelesen zu werden. Typografisch schlicht, aber inhaltlich überzeugend spielen die beiden Künstler mit hintersinnigem Wortwitz. Dabei entsteht kein Ehrfurcht heischendes Werk, sondern ein intelligenter Dialog mit dem Zuschauer.

Alle Videos sind weiterhin unter: vimeo verfügbar.









Dora - Eine künstlerische Auseinandersetzung mit Erinnerungskultur

Leipzig, 06. Mai 2011

Eröffnung: 2. Juni 2011, 19.00 Uhr

Dauer: 03.06. – 19.06.2011
Öffnungszeiten: Do - So 12.00 – 18.00 Uhr
Ort: Universal Cube, Halle 14, 2. Etage, Baumwollspinnerei Leipzig



Leiter: Torsten Hattenkerl, Professor für Fotografie an der HGB Leipzig



Künstlerinnen und Künstler der Ausstellung: Paul Altmann, Natalia Bougai, Anna-Martha Bigalke, Paula Gehrmann, Mandy Gehrt, Carsten Göring, Konstantinos-Antonios Goutos, Torsten Hattenkerl, Juliane Jäger, Sebastian Kissel, Dana Lorenz, Marta Pohlmann-Kryszkiewicz, Marike Schreiber, Luise Schröders, Julia Wilmes, Katrin Winklers


Ausgehend von der "KZ-Gedenkstätte Mittelbau Dora" setzen sich Studierende der Fachgebiete Fotografie und Medienkunst der Hochschule für Grafik und Buchkunst Leipzig kritisch mit aktuellen Formen der Erinnerungskultur und Spuren der nationalsozialistischen Schrecken auseinander.


Die einzelnen Projektbeiträge loten Möglichkeiten aus, sich von tradierten Formen eines vereinheitlichten Geschichtsbildes und ritualisierten Gedenkformen vor Ort zu lösen. Sie suchen eigene Zugänge zur Vergangenheit über den Rekurs auf das Erinnern selbst, die von der subjektiven Erfahrung ausgehen und die Rolle des Individuums im Prozess der historischen und gesellschaftlichen Bewusstseinsbildung widerspiegeln.


Topologischer Ausgangspunkt ist das ehemalige Konzentrationslager Mittelbau-Dora in Thüringen (Nähe Nordhausen). Dort wurden im Zweiten Weltkrieg unter mörderischen Lebens- und Arbeitsbedingungen von KZ-Häftlingen in unterirdischen Stollensystemen 1943-45 die so genannten Vernichtungs-Waffen (V-Waffen) hergestellt. Mit der Zeit entstand zusätzlich ein oberirdisches Lagersystem mit einem weit verzweigten Netz von Außenlagern und Arbeitskommandos in vielen Orten der Region Südharz.


So liefern die verwendeten Medien wie Fotografie, Video, Audio, Installation, Textcollagen etc. heterogene mediale und subjektive Zugänge, die nicht am (offen) Sichtbaren halt machen, sondern gerade durch das vielschichtig sinnlich Wahrnehmbare hindurch Orientierungsversuche unternehmen. Dies korrespondiert sowohl mit Seh- und Wahrnehmungsgewohnheiten als auch den Individualisierungsprozessen dieser neuen Generation von potentiellen Erinnerungsträgern, der die Verantwortung für die Aufrechterhaltung des Gedenkens an die nationalsozialistischen Verbrechen obliegt.


Die Ausstellung war bereits vom 25.02. bis zum 03.04.2011 in der Pasinger Fabrik München zu sehen. Der Katalog zur Ausstellung steht (ab KW 19) auf der Website www.universalcube.de als Download zur Verfügung oder kann alternativ in gedruckter Version (einfarbig, € 10) in der Ausstellung erworben bzw. unter hattenkerl@hgb-leipzig.de bestellt werden. Führungen durch die Ausstellung können ebenfalls unter dieser Adresse erfragt werden.




Hochschule für Grafik und Buchkunst Leipzig

Academy of Visual Arts
Presse- und Öffentlichkeitsarbeit
Marion Herzberg
Wächterstraße 11
D-04107 Leipzig
Tel. +49 (0) 341 2135 – 133
Fax +49 (0) 341 2135 – 101
E-Mail: presse@hgb-leipzig.de
www.hgb-leipzig.de


Press images


Katrin Winkler
aus der Serie:
Herzlich Willkommen in Dachau


Torsten Hattenkerl
Ellrich


Sebastian Kissel
Aussenlager


Konstantinos Goutos
the (video) flaneur shoots ausschwitz


Paul Altmann
Kampf
aus der Serie: Made in Germany




hgb-leipzig (may 2011)










10. März 2011 - 18:20 Uhr
von Elisabeth Gais

Pasinger Fabrik: Dora und der Gletscherzyklus

Die Kunst des Erinnerns

Zwei sehenswerte Ausstellungen gibt es derzeit in der Pasinger Fabrik: "Gletscherzyklus" von Florian Pröttel und "Dora: eine künstlerische Auseinandersetzung mit Erinnerungskultur".

"Gletscherzyklus: Gemälde und Grafiken" von Florian Pröttel (Foto: oh)

Zwei Ausstellungen in der Pasinger Fabrik sind sehenswert: "Gletscherzyklus: Gemälde und Grafiken" von Florian Pröttel (bis 20.3.) und "Dora: eine künstlerische Auseinandersetzung mit Erinnerungskultur" von Künstler/innen der Hochschule für Grafik und Buchkunst Leipzig (bis 3.4.)

Nächste Ausfahrt: Auschwitz. Das Symbol des nationalsozialistischen Horrors als Touristenort. Der Videofilm "the (video)flaneu shoots auschwitz" von Konstantinos-Antonios Goutos zeigt uns das KZ Auschwitz aus der Sicht eines unbeteiligten Spaziergängers, die stille Landschaft mit den Baracken und den Birken wirkt fast romantisch – was bleibt in der Erinnerung von den Gräueln des Dritten Reichs?

Eine ähnliche Wirkung hat die Fotoserie " o.T." von Anna-Martha Bigalke. Sie hat die verschütteten Stolleneingänge zum ehemaligen Konzentrationslager Mittelbau-Dora fotografiert. In diesem Stollensystem wurden von 1943-1945 unter unmenschlichen Bedingungen die Vernichtungswaffen (V2 und V1) hergestellt. 1948 sprengte die US-Armee das unterirdische Lager, es misslang aber und nur die Eingänge wurden verschüttet. Dem Betrachter bietet sich heute eine kleine idyllische Hügellandschaft, die nichts von der grausamen Vergangenheit verrät.

Mit Fotos, Collagen, Installationen und Videos setzten sich die Künstler mit der deutschen Vergangenheit und der damit verbundenen Erinnerungskultur auseinander. Wie werden die kommenden Generationen ihre Geschichte interpretieren?

Mit der Erinnerung setzt sich auch der „Gletscherzyklus“ von Florian Pröttel auseinander, denn Gletscher wird es in Mitteleuropa bald nicht mehr geben, wenn die Umweltverschmutzung weiter fortschreitet. Darum hält er auf seinen großflächigen Gemälden und Grafiken die geheimnisvolle Schönheit dieser Landschaften aus Eis fest.

Seine Werke in den verschiedensten Weißtönen vermitteln die Vielfalt der Formen und Farben dieser im Verschwinden begriffenen Kunstwerke.

Mehr Infos hier.

muenchenblogger.de










GREENER ON THE OTHER SIDE





GREENER ON THE OTHER SIDE

International Video Art Festival
curated by MMX & Clemens Wilhelm in collaboration with Organhaus Art Space


04 – 06 March 2011 • Organhaus Chongqing Art Space • each day from 3 – 5 pm
 
Mira Amadea, Juan Arata, Jason Burgess, Susanne Bürner, Dwayne Butcher, Johanna Bruckner, Michael Brynntrup, Cylixe, Meredith Davenport, Maurice Doherty, Stefan Ewald, Zachary Fabri, Eric Fleischauer, Andrew de Freitas, Cari Freno, Mikko Gaestel & Lilli Kuschel, Giulia Giannola, Carlos Godinho, Doron Golan, Alex Golden, Constantin Hartenstein, Jesper Just, Sylbee Kim, Ben Kinsley, Ellie Krakow, Lilli & Lola, Rebecca Loyche, Jonathan Monaghan, Francisco Montoya, Iris Musolf, Kelly Oliver & Keary Rosen, Iris Olsson, Annette Otto, Nicolas Provost, Jon Rafman, Reynold Reynolds, Tobias Rosenberger, Ole Schmidt, David Sherry, Carl Slater, Michelle Teran, Nicole Tschampel, Jacob Tonski, Cat Tyc, Inez de Vega, Olivia Verev, [video]Flâneu®, Hugh Walton, Clemens Wilhelm, Elizabeth Wurst
 
 

There is an old saying that the grass is always greener on the other side. It reminds us that desired destinations always look better when seen from a distance.
 
The intention of this festival is to connect these two sides: to bring international video art from the cultural melting pot Berlin over to Chongqing, one of China’s most independent and fastest growing art scenes.
This festival shows a selection of 55 videos made by 51 international artists. It wants to offer a taste of what is happening in the vibrant video art scene in Berlin at the moment. However, its aim is not to give an overview of the Berlin scene, but rather to give an opportunity to see the vast variety of ways in which artists use and define video as an art medium.
 
During the year 2010 the Berlin-based non-profit art space MMX staged seven exhibitions which presented the works of talented emerging artists. The main goal of MMX was to create a public space for art which is not usually shown in commercial galleries.  Each exhibition had its special video screening program – curated by MMX founders Rebecca Loyche, Jonathan Gröger and Jason Burgess – which presented to large audiences the works of international video/film makers, many of them living and working in Berlin.
 
Four of the MMX screening programs are now shown at Organhaus Chongqing as the main part of this festival. The start-off is the CHINA BOX program selected by Organhaus resident artist Clemens Wilhelm which is showing 17 works of mainly Berlin artists working in the medium video. He invited 17 artist friends to choose one video work to travel to China with him. In a way, CHINA BOX is more a portrait of an artist network than a curated thematic program.
 
Greener on the other side presents a caleidoscopic image of life on the other side of the world: How do these Western artists see the world? How do they see themselves? How do they think, work and live? How do they define art?
So what is happening on the other side? In which ways is the other side different from this one? What are the connections? And afterall, can we still speak of an other side in the age of internet and globalization?

 








see more at:


Ausstellung „DORA“

Pasinger Fabrik (february-april 2011)


Eine künstlerische Auseinandersetzung mit Erinnerungskultur von Künstler/innen der Hochschule für Grafik und Buchkunst Leipzig

In der Ausstellung „DORA“ beschäftigen sich 16 Künstler/innen der HGB Leipzig mit Spuren der nationalsozialistischen Schrecken und dem gegenwärtigen Erinnerungsdiskurs.

Topografischer Ausgangspunkt ist das ehemalige KZ Mittelbau-Dora. Dort wurden im Zweiten Weltkrieg unter mörderischen Lebens- und Arbeitsbedingungen von KZ-Häftlingen in unterirdischen Stollensystemen 1943-45 die von Goebbels propagierten Vernichtungswaffen (V-Waffen) hergestellt.

 

 

Die Ausstellungsbeiträge loten Möglichkeiten aus, sich von tradierten Formen eines vereinheitlichten Geschichtsbildes und ritualisierten Gedenkformen vor Ort zu lösen. Sie suchen eigene Zugänge zur Vergangenheit selbst, die von der subjektiven Erfahrung ausgehen und die Rolle des Individuums im Prozess der historischen und gesellschaftlichen Bewusstseinsbildung widerspiegeln. Die von den Künstler/innen verwendeten Medien wie Fotografie, Video, Audio, Installation, Textcollagen uvm. liefern heterogene mediale und subjektive Zugänge, die nicht am (offen-)Sichtbaren halt machen, sondern gerade durch das vielschichtig sinnlich Wahrnehmbare hindurch Orientierungsversuche unternehmen. Dieses Vorgehen korrespondiert sowohl mit Seh- und Wahrnehmungsgewohnheiten als auch den Individualisierungsprozessen dieser neuen Generation von Erinnerungsträgern, der die Verantwortung für die Aufrechterhaltung des Gedenkens an die Nationalsozialistischen Verbrechen obliegt.

 

 

Teilnehmende Künstler/innen: Altmann, Paul; Bigalke, Anna-Martha; Bougai, Natalia; Gehrmann, Paula; Gehrt, Mandy; Göring, Carsten; Goutos, Konstantinos-Antonios; Hattenkerl, Torsten; Jäger, Juliane; Kissel, Sebastian; Lorenz, Dana; Pohlmann-Kryszkiewicz, Marta; Schreiber, Marike; Schröder, Luise; Wilmes, Julia und Winkler, Katrin.

 

Kuratoren: Prof. Torsten Hattenkerl (Leipzig) und Stefan-Maria Mittendorf (München)

Assistenz: Marta Pohlmann-Kryszkiewicz (Leipzig)

 

 

 

 

 

 

 

Fr 25.03.

18.00

Galerie 1-3

Führung durch die Ausstellung „DORA“ mit Kurator Stefan-Maria Mittendorf M.A.

Eintritt: 2,- Euro und ermäßigt 1,- Euro

 

 

Kunstvermittlung: Private Führungen und Führungen für Schulklassen können nach Absprache und Anmeldung bei Stefan-Maria Mittendorf M.A., Tel: 089 829 290 13 oder s.mittendorf@pasinger-fabrik.com gebucht werden.

 

Zur Homepage der Hochschule für Grafik und Buchkunst Leipzig

 

 

Ein Ausstellungsprojekt der Pasinger Fabrik GmbH in Zusammenarbeit mit der Hochschule für Grafik und Buchkunst in Leipzig.



[online text]




Konstantinos-Antonios Goutos sucht mit seiner Videokamera am

13. Dezember 2008 während 12 Uhr mittags und 16 Uhr

nachmittags das KZ Auschwitz auf. In der Rolle des filmenden

Flaneurs geschieht ein ganz persönlicher, subjektiver

und nachhaltiger Zugriff auf diesen historisch belasteten

Ort. Die Filmarbeit „the[video]flaneu® shoots auschwitz“, oszilliert

in den Einstellungen zwischen close-up und Distanz. Der

Künstler bewegt sich an einem Ort, an dem die Nationalsozialisten

systematisch Menschenleben vernichtet haben. In

manchen Filmsequenzen spiegelt sich Goutos während des

Drehs und wird somit Subjekt der künstlerischen Erinnerung

an diesem schrecklichen Ort.


[from the print catalog, text: Stefan-Maria Mittendorf]


pasinger fabrik munich









Electro-cine night

SOIREE ELECTRO CINEPHILE : Duo Images & Sounds
Tuesday, November 30th at 8:30 pm - Seconde Nature

 

Short films of digital generation to the sound of the Visiteurs du Soir's set, the Festival and Second Nature invite you to dive in the heart of images and sounds.

PROJECTIONS DE COURTS-MÉTRAGES DE «LA GÉNÉRATION NUMÉRIQUE»

 

ips de Dominique Comtat
France – 2010 – expérimental – couleur – vidéo – 5 min


"Why do these lines change? They are printed with strength and their plan seems indelible." Raymond Queneau, "Morale élémentaire".
ips : n., kind of beetle insect living under the bark of trees.

 

Trinkler de Marie-Catherine Theiler
Suisse – 2010 – expérimental – couleur – vidéo – 10 min

Workers make the bell of a cow dance.

 

The [video]Flaneu® shoots himself ≪ suite a des problemes de type grec≫... de Konstantinos-Antonios Goutos
Pays-Bas/Grèce – 2010 - documentaire/expérimental – couleur – vidéo – 16 min


[...] According to the French newspaper Libération, Mr. Godard sent a fax to the [Cannes] festival’s director, Thierry Frémaux, saying that “problems of the Greek type” (“des problèmes de type grec,” perhaps referring to Greece’s financial crisis) had prevented him from attending and that he would go to his death for the festival, but not one step more. [...]

 

Ce disque est le même que l’autre de Jean-Jacques Palix
France – 2009 – expérimental – n&b/couleur – vidéo – 9 min

Multi-screens film of 9 minutes, using rushes from full-length films, representing record players or persons handling discs. The soundtrack is the natural mixing of the original sounds of these rushes.

Anticipation de Johanna Vaude
France – 2010 – expérimental – n&b – vidéo – 11 min


Like a nightmare, “Anticipation” is a film about alienation, paranoia and mental confusion where human being tries to find the strength to resist to an inhuman scenario's society (genetic manipulation, repressive society).

 

Aleph de Yakup Girpan
France – 2010 – fiction/expérimental – couleur – vidéo – 15 min

Aleph is a restless wandering between two worlds, visible and invisible. In the hole of a tree, a tortoise watches a sleeping woman. Aleph takes the form of an initiation, of a quest through magic and haunted places.

 

Un 45 tours de Cheveu de Franck Beauvais
France – 2010 – expérimental – n&b/couleur – vidéo – 6 min

A Frank Beauvais's movie for the band Cheveu (Born Bad Records) including the titles "Like has to deer in the headlights" and "C'est ça l'amour" from their 2009 EP.

 

Nous irons tous à Venise de Claude Ciccolella
France – 2010 – documentaire/expérimental – n&b/couleur – vidéo – 17 min

This year will end in beauty. Our friends invited us to accompany them in the most romantic city. Where shall we go? to Venice.

 

La Lune de Sabrina Ratté
Canada/Québec – 2010 – expérimental – couleur – vidéo – 2 min

Moon extract through the filter of digital technology.


Aix-en-Provence International Film Festival 2011     
festivaltouscourts











[portuguese]

VIVER COM INCERTEZAS

Don’t Know We’ll See (“Não Sabemos Vamos Ver”), o título do filme de Lucy Massie Phenyx, é provavelmente a melhor maneira de descrever os poderosos temas que são abordados nos filmes sobre a arte. A selecção de filmes deste ano - que em si já é um manifesto artístico - vai levar-nos, por caminhos variados e muitas vezes contraditórios, até esta incerta e entusiasmante área em construção, onde o espectador poderá se instalar e onde será convidado a conhecer visões do mundo pouco habituais, comportamentos inesperados, ideias esquecidas, experiências arriscadas, ideias exaltantes e pensamentos estranhos, ao descobrir mundos novos e paralelos. Ao terem a experiência destes terrenos onde se situam os artistas - soltos, não fixos, sempre a mudar - e ao verem como se pode viver e criar neste contexto, os espectadores talvez se sintam mais fortes diante das incertezas da vida diária e profissional, que nos habituámos a delegar a companhias de seguro, especialistas ou líderes…

A começar pela imagem chocante de que os domínios do trabalho humano foram conquistados pelas máquinas, como se pode ver em HandMaid, do sul-coreano Mo Hyun-shin, todos os filmes vão provar que o trabalho artístico não consiste em calcular e, que por conseguinte, não pode ser substituído pela tecnologia. Como o realizador polaco Krzystof Olszowiec demonstra em Good Morning, parece, na verdade, impossível perceber o comportamento ou a acção de um artista unicamente pela observação: afinal, vimos um ser um humano ou um extra-terreste? As mesmas ideias nos vêm à mente quando entramos nos universos únicos de artistas como a portuguesa Ana Jotta em Jotta:A minha maladresse é uma forma de délicatesse , de Salomé Lamas e Francisco Moreira ou a pintora canadiana Sullivan, em Sullivan, de Françoise Dugré. Alguns artistas permitem-nos perceber melhor as suas próprias explicações, como o fazem de modo tão belo Roca Bon em Roca Bon: la geometria del alma, do espanhol Karlos Alastruey, o escultor Selinger em Shelomo Selinger - Mémoire de Pierre, do realizador canadiano Alain Bellaiche ou o artista português Ângelo de Sousa em Ângelo de Sousa: Tudo o que Sou Capaz, de Jorge Silva Melo.

Às vezes, a relação entre o artista retratado e o realizador do filme é tão intensa que o realizador consegue revelar aspectos e reacções dos artistas que, sem ele, nenhum observador anónimo poderia descobrir. É o que se passa no audacioso filme sobre o audacioso Botero, Botero - Born in Medellin, de Peter Schamoni; no filme esteticamente belíssimo sobre as esteticamente belíssimas esculturas do artista israelita Zvi Lachmann em Rak Be’ayin a’hat (“Com um olho bem aberto”), de Aner Preminger e Ami Drozd; quando Iria Arriaga observa com afecto e respeito, mas sempre como quem está diante de um descobridor, em Jorge de Oliveira - Matéria de Pintura; ou quando os aspectos formais do filme condizem com os da obra de arte, como em Sem Título, de Ana Direito.

A maneira como a arte é praticada também revela muito sobre o enfoque do artista, por exemplo na experiência Mercado do Bolhão: uma experiência fotográfica para uma Imagem de Autoria Colectiva, de Cristina Braga, em Dissonanz, de Fumiko Matsuyama e em A Conversation With Myself, quando Kate Pelling realmente executa a criação de uma performance de vídeo, deixando-nos com as dúvidas que ela própria tem… Com o filme sobre a sua performance, Thistles of Sazak, Hakan Akçura não nos dá sequer hipótese de escapar - o seu pesado trabalho para uma performance sob o ardente sol da Turquia é tangível.

A vida humana é absolutamente impensável sem a arte e temos aqui alguns exemplos em que a vida e a arte foram inseparavelmente ligadas: o realizador venezuelano Juan Andrea Bello fala-nos de um casal de Caracas, Armando Planchart e Ana Luisa (Anala), apreciadores de arte e arquitectura moderna, que levaram a cabo o seu audaz projecto de vida em colaboração com o arquitecto italiano Gio Ponti, numa casa chamada El Cerrito. De modo oposto, Le Cabanon pour Le Corbusier, de Rax Rinnekangas, mostra-nos a visão da vida que tinha o célebre arquitecto - mas o espectador vai ficar certamente muito surpreendido com o resultado… No que refere o génio excêntrico e criativo Trimpin, que detesta totalmente o mundo da arte, mas é adorado por artistas e músicos de todo o mundo, o realizador Peter Esmonde, em Trimpin: the Sound of Invention, consegue entusiasmar-nos ao apresentar-nos as esplêndidas criações desta personalidade tão instrutiva. Em Pelas Sombras, Catarina Mourão mostra a que ponto 80 anos de vida ou de arte são inseparáveis, quando a arte de Lourdes Castro se torna idêntica aos gestos da sua vida diária e vice-versa. E depois de vermos When The Themersons Walked Backwards, no entusiasmante filme de Wiktoria Szymanska, vamos certamente perceber que o grau de poesia que pode haver nas nossas vidas só depende de nós…

A arte em relação à sociedade tem várias facetas. Uma faceta especial é mostrada no comovente Or les Murs, de Julien Sallé, que nos conta a história do compositor Thierry Machuel, que organiza workshops de escrita na penitenciária de Clairvaux, na região de Champagne-Ardennes. Os textos dos reclusos serão usados posteriormente nas suas composições, mas antes disto vemos homens numa prisão, que vivem, criam e sentem… Reza Haeri detecta no seu filme All Restrictions End o código secreto e/ou oficial da moda das vestimentas através na História iraniana, tornando mais uma vez evidente que a arte tem mais influência do que algumas pessoas são capazes de reparar. Em Mies-en-scène, João O. também tenta revelar uma verdade, que ele pensa estar por detrás do Pavilhão Alemão, projectado por Mies van der Rohe para a Exposição Internacional de Barcelona de 1929 e leva-nos a uma ousada visita de descoberta. Na sua curta-metragem de animação flesh color, Masahiko Adachi revela simplesmente a beleza das tatuagens japonesas, de modo análogo ao que faz María Trénor em Exlibris, ao criar um poema visual sobre os livros como objectos de arte. Simon Jackson considera as suas duas curtas-metragens sobre artistas e músicos, Landlocked e Buddha, como “um comentário sobre o acto de criar arte a partir daquilo que nos cerca, ao invés de considerar que a arte só é importante se grandes passos forem dados e grandes distâncias forem atravessadas”. Sim e como naquilo que nos cerca tudo espera por ser descoberto, veja-se como o vídeo-flâneur Konstantinos-Antonios Goutos, em After Caspar David Friederich, mostra-nos como a arte começa: com o olhar e o deslumbramento.

Se, como escrevi no começo deste texto, a incerteza, ao entrarmos em territórios desconhecidos, é o terreno da criação artística, também é evidente que há vários obstáculos a ser vencidos. Como diz a artista inuit Shuvinai Ashoona, “tudo é um ruído fantasma… É bom ouvi-los, mas não é bom aprendê-los” - a maneira como ela lida com isto pode ser vista na sensibilidade que marca Ghost Noise, de Marcia Connollu. Ao mesmo tempo, a própria arte traz um grau de estabilidade a esta incerteza, seja como protecção, como quando a artista Colette Urban pede-nos que finjamos que não a vemos, em Pretend not to See Me, no filme de Katherine Knight, ou no extraordinário projecto do carismático Lluís Gàrcia, que nos seus workshops de pintura para pacientes esquizofrénicos faz com que os milagres sejam possíveis - como se vê no entusiasmante Retras (“Retratos”) de Quim Fuster e Pau Itarte, no qual ele faz penetrantes revelações sobre a psicologia humana. Vemos de modo muito pessoal e profundo a que ponto os factores psicológicos influenciam e inclusive inibem os espectadores das obras de arte, em Ein Weites Feld (“Territórios em Expansão”), da alemã Gerburg Rohde-Dahl, que envolveu a sua história pessoal e a da sua família ao tentar abordar o controverso Memorial para os Judeus Assassinados na Europa, em Berlim. Aqueles que pensam que esta questão é puramente alemã ver-se-ão diante de importantes reflexões sobre o sentido, as possibilidades e o significado dos memoriais de modo geral e é evidente que este em particular interpela todos os cidadãos do mundo. E podemos afirmar com absoluta certeza que mais ninguém consegue escapar ao que se passa no jogo de poder criado por Liliane Lijn em Power Game. Aqui cada um representa a sociedade humana e as convicções se tornam transparentes: este é o nosso espelho.

Não Sabemos Vamos Ver.

Rajele Jain
Outubro de 2010-10-05




[english]


LIVING WITH UNCERTAINTIES

Possibly, the title of Lucy Massie Phenyx' film "Don't Know We'll See" is the best to describe the powerful themes which films on art deal with. The this year's film selection - as a whole meant as an artistic statement by itself - will lead you from various, most contradictionary directions into this uncertain and exciting construction area, lets you take place and invites you to meet unusual world views, unexpected behaviours, forgotten ideas, risky experiments, inspiring ideas, strange thoughts, by discovering new and parallel worlds. By experiencing those loose, non-fixed, ever changing grounds on which artists are based, and seeing how one can live and create within this, might then help to produce more strength for living with those uncertainties of daily and professional life which one has learned to rather commit them to insurance companies, experts or leaders...

Starting from the shocking image when domains of human work have been taken over by machines as it can be seen in "HandMaid" by the South Korean Mo Hyun-shin, all following films though will proof that artistic work is not to calculate, therefore not to be substituted by technology. As the Polnish director Krzysztof Olszowiec demonstrates in "Good Morning", it seems even impossible to understand an artist's behaviour or action by mere observation, have we watched a human or an alien in the end? Similar thoughts can arise when we are allowed to enter the unique universes of artists such as the Portuguese Ana Jotta in "JOTTA: A minha maladresse é uma forma de delicatesse (JOTTA: My maladresse is a way of delicatesse)" by Salomé Lamas and Francisco Moreira or the Canadian painter Sullivan in "Sullivan" by Françoise Dugré. Some artists give us the chance to understand better through their own explanations, as Roca Bon beautifully does in "Roca Bon: la geometría del alma (Roca Bon: Geometry of the Soul)" by Spanish director Karlos Alastruey, the Polnish born sculptor Selinger in "Shelomo Selinger - Memoire de Pierre" by Canadian director Alain Bellaiche or the Portuguese artist Ângelo de Sousa in "Ângelo de Sousa: Tudo O Que Sou Capaz (Ângelo de Sousa: All I Can)" by Jorge Silva Melo.

Sometimes the connection between the artist portrayed and the film maker is so intense that the film maker succeeds in revealing aspects and reactions of the artists which otherwise no anonymous viewer would have been able to experience. This happens in the adventurous film about adventurous Botero in "Botero - Born in Medellin" by Peter Schamoni, in the aesthetically wonderful film about the aesthetically beautiful sculptors of Israeli artist Zvi Lachmann in "RAK BE'AYIN A'HAT (One Eye Wide Open)" by Aner Preminger and Ami Drozd, with the tenderly observing, carefully respecting, yet always discovering film director Iria Arriaga about "Jorge de Oliveira - Matéria de Pintura (Jorge de Oliveira - Painting Matter)", or when the formal aspects of the film match the aesthetics of the art work as it happens in "Sem Título (Without Title)" by Ana Direito.

Also the way how art is practised, shows a lot of the artist's approach - for example in the experiment "Mercado do Bolhão: uma experiência fotográfica para uma Imagem de Autoria Colectiva, (Bolhão Market: a photographic experiment for an Image of Collective Authorship)" by Cristina Braga, in "Dissonanz" by Fumiko Matsuyama, and "A Conversation With Myself" when Kate Pelling really performs the creation of a video performance leaving us in the end with her doubts... With the film about his performance "Thistles Of Sazak", Hakan Akçura even doesn't give us any chance to escape - here we are to follow his heavy work for a welcome performance under the hot sun of Turkey, it is tangible.

Human life is absolutely unthinkable without art, and here we'll find some examples of lives where both, art and life, have been unseparately intertwined: the Venezuelan director Juan Andrea Bello tells us about a couple from Caracas, Armando Planchart and his wife Ana Luisa (Anala), lovers of modern art and architecture, who fulfilled their adventurous life project together with the Italian architect Gio Ponti finally in a house named "El Cerrito". On the contrary, the film "Le Cabanon par Le Corbusier" by Rax Rinnekangas does show the vision for the life of this famous architect - but surely you will be quite surprised when seeing the result...For the eccentric and creative genius Trimpin in "Trimpin: The Sound Of Invention" who completely detests the commercial art world yet is cherished by artists and musicians from all over the world, director Peter Esmonde succeeds to overwhelm us with introducing us to those splendid creations invented by such an enlightened character. In "Pelas sombras (Through Shadows)", Catarina Mourão shows how 80 years of life or art are indistinguishable when the art of Lourdes Castro became similar to her gestures of daily life or vice versa. And after watching "When The Themersons Walked Backward", in the inspiring film by Wiktoria Szymanska, we will certainly understand that the grade of poetry in our life is depending just on ourselves...

Art in relation to society has various facets - a special one is shown in the touching film "Or Les Murs (Still Times)" of Julien Sallé who tells the story of the composer Thierry Machuel who conducts writisng workshops in the penitentiary of Clairvaux in Champagne Ardenne. The texts of the voluntary inmates he will later use for his compositions but before, there are imprisoned men living, creating and feeling... Reza Haeri detects with his film "All Restrictions End" the secret and/or official code of clothes fashion design in Iranian history which once more makes evident that art has more influence than some people like to notice. In "Mies-en-scène", João O. also tries to unfold a truth which he thinks that lies behind the German Pavilion designed by Mies van der Rohe for the Barcelona International Exposition in 1929 and goes on a daring discovery tour whereas Masahiko Adachi in his short animation film "Flesh Color" simply reveals the beauty of Japanese tattoo as does María Trénor with "Exlibris"when creating a visual poem about books as pieces of art. Simon Jackson sees his two short films on artists and musicians, "Landlocked" and "Buddha", as "comment on creating art from what is around you, rather than believing it is only important if huge steps are taken and distances covered." Yes, and that in our surrounding everything is there just to be discovered, this the videoflaneur Konstantinos-Antonios Goutos demonstrates in "After Caspar David Friedrich" - this time he shows us how art begins - with looking and wonder.

If, as I stated in the beginning, uncertainty, caused by entering unknown areas, is the ground for artistic creation, then it is obvious that various obstacles are to defeat, too. As Inuit artist Shuvinai Ashoona says, "Everything's a ghost noise... It's good to listen to them but it's not good to learn it" - her way to deal with this can be seen in the sensitive film "Ghost Noise" by Marcia Connolly. At the same time art itself helps to a stability inside this uncertainty, let it be as a protector like artist Colette Urban uses it by asking us "Pretend Not To See Me" in the film of Katherine Knight, or, to be experienced in the extraordinary project with the charismatic Lluís Gràcia who in his painting workshops for schizophrenic patients makes miracles possible - as for the audience of this highly inspiring film "Retras (Portraits)" from Quim Fuster and Pau Itarte, he reveals some surprising insights into human psychology. How much psychological factors are influencing, maybe even inhibiting the art viewers in their reception, is very personally and deeply told in "Ein Weites Feld (Expansive Grounds)" by the German film maker Gerburg Rohde-Dahl who involved her personal story and that of her family when trying to approach the massively discussed "Berlin Memorial to the Murdered Jews of Europe". Those who think that this is a mere German issue, yet will encounter important thoughts about the sense, possibilities and meanings for memorials in general, and here obviously every citizen in the world is somehow concerned. Nevertheless,with absolute certainty can be said that what is happening in the "Power Game", created by Liliane Lijn, nobody can escape anymore. Here each one plays human society, your convictions are getting transparent - here is your mirror.

Don't know we'll see.

[Rajele Jain, Oktober 2010 films-on-art]







Μια σχεδόν μαγική καταγραφή

 

Ανάμεσα στις ταινίες που προβάλλονται στο διαγωνιστικό τμήμα του  4ου Φεστιβάλ Ελληνικού Ντοκιμαντέρ της Χαλκίδας, ξεχωρίσαμε μια που ίσως δεν ανήκει στην κατηγορία του ντοκιμαντέρ - με τη στενή έννοια του όρου - σίγουρα όμως αποτελεί ένα πολύ ενδιαφέρον και ξεχωριστό ντοκουμέντο, που αξίζει πραγματικά όχι απλώς να δει αλλά να βιώσει κανείς.

Πρόκειται για το υλικό που κατέγραψε μέσα σε διάστημα 30 λεπτών στο στρατόπεδο συγκέντρωσης του Άουσβιτς, η βιντεοκάμερα του αντισυμβατικού [video]πε®ιΠλάνητα σκηνοθέτη, Κων/νου Αντώνιου Γούτου. Κρατώντας τη μηχανή με τα δυο του χέρια σε θέση προσευχής, ο - γνωστός για την εμμονή του με τα παιχνιδίσματα των σκιών, αλλά και τα μοναδικά στιγμιότυπα που μπορούν να εκτυλιχθούν μπροστά στα μάτια του προσεχτικού παρατηρητή – σκηνοθέτης, καταγράφει σχεδόν μεταφυσικά γεγονότα, που δεν είναι πάντα εύκολο να ερμηνευτούν. Και δε χρειάζεται κιόλας. Οι αυθεντικές στιγμές που αποτυπώνονται στο φιλμ είναι υπερπλήρεις και αποκτούν διαφορετικό νόημα στο μυαλό του κάθε θεατή. Αυτό άλλωστε είναι που τις κάνει ξεχωριστές και αμφίσημες.

Σίγουρα δεν πρόκειται για κάτι που θα το καταλάβουν όλοι. Άλλωστε ο σκηνοθέτης δεν κάνει ντοκιμαντέρ για τις μάζες, αλλά για εκείνους που έχουν την ικανότητα να αφήνονται στη μαγεία των φιλμικών στιγμών του, συμμετέχοντας και οι ίδιοι στις σπάνιες αποκαλύψεις που καταγράφει ο φακός του. Αν θέλετε να κάνετε ένα πρωτόγνωρο ταξίδι στο χώρο και το χρόνο, σε μια ιστορικά και ψυχολογικά φορτισμένη περιοχή του πλανήτη, με οδηγό τον [video]πε®ιΠλάνητα, μη χάσετε αυτή την ταινία.

 

* Η βιντεογράφηση έγινε στο Άουσβιτς ΙΙ και στο Άουσβιτς Ι, στις 13 Δεκεμβρίου 2008, μεταξύ 11 π.μ. και 4 μ.μ (όπως πάντα) με μια κανονική mini DV ψηφιακή βιντεοκάμερα,, χωρίς τρίποδα, χωρίς κίνηση της μηχανής, χωρίς χρήση ζουμ, χωρίς ειδικό φωτισμό, χωρίς χρήση επιπλέον μικροφώνου, χωρίς ειδικά εφέ, χωρίς άδεια γυρίσματος. Ο ήχος και η διάρκεια των σκηνών είναι οι πρωτότυποι, χωρίς οποιαδήποτε επεξεργασία. Σχόλια, παλαιότερο φιλμικό υλικό ή μουσική, δεν χρησιμοποιήθηκε...

 


- Ο [video]πε®ιΠλάνητας σκοπεύει στο Άουσβιτς, 30min

Κων/νος-Αντώνιος Γούτος, συμμετοχή στο Διαγωνιστικό

Σήμερα, ώρα προβολής: 10.51-11.21, Θέατρο Παπαδημητρίου

Αύριο, ώρα προβολής: 18.27-18.57, Αμφιθέατρο Νομαρχιακού Μεγάρου

 

[evoikostipos.gr Λάμπρος Ρουσόδημος, Ευβοϊκός Τύπος, October 7, 2010]











Ich bin 4000 Jahre alt

Der Videoflaneur und die kleinen Wunder der Straße

Der Künstler Konstantinos-Antonios Goutos streift als [video]Flâneu® durch Europas Großstädte. Als artwertease® eröffnet er heute Abend um 19 Uhr seine Ausstellung in der Schaubühne Lindenfels. Unser Autor Philipp Piechura hat ihn auf einer kurzen Video-Tour durch Leipzig begleitet...

Schwarz gekleidet und mit einem Hut auf dem Kopf spaziert der Videokünstler über den Marktplatz, bleibt stehen, lehnt sich an einen Pfahl, hebt die Kamera. Für die Passanten scheint er nicht da zu sein, ruhig und fast unsichtbar fügt er sich in die Umgebung. Doch in ihm herrscht Anspannung, Konzentration, seine Hände umfassen die Kamera, falten sich wie beim Gebet. Aufnahme. Und plötzlich verändert sich scheinbar alles, weil wir uns die Zeit dafür nehmen. Alle fünf Minuten geschieht ein Wunder: ein Kind tanzt zu Flötenmusik, Seifenblasen fliegen über die Straße, ein Tablett brennt.

Der 37 jährige Grieche Konstantinos-Antonios Goutos ist auf der Suche nach genau diesen Bildern, die gegen die Gesetze der Kamera gewinnen. Nicht alles landet in seiner Kamera. Manchmal ist der Moment zu kurz, manchmal zu intim. Er nennt sich Videoflaneur, will nicht einfach nur „der Affe am Auslöser“ sein, der genau das filmt, was ihm der Blick durch das Objektiv nahe legt. Wenn sich sein eigener Schatten in die Aufnahme mogelt, eine unerwartete Spiegelung auftritt, wird die Illusion des natürlichen Bildes aufgelöst. Das hält er fest.

Realität ist immer nur inszeniert, immer: Durch das Objektiv einer Kamera, durch die Tasten einer Schreibmaschine, durch die Blickrichtung unserer Augen. Und Videoflanieren heißt für den Künstler, diese Inszenierungen (für) wahr nehmen, genießen, wiedergeben und interpretieren. Zeigen wird sie Konstantinos-Antonios Goutos heute Abend ab 19 Uhr in der Schaubühne Lindenfels, in Videos, Texten, eigenwilligen Botschaften.

Zum Beispiel durch einen Titel, der das Ballspiel eines Mädchens in eine Szene aus der „Odyssee“ verwandelt. Dafür muss man sich auskennen, anders sehen, anders denken. Vilém Flusser, Marshall McLuhan, André Bazin, Michel Foucault, Plato – sie alle tauchen auf und wieder unter. Ein Kontext, in dem der Satz „Ich bin 4000 Jahre alt“ plötzlich einen Sinn besitzt. Auch die Schrift gehorcht bei ihm ganz eigenen Gesetzen. Unser Rundgang endet, Goutos bleibt vor dem Glaseingang eines Parkhauses stehen. Aufnahme. Der Spiegeleffekt verändert die Bilder, Menschen werden zu Zwergen und Riesen, ein Werbeschild liefert die Beleuchtung zu dieser grotesken Szenerie.


[kreuzer-das leipzig magazin, october 5, 2010]










Konstantinos-Antonios Goutos / The artwertease®:

White House



30 Original-Wahlkampfslogans, als Videoloop zusammen geschnitten, illustrieren lakonisch die Geschichte der US-Präsidentschaftswahlen der letzten 150 Jahren (von Abraham Lincoln bis zu Obamas „Yes, we can!") und gleichzeitig Veränderungen der (Staats-)Mentalität in den Vereinigten Staaten bis in die Gegenwart. Konterkariert werden die unkommentierten Parolen mit einer tragikkomischen Sequenz aus Charlie Chaplins „Goldrausch" (1925), in dem ein weißes Blockhaus im wahrsten Sinne des Wortes auf der Kippe steht.

Zur Eröffnung stellt der Künstler seine künstlerische Arbeit vor und erläutert das spielerisch-schizophrene Pendeln zwischen seinen beiden Kunst-alter egos the[video]Flâneu® und the artwertease® .

Konstantinos-Antonios Goutos (geboren 1973 in Larissa, Griechenland) studierte zunächst Musik in Larissa, Filmregie in Athen, Konzeptkunst in Prag und Medienkunst an der HGB in Leipzig. Unter der Künstlerpersona the[video]Flâneu® sind mehr als 50 Videoarbeiten entstanden, die in 25 Ländern und 60 Städten gezeigt wurden. Unter dem Namen the artwertease® entstehen seit 2010 neue Arbeiten.


[schaubuehne lindenfels leipzig october 2010]













the[video]flaneu® shoots auschwitz


"The driveway to the Auschwitz Museum. December, the year 2008 – gray, leafless, wet. We’re coming closer. We’re inside, though behind glass. Zoom. Maximum close-up. Does filming draw us nearer or does it pull us farther? Does it create distance? Indifference? Understanding? A detail carved in a plank. Grass in Auschwitz. The sun comes out. We’re inside, in the barracks. The voices of the guides talking in English. Sometimes they confuse the dates. The cameras are out. We’re finishing the projection."


"The Eastern Bloc", in spite of a peculiar irony in its name, presents films from Central and Eastern Europe, exploring the current identity of this region. They are documentaries in which we can still feel the aftermath of the last existing communist dictatorships and see the societies marked by the time of changes.

For this reason the program committee has made some rather unsurprising choices, selecting films that deal with issues of alienation and emigration, and show the absurdity of seeking refuge in sarcasm when there is nothing left but chaos, or how alien one may feel in a foreign environment and even in one’s own company.

Although this region still wears the scars of the Second World War and the communist dictatorship, the attitude towards these experiences is changing. At the same time a new tradition is born, founded on the elements of culture that has lasted for hundreds of years. Deeply entrenched rituals of marriage or burial take new forms. And, at the same time, the average day seems to last unchanged, smoothly blending with the times of the Second World War, communism and modern history.

Although this year’s films have been made in two countries only (Poland and Russia), they tell us a surprising lot about the current condition of the whole Central and Eastern Europe region.



[dokumentART european film festival for documentaries catalogue, october 2010 neubrandenburg / szczecin]








Pietà [FL 1938]

An unsophisticated walk through the city of Athens just a few days before the parliamentary elections of 2007. A girl lying on the ground during the election campaign of the communist party - the struggle for power next to individualist escapist reverie.
Konstantinos Goutos, Germany, 2007, (No dialogue), 9 min, documentary film, DVD-ROM


open society archives at central european university budapest 2010













Ο Κωνσταντίνος-Αντώνιος Γούτος παρουσιάζει σε βιντεοπροβολή το έργο του Flaneur Περιπλανώμενος. Ένα έργο σχεδόν αυτοβιογραφικό, ενός καλλιτέχνη, που από πόλη σε πόλη αναζητά την ιδέα της τέχνης, κυνηγώντας την ποιητική σκιά του, καθώς διασταυρώνεται στους δρόμους με διάφορα αναπάντεχα..

2th photo biennal thessaloniki gallery papatzikou veroia

[maria kenanidou, art historian]








To Φωτογραφικό Kέντρο Θεσσαλονίκης, στα πλαίσια της 2ης Photobiennale του Μουσείου Φωτογραφίας Θεσσαλονίκης που εφέτος έχει τον γενικό τίτλο: “ΤΟΠΟΣ”, διοργανώνει τρεις ξεχωριστές εκθέσεις, η μία από αυτές σε τρεις διαφορετικούς εκθεσιακούς χώρους

Για περισσότερες πληροφορίες και φωτογραφικό υλικό:
Θανάσης Ράπτης, τηλ 6973 221 887 raptisth@the.forthnet.gr



“Μετα- Θέσις”,
σε επιμέλεια της Ιστορικού της Τέχνης Μαρίας Κενανίδου

Μέσα στην Ηρακλείτεια ροή των πάντων, η διαφραγματική σύλληψη ενός σημείου του τόπου μες το χρόνο συνεχούς εξέλιξης και μεταβολής του, το μεταθέτει: γεωγραφικά, χρονικά, πολιτικά, θρησκευτικά, φιλοσοφικά, ιστορικά, ανθρωπολογικά, ψυχολογικά, συνειδησιακά, αισθητικά, ηθικά, φαντασιακά, ποιητικά, κοινωνικά, πολιτιστικά, υπαρξιακά ...

Η μετάθεση αυτή ενέχει την εντασιακή σχέση τόπου και χρόνου αμεσότερα από οποιαδήποτε μορφή τέχνης όσον αφορά την γενεσιουργό πράξη, την πρόσληψη του έργου αλλά και την ανάγνωση του ζωτικού εναύσματος και την ερμηνευτική υπόθεση του αποτελέσματος αποτύπωσής του. Ο τόπος στο χρόνο και ο χρόνος στον τόπο.

Ο φωτογράφος επιλέγει ένα σημείο εξέλιξης ενός τόπου και το μεταθέτει προσδίδοντάς του παραβατικά λίγο χρόνο επιπλέον μέσω της αποτύπωσης. Δηλαδή επιβάλλοντάς το να υπάρχει μέσω νοητικής διεργασίας αναγνώρισης ταύτισης, αισθητηριακής ψηλάφησης, νοητικής ανακατασκευής.

Ένας τόπος που ο φωτογράφος μέσα από μία διαδικασία αποκλεισμού και αποσιώπησης του όλου, τον επιλέγει, τον ανακαλύπτει και μας τον αποκαλύπτει χωρίς να ταυτοποιείται αυτονόητα. Τόπος που υποδηλώνει την παρουσία ή την απουσία. Τόπος ως πεδίο ύπαρξης, που ο φωτογράφος επιβάλει, υπονοεί.

Εισχωρώντας στο πραγματικό και συνειδησιακό μας περιβάλλον με πολυσήμαντες αναγνώσεις, με εμφανείς ή αφανείς αποφύσεις, προσδιορίζουν και προσδιορίζονται, προτείνοντας την ανανέωση και ωρίμανση της έννοιας του τόπου μέσα από την φωτογραφική μετάθεση.

Η καλλιτεχνική πρόθεση, μέσω της φωτομηχανικής, φυλακίζει τον Τόπο έρμαιο της απόσπασής του από το χρόνο σαν τομή, μετάθεση της στιγμής αποτύπωσης, καταργώντας τον ως εντοπιότητα, μεταθέτει τα όρια προς την σύγκληση ορατού και αόρατου, εικόνας και Λόγου.

Γκαλερί "Artis Causa" (Μητροπόλεως 97 - Θεσσαλονίκη)
“Μετα- Θέσις Ι”,
Εγκαίνια: Πέμπτη 6 Μαΐου 2010, 8.00'μμ
Ώρες λειτουργίας: Δε έως Πα 10-3μμ & 5-9μμ Σα 11-4μμ www.artcau.gr (2310 223041)
Διάρκεια έως 30 Μαΐου 2010
Συμμετέχουν: Alek Lindus (FR), Καρκατσέλης Βασίλης (GR), Diane Katsiafikas (US), Δαγτζίδης Σταύρος (Video) (GR).

Αίθουσα Τέχνης του Πολιτιστικού Οργανισμού του Δήμου Πολίχνης
“Μετα- Θέσις ΙΙ”,
Εγκαίνια: Παρασκευή 23Απριλίου 2010, 8.00'μμ
Διάρκεια έως 14 Μαΐου 2010
Ώρες λειτουργίας: Δε έως Πα 9-2μμ & 5-9μμ Σα 9-2μμ www.podp.gr (Τηλ.2310 602303)
Συμμετέχουν: Smirnov Nicola (ISR), Μουρατίδης Ευθύμης (GR), Mistal Katerina (SE), Ράπτης Θανάσης (Video εγκατάσταση)(GR), Wolfgang Brenner (DE), Boris Nemeth (SLOVAKIA).

Γκαλερί Παπατζίκου (Αγίου Αντωνίου 26 - Βέροια)
“Μετα- Θέσις ΙΙΙ”,
Εγκαίνια: Σάββατο 24 Απριλίου 2010, 7.00'μμ
Ώρες λειτουργίας: Τρ-Πε-Πα 5-9μμ Τε-Σα 10-2μμ vpapatzikou@gmail.com (Τηλ.23310 70325)
Διάρκεια έως 17 Μαΐου 2010
Συμμετέχουν: Nermine Hammam (EG), Lee Eun Kyoung (KOR), Roberta Vivoli (IT), Sylvie Van Bochove (NL), Καρκατσέλης Βασίλης (GR), Kari Soinio(US), Γούτος Kωνσταντίνος-Αντώνιος (Video) (GR)




Vlassis Art Gallery (Βεροίας 6, Άνω Λαδάδικα - Θεσσαλονίκη)
“ΤΟΠΟΣ: ΕΡΗΜΟΣ”,
σε επιμέλεια του φωτογράφου Θανάση Ράπτη

Εγκαίνια: Πέμπτη 22 Απριλίου 2010, 8.00'μμ
Ώρες λειτουργίας: Τρ έως Πα 4-8μμ Σα 10-3μμ vlassisart@yahoo.com (Τηλ.2310552030)
Διάρκεια έως 15/5/10

Συμμετέχουν:
Annelies de Mey (BE), Quiles Menchero Carlos (ES), Marco Citron (IT), “hb-lankowitz” (Brigitta Reuter and Hubert Hasler) (AT), Εύα Μπόγρη (GR), Βασίλης Χρηστίδης (GR), Χαρά Χρυσανθάκη (GR), Βίκυ Δασκαλοπούλου (GR), Αργύρης Λιαπόπουλος (GR), Μπενετάτου Βασιλική (GR).

Η έκθεση αυτή αποτελείται από εργασίες που χειρίζονται το θέμα του τόπου μέσα από την εγκατάλειψη. Είναι μία πρωτότυπη παραγωγή και προσπαθεί να εξερευνήσει την τέχνη της φωτογραφίας, όπως αυτή αντιμετωπίζεται και προτείνεται από τους νέους ευρωπαίους καλλιτέχνες την πρώτη δεκαετία του νέου αιώνα. Οι φωτογράφοι αντιμετωπίζουν με δικό του τρόπο ο καθένας τον τόπο, το αποτύπωμα που αφήνει ο άνθρωπος στον τόπο, αλλά και ο τόπος στον άνθρωπο, μέσα από την συνεχή επαφή αλλά και την εγκατάλειψη.

Τόπος... για κάποιους κοινοτοπία, για άλλους άπιαστο όνειρο... Συναίσθημα, βίωμα, μνήμη, συμφέρον, ιδεολογία...
Τίποτε απ' όλα αυτά.... Αφετηρία, αυτοσκοπός, παρηγοριά, ελπίδα.... Ζούμε σ' ένα τόπο... η ψυχή μας βρίσκεται σε άλλον...
δε θέλουμε τον τόπο ....μας δεσμεύει .... Τόπος για όλους... και για κανέναν ... όπου γης πατρίς...

Οι τόποι χρωματίζονται και εμψυχώνονται με αγάπη από τον άνθρωπο, αλλοιώνονται, εγκαταλείπονται, ερημώνουν ποτισμένοι πάλι από την πλεονεξία, την μισαλλοδοξία και τη βιασύνη των ανθρώπων. Τοπία ολόκληρα ή μοναχικές γωνιές, έρημα κτίρια ή αχανείς εκτάσεις στο πουθενά, πάντα αποπνέουν το άρωμα του ανθρώπου που κρυφοκοιτάζει, στοιχειώνει ή απλά λείπει από το τοπίο...

Οι τόποι αυτοί, είτε σαν όλον είτε σαν μέρος μιας κοιτίδας της ανθρώπινης ζωής που απλά άλλαξε διεύθυνση, γεμίζουν τον θεατή με συναισθήματα λύπης και γλυκιάς νοσταλγίας για αυτό που όλοι μας χτίζουμε καθημερινά και στη συνέχεια αναζητούμε κάτι άλλο -υποτίθεται- πιο φρέσκο και πιο πολύ στα μέτρα μας. Αλλά πάντα γυρίζουμε πίσω... Ίσως για τη γλύκα των συναισθημάτων...

“Κείνο το σπίτι είναι φάντασμα όμορφων πραγμάτων
σαν το μοναχικό τραγούδι ενός πουλιού
ένας φυσικός οίκτος κλωσσάει εκεί...”
Γκρέγκορυ Κόρσο





Γκαλερί "Tettix" (Τσιμισκή-Διαλέττη 3 - Θεσσαλονίκη)
“There is no there, there”,
σε επιμέλεια της μουσειολόγου Γεωργίας Κουρκουνάκη.
Εγκαίνια: Πέμπτη 29 Απριλίου 2010, 8.00'μμ
Ώρες λειτουργίας: Δε έως Πα 6-9μμ Σα 11-2μμ tettix.gallery@gmail.com (Τηλ.2310 243304)
Διάρκεια έως 20/5/10

Συμμετέχουν:
Liudmila Velasco(CU) & Nelson Ramirez de Arellano Conte(CU), Pasquale Calone(IT), Annemie Augustijns(BE), Annelies De Mey (BE), Κωνσταντίνος Φούντος (GR), Brad Temkin (US), Πέτρος Κοτσάμπασης (GR), Δήμητρα Ερμείδου (GR), Γιάννης Χολογγούνης (GR).

Η περίφημη φράση της Γερτρούδη Στάιν από το διήγημα της ‘Everybody’ s Autobiography’ αναφέρεται στη σκηνή κατά την οποία επιστρέφοντας μετά από τριάντα χρόνια παραμονής στο Παρίσι αναζητά το πατρικό της σπίτι και τη γειτονιά που μεγάλωσε. Όμως εκεί δεν υπάρχει τίποτα πια, όλα έχουν αλλάξει. Το πέρασμα των τριάντα χρόνων έχει μεταμορφώσει την πατρίδα της, αφού ο χρόνος επιφέρει δομικές μεταβολές στον τόπο. Η διαρκής εξέλιξη είναι αναπόφευκτη αλλά στο πέρασμα του χρόνου αλλάζει μόνο ο τόπος ή και η μνήμη;

Οτιδήποτε γύρω μας διαμορφώνει και πυροδοτεί τη μνήμη καθώς συνδέεται με προσωπικές αναμνήσεις και βιώματα. Η μνήμη αναφέρεται σε τόπους, σε αντικείμενα, σε καθετί που μπορεί να προκαλέσει τις αισθήσεις. Ταυτόχρονα οι εμπειρίες διαμορφώνουν την κοινή και συλλογική μνήμη χαρακτηρίζοντας τόπους και εποχές. Η μνήμη άρρηκτα συνδεδεμένη με το πέρασμα του χρόνου και την απώλεια ξεπροβάλει για να μας καθορίσει και να ορίσει τη θέση μας απέναντι σε έναν κόσμο που συνεχώς μεταβάλλεται.

Ο εφήμερος χαρακτήρας της μνήμης επιτρέπει το παιχνίδι εναλλαγής της με τη λήθη και της παρουσίας με την απουσία. Η μνήμη διαμορφώνει και επαναπροσδιορίζει τους τόπους που υπήρξαν, αυτούς μέσα στους οποίους βρεθήκαμε και αυτούς στους οποίους σήμερα κατοικούμε συσχετίζοντας αφηγήσεις από διαφορετικά χρονικά επίπεδα.

Τα έργα της έκθεσης παρουσιάζουν τον τρόπο με τον οποίο η παρελθοντική μνήμη προβάλλεται στο βλέμμα του φωτογράφου και μέσα από αυτά διαφαίνεται η προσωπική αναζήτηση του ‘τόπου’.

Οι φωτογραφίες της έκθεσης παρουσιάζουν τόπους με την ανθρώπινη παρουσία να υπονοείται σε ένα δεύτερο πλάνο αφήνοντας τις ποιότητες του χώρου να ορίσουν την ταυτότητα του τόπου, μία ταυτότητα που επέλεξε η μνήμη του καθενός καλλιτέχνη να φυλακίσει στον εκάστοτε τόπο κρύβοντας μας τις υπόλοιπες πτυχές του.  Το θέμα της έκθεσης δεν είναι ο τόπος αλλά αυτό που αποσιωπάται από το φωτογράφο για αυτόν. Ο θεατής καλείται σε ένα δεύτερο επίπεδο ανάγνωσης να συμπληρώσει με βάση τις δικές του μνήμες το δικό του τόπο. Έναν τόπο που ίσως ποτέ δεν υπήρξε.



[photography center of thessaloniki april 13, 2010]





Cinéma

Mis en ligne le 28/03/2010

Vidéographies 21 : le palmarès 2010



Le festival international des images expérimentales et numériques de Liège a couronné une jeune réalisatrice coréenne : Hee Won Navy Lee. Un choix judicieux, nous avons aimé…

Je ne m’en cache pas. Si cette année, je me suis particulièrement intéressé au festival «Vidéographies 21» (premier festival en Communauté française consacré aux images numériques, à la vidéo et au cinéma expérimental) qui s’est tenu au cinéma Le Sauvenière à Liège, les 24, 25 et 26 mars, c’est parce que mon ami, l’artiste numérique belgo-canadien et liégeois Jean Detheux (que les lecteurs de Proxi-Liège connaissent depuis l’an 2000) y participait. D’une part parce qu’il y présentait une « carte blanche » de ses œuvres et de deux autres artistes américains, d’autre part parce qu’il faisait partie du jury et enfin et surtout parce que l’on ne s’était plus vu depuis 10 ans.

Comme nous vous l’avions expliqué dans notre article précédent, «Vidéographie 21» se présentait dans la continuité du festival Exprmntl [21] (qui s’est tenu en mars 2009) et s’insérait parfaitement dans les événements culturels liégeois repris dans les événements «Liège Métropole culture 2010 », « Liège vitrine des capitales européenne de la culture» initiés par l’échevinat de la Culture de la Ville de Liège ou encore dans le cadre du projet «Passages, croiser les imaginaires» des services culturels de la Province. Ceci étant dit, revenons-en aux trois soirées de «Vidéographies 21» impeccablement agencées sous la houlette de son directeur Dick Tomasovic.


54 films : de l’excellent, du moins bon, voire du banal…

Ce n’est pas vraiment une sinécure, surtout lorsqu’il s’agit d’une première (mais c’est une expérience tout à fait enrichissante) d’assister de bout en bout à un festival de ce type. Et quand, comme moi, on n’est pas spécialiste, juste amateur de nouveautés et de découvertes, se faire une idée, donner un avis, sur un art (sur tous les autres aussi d’ailleurs) qui n’en est qu’à ses début (20 ou 30 ans dans ce domaine c’est jeune) c’est assurément un véritable défi. 

L’art vidéo est intéressant à plus d’un titre parce qu’il s’insère dans le présent, qu’il vous projette dans les futurs possibles mais qu’il peut aussi vous ramener dans le passé. En fait, l’art vidéo est une véritable machine à voyager dans le temps…où tous est permis, avec ses fantasmes les plus fous, des voyages auxquels on ne croyait pas…L’art vidéo est également un fabuleux moyen de communication politique, certains vidéaste (comme les hommes politiques d’ailleurs), l’ont parfaitement compris. Mais c’est l’art de notre siècle.

Au cours de ces soirées j’ai visionné (avec environs 600 autres spectateurs pour les 3 jours) pas moins de 54 petits films variant entre 1 minutes et 21 secondes pour le plus court à 21 minutes et 14 secondes pour le plus long. De ce que je peux en dire, c’est qu’il y avait d’excellentes choses, de moins bonnes et d’autres tout à fait banales.

Les soirées se composant de deux parties : la première pour les « Cartes blanches » présentant, hors concours des artistes représentant un pays ou une région et l’autre, les artistes inscrits en lice suite à l’appel lancé en octobre de l’an dernier.


Coups de cœur des cartes blanches

La première carte blanche « Entre poésie et politique », était dédiée à Bige Örer (membre du jury), directrice de la Biennale internationale d’art contemporain d’Istanbul, présentant (hors compétition) une sélection de vidéos d’artistes turcs émergeants. Deux films m’ont immédiatement interpellé : «Jean Factory» de Ömer Ali Kazma et «The Waq Waq Tree » de Canan Şenol. Deux films où poésie et politique s’entremêlent parfaitement : l’un pour mettre en exergue l’inhumanité du travail à la chaîne dans une usine de jeans, l’autre, sorte de grande enluminure orientale qui fustige toutes les formes de dictatures passées et actuelle, et la Turquie sait de quoi il en retourne il n’y a pas très longtemps avec son dernier coup d’état militaire.
 



Jean Detheux

Le deuxième jour, c’était la carte blanche «L’œil écoute», qui a permis à notre artiste liégeois belgo-canadien Jean Detheux (membre du jury et hors compétition),


de présenter ses œuvres ainsi que deux de ses amis américains. Je ne vais évidemment pas vous « refaire l’article », Jean Detheux, les lecteurs de « Proxi-Liège » le connaissent bien. Mais ce qui est extraordinaire c’est de découvrir ces œuvres sur grand écran avec une qualité visuelle et acoustique incomparable par rapport à ce que l’on peut voir sur un écran d’ordinateur ou sur un écran de télévision quand on possède ces œuvres sur DVD. Cet art est tout bonnement fabuleux. Car comme je le disais à Jean Detheux, si je ne suis pas expert en matière artistique (que ce soit en peinture, sculpture et même musique) la seule chose qui me guide, c’est la sensation. Si une œuvre qu’elle quel soit me prend aux tripes, alors j’aime. Si je ne ressens rien, tans pis même si d’autres crient au chef d’œuvre… Avec les toiles numérique et musicales de Jean Detheux (que ce dernier classe comme œuvres abstraites, mais qui ne le sont probablement pas) on s’engouffre dans des dimensions jusque là inconnues, dans un univers inimaginable.

On vit quelques moments intenses au sein même de la matière ; c’est de la chimie organique ou minérale en mouvement permanent, tous les éléments s’y retrouvent. Tout notre être s’y précipite et nous quittons notre fauteuil pour un voyage (un trip sans acide c’est extraordinaire) que l’on n’a pas envie de voir s’achever. On a également le sentiment que, de ces toiles en mouvement, va jaillir quelque chose de vivant. Bref, le pied total.
Je ne peux d’ailleurs que vous conseiller (une fois encore) de visiter le site Internet de Jean Detheux pour y découvrir ses productions et les excellents musiciens qui collaborent avec lui: www.vudici.net

Le dernier jour, la troisième carte blanche «Trans Electro Kino) présentait «Transcultures» de Mons.
S’il y a eu, sur les 7 films présentés quelques moments accrocheurs, je ne peux pas dire que j’aie vraiment été transporté par cette production, mais bon, on ne peut pas aimer tout.


La compétition : un palmarès qui tient la route.

Je ne vais évidemment pas vous décortiquer les 30 films venant des USA, de France, d’Allemagne d’Espagne et de Belgique en compétition. Je dirais seulement que j’ai beaucoup apprécié les trois films de la Coréenne (vivant en France) Seo Jung Hee, celui d’une autre Coréenne (vivant également en France) Hee Won Navi Lee, et également celui de la Belge Marie Devuyst. Pour ma part, le palmarès tient la route puisqu’il correspond plus ou moins à ce que j’ai fortement apprécié.

Vous pourrez d’ailleurs visionner tous les fils sur RTC à l’adresse
www.rtc.be, vous vous ferez vraiment une idée de ce qu’est l’art vidéo. Dommage qu’il n’y ait pas une petite place pour les «cartes blanches».
A l’issue de la dernière soirée, c’est d’une manière tout à fait décontractée que le jury présidé par le Français Jean-Paul Fargier dévoila le palmarès de « Vidéographie 21 ».


Le palmarès :

Grand Prix Vidéographie 21 :

«Phone Tapping» (photo extrait haut de page) de Hee Won Navi Lee.


Celle-ci a déjà été primée à : 2010 Prix de la Création Vidéo_ Vidéoformes Conseil Général du Puy-de-Dôme ; 2009 1st Prize - Section Experiment, 21st International Cortometrajes Campoo of Aguilar, Bilbao / Spain ; 2009 1st prize - 6th International Video Festival 2009, Busan / South Korea.
Hee Won Navi Lee est aussi à découvrir sur http://navi-lee.blogspot.com

Prix de la Province de Liège, remis par le député provincial Paul-Emile Mottard : « Orgesticulanismus » de Mathieu Labaye.

Prix de la Ville de Liège : « Tant qu’il y aura del poussière » de Marie Devuyst.

Prix du Cluster TWIST : « Chassé-croisé » de Jung Hee Seo 

Enfin quatre mentions ont été décernées et notamment pour : «The Swimming Pool» de Julien Brunet ; «Life Circle Life Circle Life» de Konstantinos-Antonios Goutos ; «In situ # 2 : les mobiles» de Clotilde Amprimoz et à «Rendre l’appareil» de Oubayda Mahfoud».

Nul doute que l’on reverra l’an prochain une nouvelle édition de «Vidéographie 21», ce festival dédié aux arts du 21ème siècle et qui, nous l’espérons, deviendra une référence comme tant d’autres festival du même type de part le monde.
Pour d’autres détails sur l’ensemble du festival : www.videographies.be

Gaston LECOCQ


[proxiliege.net april 2010]





VIP - VideoChannel Interview Project

a writen interview between agricola-de-cologne
and konstantinos-antonios goutos /
the[video]Flâneu®


1. Tell me something about your life and the educational background

Born on 11 February 1973 in Larissa, Greece.
Thessaloniki, Athens, Vienna, Prague, Weimar, Rome, Berlin, Leipzig, Krakow, Genoa, Lissabon were and are very important stations in my life…

Music studies (Larissa), film-directing studies (Athens), video and media art studies (Leipzig), conceptual and intermediate art studies (Prague) is my official educational background.



2. When, how and why started you filming?

After many intensive years of passive or theoretical activity with the most of the mediums (books, films, press, radio, television, etc.) and after a deep existential break,
I was started (1999) my journey…

Since 2002 I am [video]strolling through Europe, since 2005 I am calling me “the[video]Flâneu®”…



3. What kind of subjects have your films?

Exi[l]stence, Home, Flight, Time, Escape, Beauty, Game, Coincidence, Information -are the starting points, Flaneur, Genius Loci, Aura, Heterotopias, Unhappy Consciousness, Homo Ludens, Punktum -are the terms of the theoretical background.



4. How do you develop your films, do you follow certain principles, styles etc?

I stroll like a „Flâneur“ through the city. I do not have a turtle with me (as the original Parisian Flâneur of the 1830‘s used to); later, I do not write stories (as Edgar Allan Poe or Hans Christian Andersen used to), I do not write poems (as Baudelaire or Rilke used to).

I just have a video camera. I take shots of the city; I take shots of the “life” of the people of the city; sometimes, I also shoot “myself”…

(…without camera moves, without tripod, without a zoom lens, without special lighting, with original sound, without permission…);

Later, I put the shots together with no chronological sequence and every time under different contexts:
tales and history, reactions - relations, sounds - words, lights - colours, structures - architectures, incidents - accidents, order - disorder…

Not a description of a journey but „my lyrical reaction, with all my truth and simplicity“ as Federico Garcia Lorca once said about his collection A Poet in New York.



5. How do you approach such complicated matter like Shoah represents?

The work it was made without any purpose or plan on my first walk through Auschwitz…



6. Tell me something about the technical equipment you use.. What about digital technology?

My equipment and the way I create is extreme minimal.

I am [video]strollilng with an one CCD digital camera (Sony DCR PC 8E) and I am editing with Windows Movie Maker.

From the very beginning it happens to [video]stroll under some conditions:
without tripod - without camera moves - without the use of a zoom lens
without special lighting - without extra microphone - without permission…

Some similar condtions are to be used by cutting:
the sound and the length of the shootings should be the original without any cut or use of effects.
Comments, archive material or music were never used…



7. How do you finance your films?

My [video]strolling was and is in the most of the cases self-financed. Some of the travels was a matter of luck, some other travels a result of an invitation…



8. Do you work individually as a video artist/film maker or do you work in a team?

I am working individually…



9. Who or what has a lasting influence on your film/video making?

films of Vertov, Haneke, Benning, Penalva or Juergen Boettcher,
paintings of Bosch, Brueghel, Giorgione, Rembrandt or Strawalde,
photos of Atget, Stieglitz, Friedlander, Lartigue or Cartier-Bresson,
texts of Benjamin, Kracauer, Bazin, Mc Luhan or Vilém Flusser,

are important works for dialog and inspiration…



10. What are your future plans or dreams as a film/video maker?

To keep [video]strolling without any purpose or plan..;-)


Can works of yours viewed online besides on VideoChannel/SFC? Where?
List some links & resources

http://videoflaneur.googlepages.com

http://www.vimeo.com/user2082822/videos


[vip.newmediafest.org-march 2010]






6th International Festival of Visual Arts ‘inSPIRACJE’ (Szczecin/ Poland)

(2010 03 11 11:36)



From 18th until 21st of March, the 6th “International Festival of Visual Arts” takes place at different cultural institutions of Szczecin/ Poland. The inSPIRACJE Festival touches issues of modern art and every year is based upon a special topic. In 2010, glamour is the key word.
 
Glamour is literally the charm, glitter, splendour or something shiny, glittery, bright, radiant. Glamorous life is fulfilling surrealistic dreams, bringing us plenty of satisfaction. Glamour is a feature of today’s celebrities. Being glamour is being charming, splendid, glittering, famous and at the same time often exaggerated. Unreal glamour world presents its ideals via media. Splendour and the wish to enchant have become the most significant goal, and the means used to achieve it often happen to be pseudoartistic, totally deprived of style or even trashy. 
 
One might ask: What and who is glamour, what is unavailable and wonderfully, coquettishly golden? What makes us follow the fashion? Can anyone be glamour in the modern world, if only they want? Do we really need all that glitter?
 
The inSPIRACJE Festival is an occasion for meetings between artistic circles and ordinary art lovers. In the course of this festival, it’s possible to see works from artists from the whole Baltic Sea Region as well as artists from the United States of America.
 
 
>> The list of artists participating in the festival this year is available here.


[ars-baltica.net march 2010]








Friday, November 13, 2009

The Urban Flaneur as Reader of the Text of the City


(picture taken from online resources of the Chicago Institute of Art http://www.artic.edu/aic/collections/artwork/20684 )


I was searching in google (googling) for blogs on the art of being a flaneur and came upon this page from a website: http://sites.google.com/site/videoflaneur2/aboutfl%C3%A2neur
This page is connected with the webage of konstantinos-antonios goutos/the[video]Flâneu®, found at http://sites.google.com/site/videoflaneur2/ . Mr. Goutos uses video to illustrate the views of an urban flaneur. The quotes that struck me were the following:

In the flâneur`s perceptive eyes, what appeared incoherent and meaningless gains focus and visability. The flâneur brings alive and invests with significance the fleeting, everyday occurrences of the city that ordinary people failed to notice.

The unique relationship between the flâneur and the urban environment was invariably characterized by the metaphor of the city as text and the flâneur as reader.

The above quotes were taken by Mr. Goutos from an article of Mary Gluck, The Flâneur and the Aesthetic Appropriation of Urban Culture in Mid-19th century, Paris, Theory, Culture and Siciety, 2003 (SAGE, London, Thousand Oaks and New Delhi), Vol. 20 tcs.sagepub.com)

When I pondered about these quotes, I immediately thought of the painting by Caillebotte, Paris Street; Rainy Day (1877), as seen at the begining of this section. (Note: you can double click the image to make it larger._
I saw this painting as a teenager while visiting Chicago from my then hometown in Iowa, I went with my father on a business trip. While he was going to meetings, I spent the whole day in the museum. While I have been to most of the art museums around the world, there are few paintings which touched me with awe and transformed my perceptions in one instance. Salvadore Dali stated “I don't do drugs. I am drugs. “ This painting transforms something ordinary into a portal into the senses, aesthetics and society. As all paintings, they must be viewed in the gallery to get the full impression. I was first struck by the impression of rain on the pavement. The later by the almost realistic, but somewhat false appearance of the figures. A moment which passed in less than a second is paused and manipulated to bring the ordinary into a vehicle of contemplation on multiple levels. Is it merely a clever arrangements of different perspectives? Is it a criticism of the bourgeois lifestyle of Paris? Is the painting merely a predecessor of hyper-realism? This painting illustrates for me the artist as the urban flaneur. Caillebotte is reading the city as metaphor and delivering it to his audience. Is an urban flaneur not a shaman who takes the ordinary and gives us visions?
(Note: A discussion of Caillebotte as a flaneur can be found at the following link:
http://blogs.princeton.edu/writingart20/2005/01/context_cailleb.html )

Posted by Michael A. McAdams at 7:43 AM

[urban flaneur guide book november 2010] 

 








 












FILM AWARD for FILMS ON ART
2nd edition


13 > 15 NOV | 11h00 > 21h00 [ 4 daily sessions]
Museu Colecção Berardo | Free entrance

"Why do they make films about artists, is it to documentate an art work or to promote an artist or are these commissioned, educational works for TV or so?", I was asked recently by my friend, a well-known Portuguese movie director who is also a scriptwriter, wondering herself about my enthusiasm in receiving and viewing so many films for the competition - nearly 200 from all over the world. And then I explained to her about the investigation of the Israelian director DAN GEVA in his film DESCRIPTION OF A MEMORY, with his unforgettable initial cry "What dream is left? Talk to me!", who tried to find out what Chris Marker could really forecast in the film "Description of a Struggle", awarded 1962 in Berlin. A similar intention as had the Japanese RIKA OHARA with her compromiseless confrontation of Yoko Ono's thinking with the today's world in her film THE HEART OF NO PLACE, or CEDRIC VENAIL on the traces of the French-Israelian artist Absalon who died with 29 years but left us with A VIRUS IN THE CITY - all of them examples for the fact that artists can move or inspire others for the rest of their lifes. I told her how I was literally sitting in the famous painter COLVILLE's house when he was talking about his life and work so freely and intimately that it became clear how he trusted ANDREAS SCHULTZ in making his film about him, as well as behaved the artist Wolfgang Tillmans towards German director HEIKO KALMBACH in his film IF ONE THING MATTERS - a film about Wolfgang Tillmans. I was witness of the secret and risky act when Michael Biberstein made a painting in the so beautiful film O MEU AMIGO A TRABALHAR of the Portuguese director FERNANDO LOPES, my breath stopped when I was entering the universe of often insulted painter Gottfried Helnwein due to the sensitive artist and film maker CLAUDIA SCHMID in her film THE SILENCE OF INNOCENCE - The Artist Gottfried Helnwein, and yes, here I even met Arnold Schwarzenegger in his office talking about art! These films can't be simply "ordered" - they require a mutual and deep understanding and trust between the film maker and the artist which can last for a long time, if not fourty years as in JEFFREY PERKINS' film THE PAINTER SAM FRANCIS in which in the end I had tears in my eyes when I came to know that this great artist had died last year... My film maker friend got curious about the various obstacles combined with big hopes in the artist's life as you can see it in CINEMA PARADISE of the Korean director KIM TAI-YONG, or watch the reactions to art works' selection process in ART AGAINST THE ODDS by R F SIMPSON. I could even convince her that it is possible to have inspiring, non-didactic films on artists who either don't talk to us or already died as it happens in JORGE SILVA MELO film BARTHOLOMEU CID DOS SANTOS - Por terras devastadas who told me that "there were no artists of the Colonial War, it wasn't appropriate, evidently.." - an idea I did not have before - or in ANKA SCHMID's film ISA HESSE RABINOVITCH - Das Grosse Spiel Film in which I met an incredible person/artist who did not care at all about any obstacles for continuing her work but took it as a challenge, "from my existence as a foreigner and an outsider, I try to create a sense of pride...". I have to confess that it was quite impossible to describe to my friend the experiences I had when viewing the film EL SISTEMA, a film of PAUL SMACZNY and MARIA STODTMEIER about the visionary Venezuelan musician Jose Antonio Abreu who by his power and art already changed the lives of hundred thousands of humans to the better, and still does ... and no words came out of me after I was introduced to personality and work of the Bosnian poet Goran Simic through the film WHEN YOU DIE AS A CAT by ZORAN MASLIC - because sometimes it might sound embarrassing when we humble that art is really a strategy for human survival.... so everybody will have to come to the screenings to believe... Artistic interventions in public are even more surprising when we understand the artist's vision, as it can be done through SOFIA PONTE'S and TIAGO PEREIRA's film DAYDREAMING IN PUBLIC or ON INDIAN TIME. ON RIGO 23 by LUIS CARAPETO. When I encountered artistic reality transformations in the film TERRITORIES DE PASSAGEM by SOLVEIG NORDLUND, I did not trust my eyes, and AUTOMORPHOSIS by HARROD BLANK will morph us all... I am sure. And then, there is one more side of artistic practice... in the artists who seem so closed to ... do we know? .... who are masters in detecting connections and relations. Such as CALDER - Sculptor of the Air who, by French director FRANÇOIS LEVY-KUENTZ wonderful presented, narrates, "I absolutely adored her nose. It seemed that it just launchs up into space" - a reason for him to visit a planetarium... or the exi(l)stentialistic videoflaneur KONSTANTINOS-ANTONIOS GOUTOS who this year again found something "without purpose or plan" presenting it to us in his film MALANCHOLIA I, so clear, so close, so evident that we don't understand why we did not see in this way before. I think after all, I could convince my friend, the film maker, of the attractiveness of the this year's program and that it is really not about camera zooming into paintings or watching a sculptor cutting material while uttering some explanations about his works or animated slide shows with overhead news' voices praising the history and importance of an artist, nor is it about a three hours documentation of a performance which should rather be experienced in a three-dimensional theatre place than on a flat screen! It is even not for experimental art films, it is simply about films on art. But when I finally told her about a new, remarkable idea that we had to force the awareness for the importance and attractiveness for art in everybody - and that it was accepted by RTP2 - to extend the film competition to the house of broadcast, use public voting for the selection of the TEMPS D'IMAGES - RTP2 AUDIENCE AWARD for FILMS ON ART, she was really stunned. So, please find the detailed program and description in the separate catalogue of the TEMPS D'IMAGES PRÉMIO DE CINEMA PARA FILMES SOBRE ARTE 2009, reserve your TV nights' session in the weeks between the 2nd to 12th of November and your full day film festival day's for the 13th to 15th of November in Museu Berardo and make your own research on "What dreams are left? Talk to me!"


[Rajele Jain, September 2009 festival temps d images]











KONSTANTINOS-ANTONIOS GOUTOS. que vai estar aqui, onde eu gostava de ir. (foto que se movimenta). mesmo sem mais nada, gostei de ler: "It is not fiction because, with a few exceptions, it is based wholly on unstylised reality. It is not documentary because the reality is not organized into an explanation of itself. And it is not cinéma-vérité because the artist shoots and manipulates his unstylized reality in such a way that the result has style." dita por Gene Youngblood. estava capaz de pensar nisto durante dias.


[http://amesadeluz.blogspot.com/] 










 



Risse entlang der Sollbruchstelle

FESTIVAL: Zeitraumexit zeigt unter dem Motto "Haltet die Stadt sauber" die sechsten "Wunder der Prärie"

Mannheim. "Meiner Ansicht nach gehört zu einer Stadt auch ein gewisser Anteil an Dreck", sagt Gabriele Oßwald vom Künstlerischen Leitungteam des Festivals Wunder der Prärie, das vom 8. bis 12. September in Mannheim stattfindet. "Er stört die Ordnung oder all jenes, was wir gut und richtig finden", weiß Oßwald und macht sich mit den eingeladenen Künstlern "auf die Suche Verdrängten in unserer Gesellschaft."

Auf städtischen Mülltonnen in den Quadraten riet der Aufdruck "Verjagt den Schmuddel!" zur kommunalen Sauberkeit. Zeitraumexit, Mannheims freie Theater-, Kunst-, Tanz- und Performance-Bühne mit Sitz im Jungbusch, stellt ihrem sechsten internationalen Festival ein vieldeutiges Motto voran: "Haltet die Stadt sauber." Es mahnt nicht etwa zu bürgerschaftlichen Reinigungsaktionen, sondern beschäftigt sich fünf Tage lang künstlerisch mit dem, was wir loshaben wollen: "Müll ist anstößig; es ist das, was noch da ist, obwohl es schon verschwunden sein sollte. Schnell kommt man da auch zum Thema Ausgrenzung. Das ist eine beunruhigende Tendenz, der die Kunst entgegenwirken muss, wenn sie sich nicht als Dekoration versteht", erläutert Oßwald.

In diesem Sinne hat blackhole-factory mit deutschen und palästinensischen Künstlern die Müllhalden im Westjordanland und im Gaza untersucht. Die Gruppe Mapa Teatro aus Bogotá mit Video und Performance den Abriss eines Stadtteils untersucht. "Haltet die Stadt sauber" bekommt so einen tristen Beigeschmack.

"Was bleibt übrig, was muss weg?", fragt das Programm, das Oßwald mit Wolfgang Sautermeister, Tilo Schwarz und Elke Schmid konzipierte: "Bei der Künstler- und Projektauswahl gab es zum Thema Müll viel Dokumentarisches. Wir suchten nach Projekten, die nicht unkonkret auf der Meta-Ebene schweben, sondern gesellschaftspolitische Reibungspunkte aufzeigen." Mit Videoarbeiten, Fotografie, Film, Tanz, Theater und Performance wird Wunder der Prärie diese "Risse entlang der Sollbruchstelle" nachzeichnen. Das Berliner Figurentheater das Helmi kümmert sich etwa mit "Marco W." um medialen Müll, Thomas Haemmerli filmisch um den Nachlass seiner Mutter, blackhole-factory musiziert mit Metallschrott, Two Fish untersucht tänzerisch, ob der Reiz der Neuheit die Überblendung von Vergangenem bewirkt.

Uta Weyrich und Eva Paulitsch sammeln für ihre mobile Videoclip-Station "Face Wall" selbst gedrehte Handy-Filme von Mannheimer Jugendlichen: Bildermüll für die einen - für die jungen Filmer ist er dennoch ein Blick in die eigene Wirklichkeit. Der Brite Phil Hayes folgt mit "The First Cut" in einer fiktiven Amnesie-Geschichte ebenfalls biografischen Erinnerungsresten. In der Ausstellung "Über Reste" zeigt Neil Ira Needleman gefundene Filmschnipsel, der Koreaner Kang Minsoo sammelte Datenabfall der Filmindustrie, während der Konstantinos Goutos als "Video-Flaneur" in Athen unterwegs war.

Das klingt spannend. Und sicher ist, dass "Müll" für eine Stadt noch nie so bereichernd und erinnerungswürdig war. Ralf-Carl Langhals


[Morgenmagazin, 03. September 2009 (about the exhibition wunder der praerie)

morgenweb.de ]

 

 

 

 

 

 

 

 


perspective, the international human rights film festival nuremberg

 

Eine Frau liegt auf einem öffentlichen Platz am Boden – vielleicht wegen Drogen. Ein möglicher Freund versucht ihr zu helfen, während andere an ihnen vorbei laufen. Im Hintergrund hört man aus Lautsprechern Teile der Wahlkampagne der kommunistischen Partei Griechenlands. Es handelt sich um einen populären Protestsong von Mikis Theodorakis, dessen Musik Ende der 1960er Jahre von den griechischen Obristen verboten wurde.
Zufällig und ohne Ziel hat der griechische Videokünstler Konstantinos Goutos (er selbst bezeichnet sich als »Video-Flâneur«) diesen Moment mit seiner digitalen Videokamera vier Tage vor der griechischen Parlamentswahl im Jahr 2007 festgehalten. Kein Schnitt, keine Kamerafahrt, kein zusätzliches Licht oder Mikrofon. Auf einfache Art und Weise gelingt es ihm damit, die Spaltung und das Versagen an Mitteilbarkeit zwischen unterschiedlichen Welten deutlich zu machen, vor allem wie der Kampf nach Macht Außenseiter und Tagträumer verfehlen kann.


Konstantinos-Antonios Goutos

Konstantinos Goutos wurde 1973 in Larissa, Griechenland, geboren. Er studierte Filmregie an der Hellenic Cinema and Television School Stavrakos und Video- und Medienkunst an der Hochschule für Grafik- und Videokunst in Leipzig, wo er zur Zeit lebt und arbeitet. Seine Filme wurden auf diversen Filmfestivals wie z.B. in Oberhausen oder auf dem Kurzfilmfestival Die 24 Stunden von Nürnberg gezeigt; seine Videoarbeiten liefen auf zahlreichen Ausstellungen weltweit.



Konstantinos Goutos was born in 1973 in Larissa, Greece. He studied Film in Athens at the Hellenic Cinema and Television School Stavrakos and video-art at the Academy of Visual Arts in Leipzig, where he lives and works at the moment. His films were shown among others at the Short Film Festival in Oberhausen and at the Short Film Festival Die 24 Stunden von Nuremberg; his video-works were represented internationally at several exhibitions.

Filmographie

Idea (2002), Berliner Fuge (2003), Pietà (2007), Krakow-er Renaissance (2009)


[filmfestival-der-menschenrechte-pieta]

 

 

Eine Frau liegt auf einem öffentlichen Platz - warum, wissen wir nicht. Ein Mann versucht, ihr zu helfen. Im Hintergrund Ertönen aus Lautsprechern Wahlslogans der kommunistischen Partei Griechenlands. Konstantinos Goutos arbeitet als Videoflaneur und hat diesen Moment vier Tage vor der griechischen Parlamentswahl im Jahr 2007 festgehalten. Kein Schnitt, keine Kamerafahrt. Auf einfache Art und Weise verdeutlicht er damit die Spaltung zwischen unterschiedlichen Welten und zeigt, wie der Kampf um Macht Außenseiter und Tagträumer buchstäblich links liegen lässt.


[(about the work pietà) humanrightsfilmfestival.org-catalogue]

 

 

 

 

 

 

 

 

Light & Word - BARDINALE® flows II

Dresdner Literaturbüro


mit dem irischen Architekten, Künstler und Lichtpoeten Ruairí O’Brien und dem griechischen Film- und Medienkünstler Konstantinos-Antonios Goutos

anschließend BARDINALE® Film


Eintritt: 6/4 Euro



Termine:
09.09.2009 - 20:00 01097 Dresden, Erich Kästner Museum, Antonstraße 1

Kontakt zum Veranstalter:

Dresdner Literaturbüro
Antonstraße 1
01097 Dresden

info@dresdner-literaturbuero.de
http://www.dresdner-literaturbuero.de/

Telefon: 0351 804 50 86
Tickettelefon: 0351-8045087
Fax: 0351 804 50 87

[(about the poetry festival bardinale) frankfurter allgemeine zeitung online ]

 

 



 

Wunder der Prärie: Zeitraumexit geht bei seinem Festival im September der Vergänglichkeit auf den Grund:

Inna Hartwich

Man hätte es wissen müssen. Hatte nicht die Künstlergruppe Raumlabor Berlin im vergangenen Jahr bei "Wunder der Prärie" ein U-Boot aus Müll basteln lassen und damit die Angst vor Grenzen im Rhein versenkt? Nun schwebt das Wort wieder über den Köpfen: "Müll". Diesmal als offizielles Thema dieses internationalen Festivals, das das Mannheimer Künstlerkollektiv Zeitraumexit vor neun Jahren ins Leben rief.

Mit dem Slogan "Haltet die Stadt sauber!" greifen Künstler aus Deutschland, Korea, Kolumbien, Spanien, Griechenland, Österreich und der Schweiz vom 8. bis 12. September vielfältige Ausprägungen vom täglichen Abfall über störende Menschen bis hin zu Erinnerungen auf. Das alles mit Theater, Performances, Installationen, Filmen, Tanz und Kunst, sowohl bei Zeitraumexit in der Hafenstraße 68 als auch im öffentlichen Raum Mannheims.

Bescheidener sind sie in diesem Jahr geworden, die Visionäre für Bildende und Darstellende Kunst. Mussten es werden, weil das Budget von rund 160 000 Euro im Vergleich zum vergangenen Jahr um ein Drittel geschrumpft ist. Die Wirtschaftskrise macht vor der Kunst nicht Halt. Halbiert hat sich dadurch das Programm: An fünf statt zehn Tagen begeben sich die Künstler auf die Erkundungsreise durch die Müllstätten dieser Welt. "Jede Vorführung gibt es nur einmal, Wiederholungen wie in den vergangenen Jahren können wir nicht bieten", sagt Mitorganisatorin Gabriele Oßwald von Zeitraumexit.

Erinnerung ans Ich

Doch vielleicht ist es genau das, dieses Augenblickliche, dieses Ephemere, wovon "Wunder der Prärie" profitieren kann. Müll - das ist schließlich Kurzlebigkeit, Chaos, Wertlosigkeit. In all den vorhandenen Ausprägungen. Allein die Umgebung von Zeitraumexit reiht sich in das Spiel von Abfall und Sauberkeit ein. Hier ein ramponiertes Sofa, dort ein auseinandergenommener Herd, der Hof ist voll von Vergänglichem und vermeintlich Unbrauchbarem. Genau die richtige Mischung für die Berliner von "Oper Dynamo West", die mit ihrem Dia-Vortrag "Versuche zur Überwindung der Schwerkraft" am 8. September das Festival eröffnen. Darin porträtieren sie Trautlinde Drobbe, die in den 80ern Stammgast in der Deutschen Oper in Berlin war und ihre Besuche mit Programmheften, Karten und Fotografien minuziös dokumentierte. Der Engländer Phil Hayes aus Zürich greift ebenfalls auf das Mittel von übriggebliebenen Schnipseln zurück und erschafft sich, weil er sein Gedächtnis verloren haben soll, in "First Cut" scheinbar neu.

Der Grieche Konstantinos-Antonios Goutos beschäftigt sich mit "Überresten". Als Flaneur durchstreift er mit seiner Videokamera Städte rund um den Globus - ohne Zoom, ohne Videolicht und ohne Drehgenehmigung. Reaktionen, Geräusche und Farben sind die Elemente, die Goutos in seiner Arbeit interessieren. Die Koreaner Kim Eun Jeong und Han Chang Ho von "Dance On/Off" sind zum ersten Mal in Deutschland und erkunden in "There ist no Sea" (Uraufführung) tänzerisch die Räumung eines Hauses in Seoul. Stadträume also: Auch die schweizerische Künstlergruppe "frfr-international" greift das Thema gerne auf. Einen PopUpShop will sie erschaffen, an einem verlassenen und verbrauchten Ort der Stadt eine Performance zwischen Kunst und Kommerz inszenieren - vorhandene Räume in ihre Arbeit einbeziehen. Wo genau, stehe allerdings noch nicht fest. Vergänglich scheint das alles, aber keineswegs wertlos.

© Mannheimer Morgen, Freitag, 17.07.2009

 



 

 

 

"Über Reste" ist die thematische Ausstellung zu Wunder der Prärie - Haltet die Stadt sauber. Videoarbeiten von Neil Ira Needleman, Konstantinos Goutos und Kang Minsoo werden zusammen mit Sachtexten zum Thema 'Müll' in einer offenen Präsentation gezeigt. Während Needleman [USA] in seinen Arbeiten 'Found Footage' (gefundenes Material) nutzt, arbeitet Kang Minsoo [KR] mit den digitalen Abfällen der Filmindustrie. Konstantinos Goutos [GR] streift als 'Videoflaneur' durch europäische Städte und präsentiert in Mannheim befremdliche Straßenszenen. Uta Weyrich und Eva Paulitsch [DE, AT] finden ihr Material ebenfalls auf der Straße: Zu sehen sind Teile des Handy-Filmarchivs, in dem die beiden Künstlerinnen Hunderte Filme junger Menschen gesammelt haben - in Mannheim hoffen sie, weitere Filme zu bekommen.
Von blackhole-factory und Mapa Teatro werden Dokumentationen von Kunstprojekten gezeigt: deutsche und palästinensische Künstler untersuchen Müllhalden in Gaza und Westjordanland und Bewohner des Stadtteils El Cartoucho in Bogota demonstrieren gegen den Abriss des Viertels.

Ausstellung Über Reste

ÖFFNUNGSZEITEN
Vernissage: 8. Sept - 19:00 Uhr
9.-12. Sept: täglich 14-23 Uhr

13. Sept - 3. Okt:
Fr: 16-20 Uhr
Sa / So: 14-18 Uhr

[(about the exhibition wunder der praerie) 

spin.de]

 

 

 

 

 

 

Wunder der Prärie zu Ende gegangen

Am vergangenen Samstag ging nach fünf Tagen Theater, Performance, Tanz und bildender Kunst die sechste Ausgabe des Festivals „Wunder der Prärie“ zu Ende. Auch am letzen Abend gab es noch insgesamt vier Aufführungen und verschiedene Videoinstallationen im Festivalzentrum im Mannheimer Hafen und darum herum zu sehen. Das interdisziplinäre Festival zeigt die unterschiedlichsten Kunstformen, auf der Bühne wie auch im städtischen Raum. So vielseitig wie das gesamte Festivalprogramm, das 15 Einzelkünstler und Gruppen vereinigt, gestaltete sich auch der Abschlussabend, der abwechslungsreicher kaum hätte sein können.

In den Mannheimer Jungbusch schlich sich fast unmerklich die Videoinstallation „Face Wall“ des deutsch-österreichischen Duos Uta Weyrich und Eva Paulitsch. Hinter einem Schaufenster waren die gesammelten Handyvideos von Jugendlichen in einem Loop zu sehen. Der „PopUpShop – Trashig/ très chique“ vereinigte in einem durational Format Performance, Installation und Mode. Die Installation entsteht für jeden Veranstaltungsort neu und so ließ die Schweizer Gruppe frfr-international ihr Publikum an einem performativen Prozess teilhaben und bis zum letzten Abend am endgültigen „Werk“ mitarbeiten.

Eher trashig als très chique zeigte sich dann im Festivalzentrum die Ausstellung „Über Reste“, in der mehrere Videoarbeiten zu sehen waren. Darunter fanden sich Absurditäten des Alltags von Konstantinos-Antonios Goutos, wie etwa die zufällig eingefangene Szene des Entladens von Schweinehälften, während im Hintergrund die Müllabfuhr in den Straßen Athens ihrer Arbeit nachgeht. Auch Carlos Chacón del Pino stellte sich in seiner Solo-Performance „Glutamato“ die Frage, wie nah sich Müll und Mahlzeiten stehen und ob wir einen unserer „Feind“ vielleicht auf dem eigenen Teller liegen haben. Ein plakatives, wenn auch gut verständliches Bild dafür bietet sein Karatekampf gegen Tütensuppen unterlegt mit dem Song „Kung Fu Fighting“.

In der Video-Performance „Maple Street“ wurde mehrfach recycelt. Nicht nur ihre Kinderzimmer scheinen Sonya Schönberger und Sunny Im entrümpelt zu haben, auch in der Fernsehgeschichte wurde gewildert. Als Vorlage und „Tonspur“ der Performance diente eine Folge des amerikanischen Mystery-Serien-Klassikers „Twilight Zone“. Die Zuschauer starrten auf einen Fernsehmonitor in der Bühnenmitte, während die eigentliche Aktion im Hintergrund stattfand: Im Modell war eine kleine Maple Street nachgebaut. Spielzeugpüppchen unterschiedlichster Art und Größe wurden mit der Handkamera eingefangen und so zu den Protagonisten der Serie – Hörspiel mal anders.

„Wunder der Prärie“ ist ein Festival, das sich auf kurze Zeit großes Renommée unter Künstlern und Kunstliebhabern erarbeitet hat. Organisiert wird das Festival von zeitraumexit, einem Verein, der sich ausschließlich über seine Mitglieder, Sponsoren und Stiftungen finanziert. Die Künstlerischen Leiter Gabriele Oßwald, Wolfgang Sautermeister und Tilo Schwarz bieten zusammen mit ihren freiwilligen Helfern der freien Theaterszene eine wichtige Plattform und fördern damit den für Kreative so wichtigen Austausch. Der Abend und das Ende des Festivals klangen mit einer rauschenden Party aus. Im nächsten Jahr wird es wieder ein neues „Wunder der Prärie“ geben.  


[Mo, den 14.09.2009 (about the exhibition wunder der praerie) 

zdf theater kanal]




 

 

 

 


Wunder der Prärie:

Festival in Mannheim
 
Im Mosaik der Erinnerungen spürt ein Mann der eigenen Identität nach: Phil Hayes bei seiner Performance "The first Cut", die beim Mannheimer Festival "Wunder der Prärie" zu sehen ist. FOTO: Nik Spoerri
Diese Festspiele widmen sich dem Abfall. "Haltet die Stadt sauber!" ist der ironisch akzentuierte Titel von "Wunder der Prärie", dem Mannheimer Festival, in dem zum sechsten Mal Theater, Performance, Tanz und bildende Künste einander begegnen. Von heute (8.9.) an geht es an fünf Tagen um den Müll in seinen verschiedenen Ausprägungen — von griefbarem Unrat über unerwünschte Menschen und Erinnerungen bis hin zum Datenabfall. Unter anderem zeigt die koreanische Tanzgruppe "Dance On&Off" bei ihrem ersten Deutschlandgastspiel ein Tanzstück über die Müllentsorgung in Seoul, die Berliner Tanzgruppe "Two Fish" zeigt ein Stück über Erinnerungen, der aus England stammende, in Zürich lebende Performancekünstler Phil Hayes zeigt seinen unterhaltsamen Aktion "The first Cut" über einen Mann, der sich nach einem Unfall auf die Suche nach der verlorenen Identität begibt. In einem leeren Laden in der Innenstadt entstehen Performances, Videos und Installationen, eine Ausstellung "Über Reste" lädt die Besucher zur eigenen Mitwirkung ein, Videokünstler aus Griechenland, Korea und den USA zeigen ihre Arbeiten. Information und Kartenreservierung unter Telefon 0621/33939754. Internet: www.wunderderpraerie.de [job]
 

[(about the exhibition wunder der praerie) Darmstädter Echo 08.09.09]

 




Wednesday, September 9, 2009

"The Dresden Walk" - "Dresden-Spaziergang" - Bardinale - Light and Word Festival 2009


"The Dresden Walk"

On the Monday 31st of August Konstantinos and I undertook a short walk in Dresden as a part of our project for the Light Poetry festival "Light and Word". We talked and let Visual experiences come and go occassionally stopping to work with the moment.






Wednesday, September 9, 2009

"The Museum experiment" - "Das Museumsexperiment" - Bardinale - Light and Word festival 2009

The Museum experiment
On the 30th of august I invited my Friend the Videoflaneur Konstantinos Antonios Goutos to take part in what i have called "The Museum experiment" in Dresden.
Together we spent the day in the micromuseum I created for Erich Kaestner and tested the depths of space and time with our actions.
During the normal museum visiting hours, we worked individually and at times interacted and communicated with each other. The work was free flowing and experimental. I created small lighting installations among the exhibits and museum architecture which during the day were changed. Using the installations I performed moments of light poetry. Konstantinos interacted with the light poetry works, the visitors and the museums architecture creating his own world of visuals.
The result is a collection of Photographs and a short film which will be shown for the first time to the public during the international poetry festival "Bardinale" and the Light poetry festival "Light and Word".




 

 

 

 

 


Risse entlang der Sollbruchstelle
 
 
Festival: zeitraumexit zeigt unter dem Motto "Haltet die Stadt sauber" die sechsten "Wunder der Prärie"


"Meiner Ansicht nach gehört zu einer Stadt auch ein gewisser Anteil an Dreck", sagt Gabriele Oßwald vom Künstlerischen Leitungsteam des Festivals Wunder de rPrärie", das vom 8. bis 12. September in Mannheim stattfindet. "Er stört die Ordnung oder all jenes, was wir gut und richtig finden", weiß Oßwald und macht sich mit den eingeladenen Künstlern "auf die Suche nach Verdrängtem in unserer Gesellschaft".
Auf städtischen Mülltonnn in den Quadraten riet der Aufdruck "Verjagt den Schmuddel" zur kommunalen Sauberkeit. zeitraumexit, Mannheims freie Theater-, Kunst-, und Performance-Bühne mit Sitz im Jungbusch, stellt ihrem sechsten internationalen Festival ein vieldeutiges Motto voran: "Haltet die Stadt sauber". Es mahnt nicht etwa zu bürgerschaftlichen Reinigungsaktionen, sondern beschäftigt sich fünf Tage lang künstlerisch mit dem, was wir loshaben wollen: "Müll ist anstößig; es ist das, was noch da ist, obwohl es schon verschwunden sein sollte. Schnell kommt man dann auch zum Thema Ausgrenzung. das ist eine beunruhigende Tendenz, der die Kunst entgegenwirken muss, wenn sie sich nicht als Dekoration versteht", erläutert Oßwald.
In diesem Sinne hat blackhole-factory mit deutschen und palästinensischen Künstlern die Müllhalden im Westjordanland und Gaza untersucht. Die Gruppe Mapa Teatro aus Bogotá mit Video und Performance den Abriss eines Stadtteils untersucht. "Haltet die Stadt sauber" bekommt so einen tristen Beigeschmack.
"Was bleibt übrig, was muss weg?", fragt das Programm, das Oßwald mit Wolfgang Sautermeister, Tilo Schwarz und Elke Schmid konzipierte: "Bei der Künstler- und Projektauswahl gab es zum Thema Müll viel Dokumentarisches. Wir suchten nach Projekten, die nicht unkonkret auf der Meta-Ebene schweben, sondern gesellschaftliche Reibungspunkte aufzeigen". Mit Videoarbeiten, Fotografie, Film, Tanz, Theater und Performance wird Wunder der Prärie dieses "Risse entlang der Sollbruchstelle" nachzeichnen. Das Berliner Figurentheater Das Helmi kümmert sich etwa mit "Marco" um medialen Müll, Thomas Haemmerli filmisch um den Nachlass seiner Mutter, blackhole-factory musiziert mit Metallschrott, Two Fish untersucht tänzerisch, ob der Teiz der Neuheit die Überblendung von Vergangenem bewirkt.
Uta Weyrich und Eva Paulitsch sammeln für ihre mobile Videoclip-Station "Face Wall" selbst gedrehte Handy-Filme von Mannheimer Jugendlichen: Bildermüll für die einen — für die jungen Filmer ist er dennoch ein Blick in die eigene Wirklichkeit.
Der Brite Phil Hayes folgt mit "The First Cut" in einer fiktiven Amnesie-Geschichte ebenfalls biografischen Erinnerungsresten. In der Ausstellung "Über Reste" zeigt Neil Ira Needleman gefundene Filmschnipsel, der Koreaner Kang Minsoo sammelte Datenabfall der Filmindustrie, während der Grieche Konstantinos Antonios Goutos als "Video-Flaneur" in Athen unterwegs war.
Das klingt spannend. Und sicher ist, dass "Müll" für eine Stadt noch nie so bereichernd und erinnerungswürdig war."
Ralf-Carl Langhals
 

[(about the exhibition wunder der praerie) 

Mannheimer Morgen, Morgen Magazin 03.09.09]

 

 

 

 

 

 

 

Ein Wunder hält die Stadt sauber
Festival "Wunder der Prärie" vom 8. bis 12. September hat das große Thema "Müll"

Theater, Performance, Tanz und Bildende Kunst — mit aktueller Kunst begeistert das Festival "Wunder der Prärie" vor allem ein junges Publikum aus der Rhein-Neckar-Region. In den sechs Jahren seines Bestehens wurde das Festival für Begegnungen der Künste im Grenzbereich immer stärker zum Anziehungspunkt für Festivalmacher und Dramaturgen und hat sich unter Fachleuten einen guten Ruf als vielseitiges Festival mit hochwertigem Programm erworben.

Thema in diesem Jahr ist ein allgegenwärtiges Phänomen — der Müll. Mit dem bewusst mehrdeutigen Satz "Haltet die Stadt sauber!" umschreiben die Veranstalter ein Festivalprogramm, das Müll in seinen verschiedenen Ausprägungen behandelt: von greifbarem Abfall über störende und unerwünschte Menschen, Erinnerungen und Gefühle bis hin zum Datenabfall.
"Wunder der Prärie überzeugt von Beginn an mit seinem Konzept, alljährlich ein griffiges Thema in den Fokus des Festivals zu rücken", erklärt Bürgermeister Michael Grötsch. "Haltet die Stadt sauber, das diesjährige Thema, klingt zunächst banal und nicht nach Kultur. Doch schon ein Blick in das Programm zeigt, dass siese erste spontane Vermutung weit gefehlt ist. Ich bin darauf gespannt, wie dieses Thema mit künstlerischen Mitteln innovativ und facettenreich umgesetzt wird. Das Gezeigte wird uns irritieren, faszinieren oder auch zum Nachdenken anregen", so Grötsch weiter.
Während der fünf Festivaltage gibt es im abendprogramm sowohl bei zeitraumexit in der Hafenstraße 68 als auch im öffentlichen Raum Tanz-Performances aus Seoul und Berlin zu sehen. Das Duo Dance ON&OFF erarbeitet für sein erstes Deutschland-Gastspiel ein Tanzstück mit dem Titel "There is no Sea", das sich mit der Müllentsorgungspolitik Seouls befasst. Erwünschte und unerwünschte Erinnerungen beschäftigen die Berliner Tanz-Gruppe Two Fish ebenso wie den englischen Performer Phil Hayes, der sich bei seiner Vorstellung in der Alten Feuerwache auf die Suche nach einer verlorenen Identität begibt.
Trash darf bei diesem Thema nicht fehlen. Das Helmi Puppentheater — unlängst bei den Internationalen Schillertagen zu sehen -befaßt sich anhand der Geschichte des Ülzener Jungen Marco Weiss mit voyeuristischem Medien-Hype: "Marco W. — Warten auf Gerechtigkeit". Am Freitag und Samstag bietet Wunder der Prärie wieder ein dichtes LATE-NIGHT Programm mit jungen Künstlerinnen und Künstlern. Der Eintritt zu dieser beliebten Reihe ist frei — platzreservierungen werden empfohlen.
Es ist bereits Tradition, dass "Wunder der Prärie" nicht nur im Festivalzentrum und den Spielstätten seiner Kooperationspartner stattfindet. Die junge Schweizer Gruppe frfr-international bringt den "PopUpShop" in ein leerstehendes Ladenlokal auf Q6, 20 in der Mannheimer Innenstadt. Während des Festivals entstehen Performances, Videos, Installationen und Mode zwischen den beiden Polen "trashig — très chique". Bei den täglichen "PopUpShop-Specials" und dem abschließenden "PopUpShop-Extra" wird das Publikum zum Zeugen der Entwicklung.
Auch Uta Weyrich und Eva Paulitsch gehen in die Stadt: sie sammeln Handyfilme von jungen Erwachsenen und zeigen bei "Face Wall" in der Innenstadt Videoscreens aktueller und früherer Sammelergebnisse. In der Ausstellung "Über Reste" im Festivalzentrum sind sie mit ihrem "Handyfilm-Archiv" vertreten. Die Ausstellung "Über Reste" nutzen die Festivalmacher für andere Präsentationsformen der Kunst: Neben Informationsmaterial zum Thema Abfall und kreative Verwertung können die Besucherinnen und Besucher selbst recherchieren und eigene Ideen festhalten.
Videoarbeiten von Künstlern aus Griechenland, Korea und den USA beschäftigen sich mit Datenmüll, Szenen aus Großstädten sowie Gefundenem und Verlorenem. Zwei Dokumentationen von Kunstprojekten ergänzen das Spektrum: die künstlerische Antwort auf die Zerstörung eines Stadtteils in Bogota ["Witness to the ruins" — Mapa Teatro]und das Müllproblem in Palästina ["trans4m-orchestra — an art and waste installation in Palestine" — blackhole-factory]. Die Ausstellung wird nocht bis zum 3. Oktober zu sehen sein (red/voe)
 

[(about the exhibition wunder der praerie)  Wochenblatt Mannheim 27.08.09]

 

 

 

 


 

 

 

NOpassWD n 0
No profit no institutional contemporary art festival
Eventi, performance, azioni, dibattiti, movimenti ombra nello spazio pubblico e privato della città.

Il video restituisce l'atmosfera e i momenti di tutti i progetti realizzati nelle strade e nelle piazze di Genova da oltre 40 artisti e curatori, componendo le riprese, le fotografie e le molte parole di ognuno. Progetto organizzato e diretto da Gruppo Estraneo Permanente, sound design e montaggio di Guido Affini. Durata del video: 34'

Campo base: Laboratorio Sociale Occupato Buridda di Genova, 7 - 14 Maggio 2009

Capitolo 1

Giovedì 7 Maggio 2009 è adesso, è arrivato, lo abbiamo atteso/temuto/sognato per mesi. La Superba non ci aspetta, planiamo su di lei come in un'incursione area. artists_curators_actions!!!

........... mattina, Laboratorio Sociale Autogestito Buridda:

Stefano Romano si scontra con la storia antica della città e gioca con la sorte, rimane in attesa/accoglienza sospesa e poi... incontro a volti sconosciuti, storie inedite e rimaste tali, biografie lineari di persone/case.

Mentre... Cosimo Veneziano r-accoglie sulle sue spalle il peso di una condivisione: ancora storia-legalità-illegalità-sofferenza, parole che risuonano in una strada che non si ricorda più di se stessa/paradosso urbano così sorprendentemente genovese.

Quella Genova che Katia Baraldi attraverso i progetti di Radice Quadrata ed Emanuela Ascari invita a sezionare-decomporre-esplorare-indagare-regalare-pesare e con la città noi: presenza ombra nel suo ventre brulicante eppure vergine.

La Superba a suo modo ci accoglie, ludici visitatori del futuro, turisti di un quotidiano immaginario che i Liquid Cat interpretano con sudore e lucidità.

E... sogni cadono dai piani alti del Palazzo Ducale sopra una piazza stupita, quando Neno Belchev paracaduta su di lei topi ed utopie, nascondendosi tra le fila luccicanti di un altro festival.

Sotto di lui, insieme alla gente, ai ragazzi, il gazebo sospeso delle Ideanna Pollec Dedalonic indaga tra le definizioni e gli stereotipi, facendo un primo passo [qui e adesso], con la complicità dei passanti, verso la creazione di una: Enciclopedia della Donna [Unisex].

Poco lontano una donna/artista (Elisa d'Andrea) apre la sua casa ogni giorno per un'ora e ci domanda 15 minuti della nostra vita in cambio, consapevolmente saliamo le scale, sudiamo/ascoltiamo un tappeto sonoro intimista ed il nostro battito cardiaco accelerato...

Capitolo 2

Un vecchio siciliano rigurgita immagini e ricordi rabbiosi.

La città tutta ascolta se stessa stranita quando mendicanti abituali le chiedono improvvisamente di prendere monete dalle loro mani (Carlo Steiner)

sinceri/provocatori e presenti.

Una presenza ombra ma quotidiana simile a quella che capita di incontrare nei vicoli più diversi della città vecchia, calpestata-decorata-occupata illegalmente da Bruno Bresani ed il suo team che inscenano movimenti migratori/improbabili gesti teatrali _ suoni di sintesi e minimali supportati dall'invasione dei corpi [mobili].

E se in una parte buia della città ci si può fermare ad interpretare storie non dette, dall'altra parte poco lontano all'improvviso il Blocco [nero] di Guido Affini&Fabrizio Basso sovrasta ogni cosa con il suono di un mare distorto/devastante, purificatore che con arroganza percorre le sue strade, tracciandone orizzonti e confini, trascinandola (forse) in ricordi bui, violenze interiorizzate_ritornano a galla prepotenti sopra un suono inaspettato...

come essere lì a pochi palazzi di distanza, dentro una stanza piccola ed affollata, ad ascoltare rapiti/stupiti come il bello si può manifestare nelle situazioni e nei momenti più incomprensibili (Denis Isaia _interessi e passioni del XXI sec.).

Dopo un racconto di immagini e suoni che ci si avvicinano per i minuti contati della nostra capacità di attenzione, accorgersi all'improvviso di un uomo vestito completamente di nero, con un cappello ed una piccola telecamera digitale (Konstantinos Antonios Goutos _ [video] flaneùr) inconsapevole performer alla ricerca di un'identità forse sua, forse della città, forse solo di ritratti rubati/elucubrazioni ormai dimenticate, a loro modo così erroneamente contemporanee.

Ma ancora, sotto tetti di ardesia ed il cielo luminoso di Genova, la contemporaneità ci si presenta sotto forma di un carrello della spesa, il quotidiano che ritorna: filosoficamente/poeticamente/distrattamente presente nelle voci confuse [o certe] del popolo della società dei consumi, che in realtà non sa affatto, o lo nega, a cosa poter/dover rinunciare e non sa affatto affermare con la sua propria voce se "il superfluo è necessario" ... (Giulio Delvé).

Nel mentre al Campo Base [Laboratorio Sociale Autogestito Buridda] si intavolano discussioni, ci si imbatte in persone con storie da raccontare, si stringono amicizie/coalizioni, si partecipa a workshop (Ideanna Polle Dedalonic), risultati di ricerca sul territorio [alla spasmodica ricerca di spazi alterativi per l'arte contemporanea] illustrati con diagrammi e traduttrici (Sencer Vardarman _ www.berlinerpool.de) e ci si può sedere in ufficio su un divano rosso e sgualcito a leggere fotocopie di testi piratati sull'auto organizzazione, la partecipazione, l’indipendenza, l’interdipendenza, l’economia alternativa al mercato per le arti visive (1:1 projects).

Si assiste, seduti in una stanza buia allestita dai ragazzi dell'accademia ligustica (Andrea Gisteni , Luca Tomesani), alla proiezione del film "Entre dos Aguas" (Giulia Cilla) e ci si interroga sui propri legami affettivi, migrazioni/immigrazioni _ parametri storici riveduti/distorti _ prospettive di lotte antifasciste abbandonate malinconicamente. Nella stanza affianco, tavoli di lavoro itineranti, approdano, carichi di curatori e artisti (Nerina Ciaccia e Kety Shehu).

E poi ci sono i progetti non riusciti, abortiti, come quello di Urduja Manaoag, trattenuta in patria per problemi con le autorità dell'ambasciata Americana in Svizzera e mai arrivata al Campo Base di Nopasswd, tags e fotografie rimangono custoditi nei cassetti in attesa di un futuro, di una messa in opera, di nuove coalizioni. 



[Gruppo Estraneo Permanente undo.net july 20, 2009]

 

 

 

 

 

 

 


ABOUT REMAINS
Neil Ira Needleman, Konstantinos A. Goutos, Eva Paulitsch & Uta Weyrich, Blackhole-Factory, Mapa Teatro, Kang Minsoo — Exhibition
 
 

Our exhibition presents art in a different manner. We invite you to watch the works and to gather more information about them. We offer reading material, an internet-station and places to sit down. This gives you the opportunity to do your own research, to get into an exchange with others, to think about what is presented or to add your own ideas.
Three artists present works on video which examine varied aspects of the theme waste: Neil Ira Needleman works with »Found Footage«, in »Unfocused« he shows daily procedures in a new light. »Visions of waste« is, in contrast, a video with a personal and very touching view of »time lost«. Konstantinos Goutos works as »video-stroller«. In Athens he finds street scenes which create a disconcerted feeling because they might happen everywhere. The Corean artist Kang Minsoo approaches the theme from a very different angle. His »Rotate scopes« were made from data refuse from the film industry. Uta Weyrich and Eva Paulitsch’s project is not only presented in the city, in the exhibition visitors are invited to rummage through their handy-film archive.In addition, the exhibition shows documentations of two art projects: the artists’ group blackhole-factory which presents a performance at the festival opening, shows the multimedia-documentation of a project in Ramallah, where German and Palestinian artists examined dumping grounds in West-Jordan and Gaza. Together with inhabitants, the group Mapa Teatro from Bogotà developed a video-installation and a performance about the demolition of the quarter El Cartoucho.
They have documented this project for the festival.

BLACKHOLE-FACTORY (DE) work at the intersection of performing and visual arts and with sound on digital media. They focus on questions of daily culture and identity, the mixing of realities and the confusion of perception.

KONSTANTINOS-ANTONIOS GOUTOS (GR) The »video-stroller« studied film in Athens and video-art in Leipzig. His films were shown at the Filmfestival Oberhausen and his video-works were represented internationally at several exhibitions.

KANG MINSOO (KR) is an expert freelancer at CG (matte painting and digital compositing). As a media artist, he focuses on society’s proclivity for attributing value to something without thinking.

NEIL IRA NEEDLEMAN (US) studied psychology and film in New York. His works were presented at festivals and exhibitions in the US, Latin America, and Europe.

MAPA TEATRO (CO) Rolf and Heidi Abderhalden founded the group in Paris in 1984. Since 2000 a multi-disciplinary laboratory for contemporary art has developed from it.

The artists’team EVA PAULITSCH and UTA WEYRICH (AT/DE) has existed since 2002. They work with film, sound, and installations. Both artists mostly work outside the institutional art context. In public spaces they initiate situations which demand communication and interaction with the audience.

 

[about the works life circle live circus life and pietà in the exhibition wunder der praerie]

 

 

 

 

 

 

 

Wunder der Prärie: Zeitraumexit geht bei seinem Festival im September der Vergänglichkeit auf den Grund

Auf der Müllhalde der Kunst

Von unserem Redaktionsmitglied Inna Hartwich

Man hätte es wissen müssen. Hatte nicht die Künstlergruppe Raumlabor Berlin im vergangenen Jahr bei "Wunder der Prärie" ein U-Boot aus Müll basteln lassen und damit die Angst vor Grenzen im Rhein versenkt? Nun schwebt das Wort wieder über den Köpfen: "Müll". Diesmal als offizielles Thema dieses internationalen Festivals, das das Mannheimer Künstlerkollektiv Zeitraumexit vor neun Jahren ins Leben rief.

Mit dem Slogan "Haltet die Stadt sauber!" greifen Künstler aus Deutschland, Korea, Kolumbien, Spanien, Griechenland, Österreich und der Schweiz vom 8. bis 12. September vielfältige Ausprägungen vom täglichen Abfall über störende Menschen bis hin zu Erinnerungen auf. Das alles mit Theater, Performances, Installationen, Filmen, Tanz und Kunst, sowohl bei Zeitraumexit in der Hafenstraße 68 als auch im öffentlichen Raum Mannheims.

Bescheidener sind sie in diesem Jahr geworden, die Visionäre für Bildende und Darstellende Kunst. Mussten es werden, weil das Budget von rund 160 000 Euro im Vergleich zum vergangenen Jahr um ein Drittel geschrumpft ist. Die Wirtschaftskrise macht vor der Kunst nicht Halt. Halbiert hat sich dadurch das Programm: An fünf statt zehn Tagen begeben sich die Künstler auf die Erkundungsreise durch die Müllstätten dieser Welt. "Jede Vorführung gibt es nur einmal, Wiederholungen wie in den vergangenen Jahren können wir nicht bieten", sagt Mitorganisatorin Gabriele Oßwald von Zeitraumexit.

Erinnerung ans Ich

Doch vielleicht ist es genau das, dieses Augenblickliche, dieses Ephemere, wovon "Wunder der Prärie" profitieren kann. Müll - das ist schließlich Kurzlebigkeit, Chaos, Wertlosigkeit. In all den vorhandenen Ausprägungen. Allein die Umgebung von Zeitraumexit reiht sich in das Spiel von Abfall und Sauberkeit ein. Hier ein ramponiertes Sofa, dort ein auseinandergenommener Herd, der Hof ist voll von Vergänglichem und vermeintlich Unbrauchbarem. Genau die richtige Mischung für die Berliner von "Oper Dynamo West", die mit ihrem Dia-Vortrag "Versuche zur Überwindung der Schwerkraft" am 8. September das Festival eröffnen. Darin porträtieren sie Trautlinde Drobbe, die in den 80ern Stammgast in der Deutschen Oper in Berlin war und ihre Besuche mit Programmheften, Karten und Fotografien minuziös dokumentierte. Der Engländer Phil Hayes aus Zürich greift ebenfalls auf das Mittel von übriggebliebenen Schnipseln zurück und erschafft sich, weil er sein Gedächtnis verloren haben soll, in "First Cut" scheinbar neu.

Der Grieche Konstantinos-Antonios Goutos beschäftigt sich mit "Überresten". Als Flaneur durchstreift er mit seiner Videokamera Städte rund um den Globus - ohne Zoom, ohne Videolicht und ohne Drehgenehmigung. Reaktionen, Geräusche und Farben sind die Elemente, die Goutos in seiner Arbeit interessieren. Die Koreaner Kim Eun Jeong und Han Chang Ho von "Dance On/Off" sind zum ersten Mal in Deutschland und erkunden in "There ist no Sea" (Uraufführung) tänzerisch die Räumung eines Hauses in Seoul. Stadträume also: Auch die schweizerische Künstlergruppe "frfr-international" greift das Thema gerne auf. Einen PopUpShop will sie erschaffen, an einem verlassenen und verbrauchten Ort der Stadt eine Performance zwischen Kunst und Kommerz inszenieren - vorhandene Räume in ihre Arbeit einbeziehen. Wo genau, stehe allerdings noch nicht fest. Vergänglich scheint das alles, aber keineswegs wertlos.


[Mannheimer Morgen
17. Juli 2009

morgenweb.de 

about the works life circle live circus life and pietà in the exhibition wunder der praerie]




 

 

 



The five-minute shot was taken near the meat market in Thessaloniki, Greece. The everyday reality, easy to be mistaken for a surrealistic form, was immortalized only by chance. It is one of many allegories of the life circle vanishing in the deafening sound of the street - the minimalist shot shows one of the situations that are an integral part of every day but we take notice of them only rarely. Life Circle Live Circus Life was awarded the jury´s special award at the Greek documentary films festival.


[Kristýna Němcová)44 academia film omolouc catalogue

(about the work life circle live circus life]











Nopasswd N.0


no profit no institutional contemporary art festival - presentazione performativa

....................english version below

Presentare nopasswd e' piuttosto complesso, e' quasi come se la natura intrinseca del festival si sottraesse a tale operazione di istituzionalizzazione e normalizzazione, in quanto nopasswd e' per vocazione essenzialmente dialettico, orale, in divenire.
Cio' premesso faremo un'eccezione, un'eccezione e' infatti un'entrata congeniale a nopasswd !
Lo staff di nopasswd metterà on display, in anteprima, sound / video projects del manifesto e dei contenuti del festival.

Saranno inoltre presenti con un'anteprima dei progetti che verranno realizzati durante il festival: Carlo Steiner [Buone Nuove], Cosimo Veneziano [The Drowning People], Denis Isaia [Cosa Ho Visto di Bello di interessi e passioni del XXI sec.], Liquid Cat [Hazmat],Guido Affini+Fabrizio Basso [Rec and Play ( sul filo dell'orizzonte )] , Ideanna Pollec Dedalonic ( The Grossi Maglioni Magic Duo + Marcella Fanzaga + Stefania Rossi ), [Ideanna Pollec Dedalonic workshop ed eventi performativi], Nerina Ciaccia e Keti Shehu [Artemia's Mobile Desk], Katia Baraldi [Io che sono sempre altri che comprende i progetti di Emanuela Ascari + Radice Quadrata (Anna Lovecchio+ Valentina Vetturi)].

Special projects : Elisa D'Andrea [stepbystep sound design by Guido Affini].
Gli artisti e curatori esporranno i loro progetti con interventi performativi, testuali, video, audio ...

Non potranno essere presenti fisicamente alla presentazione di nopasswd : Giulia Cilla [Entre Dos Aguas], Bresani +Andrómeda Rodríguez e Sara Herculano [Crossing], Giulio Delve' [expo'sito] [Il Superfluo e' Necessario], Konstantinos Antonios Goutos [video]Flâneu®`s [walk through stereotypes und superlatives of the city of genova],Stefano Romano [spostamenti/movements.5 i rolli di Genova], Neno Belchev [uqbar] [Parachuting Rats], Urduja Manaoag [Tags] , special projects 1:1 projects i quali interverranno nelle stesse modalità degli altri, supportati dallo staff del festival*.

Nopasswd nasce dalla necessità di situarsi in maniera critica, indipendente, autonoma ed auto organizzata al confine col panorama dell'arte contemporanea.

Un progetto che nasce come un'opera e , venuto per follia alla luce , si scontra con meccanismi del reale e con esigenze e desideri realmente presenti. Dunque un festival immaginato da artisti per artisti, curatori, critici dell'arte contemporanea italiana ed internazionale con un movimento locale che tende ad incorporare e riflettere il globale. La scintilla che dà vita al progetto potrebbe essere rintracciabile nella volontà di un immaginario radicale che passa attraverso un ripensamento strutturale non solo artistico bensi' innanzitutto sociale. Un'operazione coscientemente / incoscientemente rischiosa, che ora piu' che mai ci sembra necessaria. Molti dei progetti proposti fanno del coinvolgimento una prerogativa fondamentale, in un gioco in progress in cui il festival stesso utilizza a sua volta il coinvolgimento come metodologia , affidando una parte del lavoro ad un effettivo dialogo per strutturare quella che sarà una comunità provvisoria ed autonoma, ma mai chiusa.

Durante nopasswd vi sarà moltissimo spazio per la contaminazione, gli artisti non operativi sul proprio lavoro lo diverranno sul lavoro altrui , collaborando ed attivandosi sinergicamente, in una entità che vive nell'interazione col territorio, lo trasforma e si lascia trasformare.

Nopasswd sfiora cosi' la biopolitica nel momento in cui propone ed espone se stesso fisicamente.
Tutte le azioni, i movimenti, i dialoghi proposti durante il festival saranno documentati e messi on display giorno per giorno sia al campo base [Laboratorio Sociale Autogestito Buridda in via Bertani, 1, Genova] che online sul sito:
http://www.nopasswd.com/.

*Nopasswd staff :
Eleonora [gruppo estraneo permanente ] : concept , direzione artistica e organizzativa.
Guido Affini : assistenza alla direzione artistica e coordinamento sound / video projects.
Giulia Cilla : assistenza alla direzione artistica e testi.
Elisa D'Andrea : testi, comunicazione e coordinamento generale.
Marco Balostro : fotografia e referenza sul territorio.

.........................english version

The presentation of nopasswd is rather complex; it is almost as if the intrinsic nature of the festival removes those aspects of institutionalisation and standardisation, as nopasswd is by its very vocation essentially dialectical, oral, in constant evolution.

That said, we shall make an exception, an exception is indeed a congenial entrance for nopasswd! The staff of nopasswd will exhibit, as a preview, sound / video projects of the manifesto and of the propositions of the festival. A preview of projects to be realised during the festival will be also be presented: Carlo Steiner [Buone Nuove], Cosimo Veneziano [The Drowning People], Denis Isaia [Cosa Ho Visto di Bello di interessi e passioni del XXI sec.] , Liquid Cat [Hazmat], Guido Affini+Fabrizio Basso [Rec and Play ( sul filo dell'orizzonte )] , Ideanna Pollec Dedalonic ( The Grossi Maglioni Magic Duo + Marcella Fanzaga + Stefania Rossi ) [Ideanna Pollec Dedalonic workshop ed eventi performativi], Nerina Ciaccia e Keti Shehu [Artemia's Mobile Desk], Katia Baraldi [Io che sono sempre altri : Emanuela Ascari + Radice Quadrata (Valentina Vetturi + Anna Lovecchio)]. Special projects: Elisa D'Andrea [stepbystep sound design by Guido Affini]. The curators and artists will exhibit their projects with performance works, textual, video, audio ... The following are not able to physically attend the presentation of nopasswd: Giulia Cilla [Entre Dos Aguas], Bruno Bresani + Andrómeda Rodríguez and Sara Herculano [Crossing], Giulio Delve' [expo'sito] [Il Superfluo e' Necessario], Konstantinos Antonios Goutos [video]Flâneu®`s [walk through stereotypes und superlatives of the city of genova],Stefano Romano [spostamenti/movements.5 i rolli di Genova], Neno Belchev [uqbar] [Parachuting Rats], Urduja Manaoag [Tags] , special projects 1:1 projects who shall participate in the same way as the others, supported by the staff of the festival*.

Nopasswd stems from the need to hold a critical, independent, autonomous and self organized position on the edge of the scene of contemporary art. A project that began as a piece of work and, realised through madness, collides with mechanisms of reality and with those needs and desires that truly exist. As such, a festival dreamed up by artists for artists, curators, critics of contemporary

Italian and international art with a local movement that tends to incorporate and reflect all that is global. The spark that brings life to the project can be found in the will of a radical imagination that goes through a structural re-think which is not only artistic but primarily social. A consciously / unconsciously risky operation which now, more than ever, seems necessary. Many of the proposed

projects involve a fundamental right, in a game in progress in which the festival itself, in turn, uses the involvement as a methodology, entrusting part of the work to an effective dialogue to structure that which will be a temporary and autonomous community, yet never closed. During nopasswd there will be much room for influence, the artists not effecting their own work will become involved in the work of others, collaborating and operating synergistically, in an entity that lives in an interaction with the territory, transforming it and allowing it to be transformed.

Nopasswd will develop biopolitics in this way at the point when it proposes and exhibits itself physically.

All actions, movements and dialogues proposed during the dialogues will be documented and put on display on a daily basis both at base camp [Laboratorio Sociale Autogestito Buridda in via Bertani, 1, Genova] as well as online on the website:http://www.nopasswd.com/

*Nopasswd staff :
Eleonora [gruppo estraneo permanente]: concept, art direction and organization.
Guido Affini: assistance to the art management and coordination sound / video projects.
Giulia Cilla: assistance to the art direction and texts.
Elisa D'Andrea: texts, communication and general coordination.
Marco Balostro : photography and territory reference.

Media partner :
SuccoAcido
Supporters : 1:1 projects , Uqbar, Expo'sito, Laboratorio Sociale Buridda


no profit no institutional contemporary art festival
7 - 14 Maggio 2009 Genova
info festival: http://www.nopasswd.com/
contact : npsswdfestival@gmail.com

nopasswd art director
eleonora +39 3401485405
npsswdfestival@gmail.com
gruppoestraneopermanente@gmail.com

Presentazione martedi' 21 Aprile, ore 18:30

neon>fdv -Fabbrica del Vapore
via Procaccini 4, Milano
ingresso libero


[undo.net april 21, 2010]





 

 

 

 

Η δικιά μας βόλτα μας έβγαλε στο λιμάνι, Αποθήκη Β1, Κέντρο Σύγχρονης Τέχνης Θεσσαλονίκης.
Στο πλαίσιο του τρίτου Εικαστικού Πανοράματος, 75 νέοι Έλληνες καλλιτέχνες εκθέτουν τη δουλειά τους έως και τις 22 Φεβρουαρίου. Ο τίτλος της παράλληλης δράσης «Δημιουργώ, άρα υπάρχω». 110 έργα διαλεγμένα κατευθείαν από τα υπόγεια στούντιο παιδιών που δεν έχουν σχέση με το κύκλωμα των μουσείων ή των γκαλερί, παιδιών όμως που δημιουργούν, ανασαίνουν, ανησυχούν, εκφράζουν, ζωγραφίζουν, στήνουν, τοποθετούν. Όπλα κεντημένα σταυροβελονιά, τεχνητά γρασίδια του γκολφ, βίντεο που καταγράφουν το σαπούνι καθώς λιώνει ή ένα κτίριο που πήρε φωτιά και η μάνικα το καταβρέχει. Ασπρόμαυρες φωτογραφίες αστικής απόγνωσης, κορίτσια που κοιμούνται ή νανουρίζουν το μωρό τους, που δεν υπάρχει στ’ αλήθεια παρά μόνο μέσω μιας τηλεόρασης ξαπλωμένης στην κούνια, πρόσωπα που πάνω τους πέφτουν σταγόνες μιας χαλασμένης υδρορροής. Σε επιμέλεια Δόμνας Γούναρη και Αρετής Λεοπούλου, η έκθεση είναι όντως μια έκπληξη, το επίπεδο των συμμετοχών μακράν εντυπωσιακό και ουσιαστικό, νέοι καλλιτέχνες, συγχαρητήρια, συνεχίστε, πάνω τους!


[stefanos tsitsopoulos athens voice, january 15, 2009]



Κάθε φορά που κατεβαίνω στο λιμάνι για να δω μια έκθεση στο Κέντρο Σύγχρονης Τέχνης ή στο παρακείμενο Μουσείο Φωτογραφίας, βαυκαλίζομαι πως εγώ κι ο κόσμος που παρέα διασχίζουμε το καλντερίμι έχουμε τον ίδιο προορισμό. Και διαψεύδομαι!

Ειδικά τα μεσημέρια της Κυριακής, όπως την προηγούμενη, οι περισσότεροι το κόβουν για το “Kitchen Bar”, ξέρετε, καφές με θέα τον Θερμαϊκό, μπέργκερ, πάστες, για πες, για δες, στο Κέντρο Σύγχρονης Τέχνης ήμασταν μετρημένοι στα δάκτυλα του ενός χεριού. Όμως η χαααλλλαααρή προσέλευση στη δεύτερη φάση της έκθεσης «Δημιουργώ, άρα υπάρχω» δεν της στερεί τίποτα και από το ρηξικέλευθο της προσπάθειας και από την καλλιτεχνική της αξία. Εβδομήντα πέντε  Έλληνες καλλιτέχνες, που δεν έχουν εκθέσει σε γκαλερί και μουσεία τα τελευταία πέντε χρόνια, δίνουν το στίγμα τους στο τώρα.
“Can anyone unite us” αναρωτιέται ένα σλόγκαν πλεγμένο με κάτασπρη κλωστή και τσιγκελάκι. “Darling, stop confusing me”, στίχοι της Μπιοργκ μεταφρασμένοι σε ποπ αρτ καμβά, μεταλλικοί γλυπτοί λαγοί, ξεχασμένα ψηφοδέλτια με τον «εθνάρχη» Καραμανλή, γριές κυρίες που ατενίζουν μελαγχολικά, ποζάροντας σε καναπέδες γηροκομείων, ασημένιες λαμαρίνες όπου πάνω τους εκτυπώνονται φωτογραφίες παιδιών και γερανών. Το Μεταξουργείο τη νύχτα, οι εγκαταστάσεις του Αγίου Κοσμά φωτογραφημένες σαν τροπική ηλιόλουστη Blade Runner area. Αν τυχόν κατηφορίσετε, μην παραλείψετε να αγοράσετε τον κατάλογο, όπου και οι 75 καλλιτέχνες αναλύουν το σκεπτικό τους, δίνουν ψηφιακή διεύθυνση, σε προσκαλούν να γνωριστείτε καλύτερα.


[stefanos tsitsopoulos athens voice, february 19, 2009]

 

 

 

 

 

 

 

 

The video flâneur shoot himself

in three differents cities, Prague,

Berlin and Leipzig

de Konstantinos-Antonios Goutos

(Grèce, 2007) 9’38

Trois auto portraits du (Video)

Flâneur qui se filme lui-même

dans trois différentes villes. Trois

(in)habituels rencontres avec lui-

même (comme toujours) sans but

ni plan.

 

[instantsvideo.com

(about the work the videoFlâneu®  shoot himself   in 3 different cities]

 

 

 

 

 

 

 

 

PRESS RELEASE OCTOBER 2008

TEMPS D'IMAGES FILM AWARD for films on art

In 2008 for the first time Temps D'Images Portugal announced its new section: the competition of films to win the TEMPS D'IMAGES FILM AWARD for films on art.
Films on art or artists are intrinsincly transdiciplinary art works since the film maker necessarily has to confront his own film art with the art of the artist which he wants to show. Films on art are also a way to bring artistic approaches, way of thinking and life to an audience which are not primarily involved in arts and so at times might feel some barriers in understanding art works, or artists who are often considered as unreachable for "normal" conversation.
With this film competition, Temps D'Images intends to promote the particular artistic approach to life, society and responsibility, by at the same time inspiring the audience to different, creative and daring thoughts.
From the submitted films which arrived worldwide by more than 25 countries, approximately 22 films were selected which show a unique and high quality of traditional as well as contemporary forms of documentaries: from hommage films to film essays to long term observations to historical research and experimental films who themselves become an art work through their way of filming or editing.
Beside films as "Pintura habitada" by the Portuguese directors Joana Ascensão on Helena Almeida who has sensitively chosen her filmic and dramaturgical language in accordance to the language of the work of the artist portrayed, Temps D'Image will screen films in which the director brings out the personal and unique approach of an artist towards his life, art and work after a big effort in breaking the artist's unwelcomeness, shyness or distrust towards the film maker: in the film "World Star" of the German/Czech director Natasa von Kopp about the Czech photographer Miroslav Tichy who became world-famous at an age that he even does not care about his fame, or the Israelian film "Rosh Geranium" by Amit Goren about the charismatic Raffi Lavie who was the pioneer in new Israelian art of the 60ths, or "My Father's Studio" in which the Canadian film maker Jennifer Alleyn after the death of her father, the artist Edmund Alleyn, finally discovers a rich and unique artistic universe she never realized before.
There are films which examine the general urge for an artist to create art works, non-commercial works which he is generally not or very less paid for in consideration of the time and dedication he invested, films which investigate why people choose this difficult, artistic life apart from the mainstream and how they get along with their decision, films as "The Last Landscape Painter" by the Spanish director Gonzalo Ballester or "Portrait of The Artist as A Middle Aged Man" by the English Fiona Collins, "Still Life with Wife" by the Estonian Kersti Uibo, "Blessed Are Those Who Believe Without Seeing" by Spanish Sergio Blanco and "Concrete" by the Icelandic directors Markús Thór Andrésson and Ragnheidur Gestsdóttir where you will meet known artists such as Björk or Roni Horn.
Some films reflect the difficulties, considerations or attraction of the film maker when trying to establish a dialogue with an artist or art work, such as "You Wanted To make a Film?" by Israelian Gali Weintraub, "Lost in Art - Looking for Wittgenstein" by João Louro and Luis Alvos de Matos, "Brancusi" by Alexandre Martins and Nuno Miguel or "A Lontra" by Eduardo Abrantes, all Portuguese.
How life and society is reflecting or influencing art works can be experienced in "Watercolors' Trace" by Ukrainian Vyacheslav Prokopenko which brings us to the beginning of the 19th century in Russia to the painter Maksimilian Voloshyn, "Outside" by Portuguese/English director Sergio Cruz who has observed the connection of art and life in China, "Madrid - The Shadow of A Dream" by Mexican director Alejandro Andrade Pease who tries to find traces of the artistic phenomena "La Movimento" after the Franco era which gave birth to artists such as Pedro Almodovar or Ouka Leele, not to forget the Belgian film "Luc de Heusch - Wild Thinking" of Karine de Villers about an incredible fascinating and wild thinking film maker.
If after all the audience will be so inspired that it starts looking for own creativity and new project ideas, it should not miss films which deals with the creative process itself such as "Miraslava" of the Canadian Roberto Santaguida who already had imagined his work but after being confrontated with his reality decides to change his plan, or "Everyday Life's Changing Moods" by Croatian Azra Svedruzic who is sure to get an idea but before she has to dispatch some daily requirements...
Or if after all the audience thinks that now it will surely recognize a real artist and understands his works properly, it has to realize that there are still a lot of surprises left - as shown in films as "Piéta" by the Greek "video flaneur" Konstantinos-Antonios Goutos who met accidentally a Pieta in the street, or "Relevé" by the Germans Sebastian Natto, Denis Truembach and Bastian Caspar whose film's end is not being told here!
We hope the selection of the films will inspire the spectators and again manifest the great importance of art for human life and society.


[Rajele Jain, October 2008 tempsdimages-program 2008 (about the work pietà]




Künstlerische Positionen aus Hamburg und Leipzig zum Thema "zwischenwelt - ein Zustand zwischen Leben und Tod" in der alten Pathologie Barmbek 2008 organisiert von Freifrau von Schulz.



ndr television





 

 

 

Na, o videomenininkai Shelly Renan-Kuris ir Konstantinos-Antonios Goutos fiksuoja savo buvimą miesto erdvėje. Pirmoji, judėdama architektūriniais elementais, kuria videošokio performansą, tuo tarpu Goutos fiksuoja pasyvų savo paliekamo šviesos pėdsako atvaizdą.



elta.lt 

[about the work the videoFlâneu®  shoot himself   in 3 different cities]

 






 


 

 

 

K.A. Goutos analogiškoje aplinkoje renkasi ne dalyvio, o pasyvaus stebėtojo vaidmenį. Neizoliuodamas savęs nuo nuolat besikeičiančios aplinkos ir tapdamas savotišku laiko (ir permainų) atskaitos tašku, jis įrodo, kad ir tokiomis aplinkybėmis įma noma išsaugoti savo savitumą.


7md.lt

[about the work the videoFlâneu®  shoot himself   in 3 different cities]

 

 

 

 

  

 

 

 

Spannend wird auch der zweite Teil der Veranstaltung. Mit den Videoinstallationen des HGB-Studenten Konstantinos-Antonios Goutos wird die Brücke zur Moderne geschlagen. Ganz eigensinnig verkündet der selbsternannte Videoflaneur in seinen Kurzfilmen die Poesie des Menschseins. Kleine Alltagssplitter, kleine Geschichten, zu unauffällig und unscheinbar, um sie im Normalfall selbst zu sehen, spiegelt Goutos dem Betrachter wider. Und er regt damit zum Hinsehen, träumen, aber vor allem zum Reflektieren des Alltäglichen an. Sein Kurzfilmprojekt „erste bilder aus berlin“ (2003) zeigt Momentaufnahmen des menschlichen Aufeinandertreffens in der Großstadtwüste Berlin.
Sein zweiter Stummfilm aus dem Jahr 2007, welches einen Jongleur in dreimaliger Wiederholung an einer Ampelanlage zeigt, wird am Ende der Veranstaltung drei Mal gezeigt werden, unterlegt in einer jeweils anderen Interpretation der drei DJs.


[thomas seifert], cultur referant stura.uni-leipzig


 

 

 

 

 

 

 

Η ταινία του Κωνσταντίνου-Αντώνιου Γούτου, «Life circle live circus life», ελληνογερμανική παραγωγή, έδειχνε συνεχώς μια σκηνή του δρόμου όπου σε ένα φορτηγό έσφαζαν ζώα και στην άλλη μεριά του δρόμου άδειαζαν σκουπίδια σε ένα απορριμματοφόρο. Θα μπορούσε να ήταν ένα καλό σχόλιο για το απαγορευμένο (το σφάξιμο των ζώων) και την αντίθεση (σφάξιμο-μάζεμα σκουπιδιών), αλλά ο πολύ αργός ρυθμός και η μεγάλη απόσταση της κάμερας από το θέμα της δημιουργούσε το πρόβλημα της αδιαφορίας και της αποστασιοποίησης από θέμα του. Ο Γούτος δηλώνει ότι ανήκει στους σκηνοθέτες-περιηγητές, περιηγείται και με την κάμερά του καταγράφει αυτά που συμβαίνουν στα ταξίδια του, φτιάχνοντας ταινίες, ακολουθώντας τις τεχνοτροπίες του Dziga Vertov.


[Γιαννης Φραγκουλης, cinemainfo.gr]

 

 

 

 

 

 


Doxperiment

Somewhere between dreams and reality, storytelling, direct observation and experimentation, the documentary film greets experimental cinema with open arms. New experiences are born from this union.

The festival is proud to present the following films in the Doxperiment section:

  • Agent Orange
    0:01:00 2007 Switzerland
    Andres Brutsch
  • Head
    0:04:00 2006
    Canada
    Dominic Etienne Simard
  • Under Construction
    0:09:55 2007 France
    Zhenchen Liu
  • Learn By Heart
    0:30:00 2007 Finland
    Marjut Rimminen & Paivi Takala
  • Apple & Ei
    0:06:00 2007 Germany
    Ahmet Tas
  • Super Smile
    0:05:00 2007 Germany
    Effie Wu
  • What's Home
    0:03:00 2007 Germany
    Alex Heneka & Filip Piskorzynski
  • Table Talk
    0:06:00 2007 Spain
    Yanara Guayasamin
  • Preface
    0:03:50 2005 Netherlands
    Gerard Holthuis
  • Abu Kiffor
    0:06:00 2006 Netherlands
    Gerard Holthuis
  • Marsa Abu galawa
    0:11:34 2004 Netherlands
    Gerard Holthuis
  • Broeikas
    0:06:00 2000 Netherlands
    Bart van den Berg
  • Reminiscentia
    0:10:00 2003 Netherlands
    Jos Neutgens
  • Calypso Road
    0:12:00 2006 Netherlands
    Marta Jurkiewicz
  • Ostrako
    0:05:00 2006 Netherlands
    Hans Muller
  • The Stalin than was played by me
    0:15:00 2006 Netherlands
    Daya Cohen
  • Night at the mall
    0:18:00 2001 Netherlands
    Ben VanLieshout
  • No boats ever sail in the mountains
    0:03:10 2001 Netherlands
    Barbara Meter
  • The west
    0:11:00 2000 Netherlands
    Gerrd Holthuis
  • Hong Kong
    0:13:00 1999 Netherlands
    Gerrd Holthuis
  • City of night
    0:09:40 2000 Netherlands
    Gerrd Holthuis
  • Studie HKG
    0:01:00 1978 Netherlands
    Gerrd Holthuis
  • The island of good life
    0:25:00 2007 Portugal
    Mercec Gomez
  • Sidewalk
    0:30:00 2008 Germany
    Karl Kels
  • Fragments Of Deepopulation
    0:10:00 2007 Japan Robo Kabo
  • Mr Mustache
    0:07:00 2007 Norway
    Orjan Jenson
  • Shopping
    0:15:00 2007 France
    Sebastien More
  • Life -Circle -Live - Circus -Life
    0:05:29 2007 Greece
    Konstantinos -Antonios Goutos
  • Accestor: Conin Alongside
    0:55:00 2008  
    Café


[iran doc fest 08





 

 

 

 

Konstantinos-Antonios Goutos studierte Musik und Film-Regie in Griechenland und Medienkunst an der HGB-Leipzig bei Prof. Ralf Urban Bühler. Der Videokünstler greift in seinen Arbeiten den Blick des Flaneurs auf – versetzt ins 21. Jahrhundert. Seine Begegnung mit dem Künstler Strawalde / Jürgen Böttcher hat ihm neue Wege geöffnet.


[zwischenwelt (about the work the videoFlâneu® shoot kafka´s gravestone]




 

 

 

 

 

„Pietá“ von Konstantinos Goutos zeigt einen unglücklichen Spaziergang durch Omonoia, dem zentralen Viertel von Athen, vier Tage vor den Parlamentswahlen von 2007. Ein Mädchen liegt auf dem Boden (Drogen?), ein Freund (?) versucht ihr zu helfen. Durch Megafone ist die Wahlkampagne der Kommunistischen Partei zu hören, unterlegt mit populären Protestliedern aus den 60ern von Mikis Theodorakis. Aufgenommen wurde die Szene am 12. September 2007 mit einer digitalen Videokamera - ohne Stativ, ohne Objektiv, ohne spezielle Belichtung, ohne Mikrofon und ohne Spezialeffekte. Ton, Dauer und die Reihenfolge der Aufnahme wurden nicht verändert.


[serhumanos.org (about the work pietà]

 

 

 

13. Sendung am 7. November 2007

Wednesday, 07. Nov 2007

Dokumentarische Beiträge treffen auf Animationsfilme: Ein ungewöhnliche Paarung, die jedoch für das Dokumentar- und Animationsfilmfestival in Leipzig seit Jahrzehnten selbstverständlich ist. DOK Leipzig, wie es der Kenner nennt, begeht derzeit sein 50. Jubiläum. Für Unicato Anlass genug, eines der ältesten Filmfestivals Deutschlands mit animierten und dokumentarischen Beiträgen aus Sachsen, Sachsen-Anhalt und Thüringen zu würdigen.

Inhaltlicher Schwerpunkt der aktuellen Unicato-Sendung ist diesmal Deutschlands Nachbar Frankreich. So reist ein Berliner Metzger, der sich auf die Herstellung von Blutwurst spezialisiert hat, in die Normandie. Seine Hoffnung ist, beim jährlichen Treffen der französischen Bruderschaft der Blutwurstritter eine Auszeichnung für seine Produkte zu bekommen. „Ritter der Blutwurst“ von Daniel Gräber, entstanden im Kurzfilmseminar von Prof. Dr. Steinmetz an der Universität Leipzig, nimmt sich viel Zeit für seine Protagonisten. Dabei zeigt sich, dass man ihrem blutigen Gewerbe hin und wieder durchaus witzige Seiten abgewinnen kann. Genauso witzig, aber noch wesentlich rasanter geht es in Tom Freitags kurzem Animationsfilm „Les Ineffables“ nach einer Bildergeschichte des französischen Comicautors Lewis Trondheim zu, wenn der eifrige Klaus mit einer bestimmten Form des Peter-Prinzips konfrontiert wird. Der Dessauer Designstudent Jan Schönwiesner bringt in seinem Kurzfilm „Die Barke“ Stil und Gedankenwelt des französischen Impressionismus in Bewegung, während Konstantinos-Antonios Goutos sich in „The VideoFlaneur shoot himself“ mit einer urfranzösischen Erfindung auseinandersetzt: Ziel des Flanierens ist nicht die Bewegung oder das Erreichen eines bestimmten Ortes, es ist vielmehr die Grundlage für Reflexionen über die großstädtische Gesellschaft. Goutos Film lief kürzlich im Rahmen des neunten Internationalen backup-Festivals in Weimar, in dem vier Tage lang Kurzfilme aus aller Welt präsentiert wurden. „Les Ineffables“ ist offizieller Beitrag auf dem Leipziger Dokumentar- und Animationsfilmfestival im Programm „Neue Deutsche Animation“.

DOK Leipzig wurde 1955 vom damaligen Club der Filmschaffenden der DDR als „Gesamtdeutsche Leipziger Woche für Kultur- und Dokumentarfilm“ gegründet und stellte damit das erste unabhängige Filmfestival der DDR dar. Der künstlerische Animationsfilm ist seit 1996 mit einem eigenständigen Wettbewerb vertreten, obwohl er bereits seit Jahrzehnten integraler Teil des Festivals ist. Als Zwei-Sparten-Festival ist Leipzig damit einzigartig.
War es in Zeiten des Kalten Krieges vor allem ein Ort der Begegnung und des Austausches von Filmemachern aus Ost und West, so hat sich DOK Leipzig nach der deutschen Wiedervereinigung mit einem qualitativ hoch stehenden Programm und in den letzten Jahren mit neuen Branchenangeboten zu einem der dynamischsten Festivals für Dokumentar- und Animationsfilme entwickelt.

Das 50. Internationaler Leipziger Festival für Dokumentar- und Animationsfilm fand vom 29. Oktober bis zum 4. November 2007 statt.

diebarke.png

Die Barke

Jan Schönwiesner
Hochschule Anhalt, Fachbereich Design Dessau
Jan Schönwiesner erzählt die Geschichte eines fiktionalen Bildes. Stilistisch an den kräftigen Pinselstrich des französischen Impressionismus angelehnt, erweitert er das Bildsujet um den tragischen Ausgang einer Liebesbeziehung. Was wie so oft bleibt, ist das Objekt der Erinnerung. Die digitalen Videoaufnahmen wurden Bild für Bild bemalt. (01:35 min)

opolous.png

The VideoFlaneur shoot himself

Konstantinos-Antonios Goutos
Hochschule für Gestaltung und Buchkunst Leipzig
Der Künstler geht wie ein Flaneur durch die Stadt. Er hat keine Schildkröte bei sich (wie die ersten Pariser Flaneure in den 1830er Jahren es hatten), er schreibt keine Geschichten (wie Edgar Allan Poe und Hans Christian Andersen es gemacht haben) und er schreibt keine Gedichte (wie Baudelaire oder Rilke). Der heutige Flaneur filmt sich selbst. (09:23 min)

blutwurst2.png

Ritter der Blutwurst

Daniel Gräber
Universität Leipzig, Institut für Kommunikations- und Medienwissenschaft
Das Fleischerhandwerk hat´s nicht leicht. Der Konkurrenzdruck durch Industrie und Supermärkte wächst und der Nachwuchs fehlt auch. Viele Metzger mussten in den letzten Jahren ihre Geschäfte schließen. Marcus Benser, Fleischermeister aus Berlin-Neukölln, will seine traditionell hergestellt Blutwurst besser vermarkten. Sein Marketingkonzept: Man tue sich mit einem ehemaligen Fernsehredakteur zusammen und werde Mitglied der französischen Bruderschaft der Blutwurstritter. Dieses Jahr ist der Fleischer erstmals gemeinsam mit seinem neuen Geschäftspartner zum Wettbewerb der Bruderschaft in die Normandie unterwegs. Das Konzept scheint aufzugehen, doch können auch Spannungen zwischen traditionellem Handwerk und modernem Marketing entstehen. (30:32 min)

tomfreitag4.png

Les Ineffables (Die Fabelhaften)

Tom Freitag
Bauhaus-Universität Weimar, Fakultät Medien
Dieser dreiminütige 3D-Animationsfilm basiert auf einem Comic von Lewis Trondheim. Presto Subito, der König der Lieferanten, engagiert den eifrigen Klaus. Und es geschieht alles so, wie es kommen muss. Klaus macht Karriere. Doch wer hoch steigt, fällt tief. Eine kurze zynische Geschichte, die sich, galant erzählt von Françoise Cactus, ungewöhnlicher Bilderwelten bedient. (2:57 min)

 

 

 

 

 

 

 

 

Several works took on the motto of the show as their own title, Konstantinos Goutos´ short film played exactly on that showing how every nationality can come together when it comes to the most basic things, as playing, having fun and laughing.


[liliana rodrigues, art historian)

(about the exhibition 24-Stunden-Ausstellung.de]

 

 

 

 

 

 

 

 

 ...joined Konstantinos Goutos´ film “Pietà” in underlying exactly the schizophrenic gap between the political ideals of a few and reality for the most. As a flanêur, Goutos shot the scene without purpose nor plan, he tells us only when and where it took place. With our necessity to rebuild narratives, we presume that, meanwhile his accidental walk through the city of Athens just a few days before the parliament elections of 2007, he witnessed a girl lying on the ground – maybe because of drugs – and a friend possibly trying to help. On the background we hear a part of the elections campaign of the communist party in Greece, with popular, protest songs from the sixties, of Mikis Theodorakis… It unpretentiously shows the separation and incommunicability of worlds; how the blind struggle for power runs side by side with individualist escapist reverie.

 

[ liliana rodrigues, art historian)(about the work pietà ] 



 

 


 

 

 

...Baladránovi je blízký Konstantinos Antonios-Goutos. V jeho videích se vedle sebe objevují, a tím i významově prolínají motivy z několika vybraných měst (Praha, Berlín, Lipsko, Brusel). Jde v nich o vyjádření kulturní pestrosti, o naznačení odlišností i podobností, které vyrůstají ze spojení odkazu minulosti s proměnlivou a živou současností...

...Konstantinos-Antonios Goutos is close to Baladran. In his videos the motifs from different choosed cities (Prague, Berlin, Leipzig, Bruxelles) appear one next to another, and so share their meanings. It's about expression of cultural diversity, it refers ot differences and resemblances, which grow up from the combination of the remembering of the past and the changing and living present...


8. march 2007, Lidové noviny (JIŘÍ MACHALICKÝ) futuraproject.cz/en/reviews






Punctum


Opening: Tuesday, 27th February 2007, from 6pm
exhibition dates: 28.2. - 6.5.2007

Participating artist: Jesper Alvaer, Zbyněk Baladrán, Daniela Baráčková, Ondřej Brody a Kristofer Paetau, Milena Dopitová, Konstantinos-Antonios Goutos, Alena Kotzmannová, Radim Labuda, Ján Mančuška a Jonas Dahlberg, Michal Pěchouček, Pav la Sceranková, Sláva Sobotovičová, Ivan Svoboda, Jan Šerých, Mark Ther, Martin Zet
Curator: Václav Magid

more

...for punctum is also: sting, speck, cut, little hole---and also a cast of the dice... A photograph's punctum is that accident which pricks me (but also bruises me, is poignant to me).

Roland Barthes, Camera Lucida.

This exhibition is a representative show of the contemporary Czech art of motion pictures, without claiming to be objective. While conceiving its framework, I gradually gave up my initial ambition to achieve an overview that would encompass all the remarkable examples of video work. On the contrary, I attached greater importance to my personal feeling about the qualities of the particular works and their potential to form an interesting whole.

When deciding in favor of a particular work, I was, in the end, always led by a feeling that I am attached to it by a kind of point, a detail which is an extra element here. Something that isn't part of the work's identity as it could be defined by the categories of medium, genre, theme, tendency, context etc., but something that makes the work special particularly by being so groundless.

To refer to Barthes´ usage of the word "punctum" when formulating the conception of the exhibition allows a considerable freedom, but at the same time it creates a certain contradiction. There is no guarantee that the viewer will perceive a "punctum" in a particular work. It seems to me, however, that it is this paradoxical effort, which represents one of the most interesting aspects of the contemporary conceptual approach - making a preconceived scheme, in which additional value is created, while this value appears meaningless in relation to that scheme; the conditions are intentionally set to cause a short circuit; the invocation of an accident. This is the kind of thinking that the exhibition would like to stress.

The artists we approached are people from the contemporary Prague scene, representing the conceptual approach to video. A vast majority of these artists don't consider themselves to be exclusively "video artists", the video being just one of a number of media they use. Most of the exhibited works border on stylized video, a documentary coverage of reality, performance and installation. The exhibition is loosely structured around themes. These aspects are gaining at least a semblance of a frame. In my opinion, however, the cracks in the walls of this structure are more interesting than the strucutre itself.

Václav Magid

Thanks:
Ministerstvo kultury ČR, Magistrát hl.m. Prahy, Praha 5
Foundation for Contemporary arts Prague, Imarmitaliani

Media partners:
Radio 1, Umělec, Flash Art, Atelier

Curators Thanks:

VVP AVU, Display, Tranzit, C2C, NCSU Praha, VŠUP Ateliér konceptuální a intermediální tvorba, Jesper Alvaer, Vjera Borozan, Martin Kotrba, Eva Koťátková, Roman Kudláček, Radim Labuda, Ján Mančuška, Pavlína Míčová, Michal Pěchouček, Tomáš Pospiszyl, Jan Šerých, Jiří Vyhnal, Dušan Zahoranský


futura-centre for contemporary art_prague







 

 

Das neue Jahr beginnt für D21 mit der Ausstellung der Video-Installation "Passanten" von HGB-Student Konstantinos-Antonios Goutos. Das Projekt wird durch Regine Ehleiter betreut, die Kulturwissenschaften und Kunstgeschichte an der Uni Leipzig studiert. Für sie bietet die Arbeit bei D21 vor allem die vermissten praktischen Erfahrungen zusätzlich zum Studium: „Wenn man einmal eine Buchung geschrieben hat, lernt man dabei mehr als in jeder Kulturphilosophie-Vorlesung“. Bis zum 20. Januar werden im Rahmen von „Passanten“ die Aufnahmen dreier Straßenpassanten aus Berlin, Leipzig und Prag von innen an die Schaufenster projiziert und sind so täglich von 18 bis 21 Uhr für die Passanten Lindenaus zu sehen.

[januar 2007, zeitschrift student-leipzig, samuel jackisch) 

(about the exhibition Passers-By ]