Tag Archive: video-art


As the Culturenet informs “Sanja Iveković’s solo exhibition Waiting for the Revolution is on view from June 2 to September 16 at Mudam in Luxemburg. Curators are Christophe Gallois and Enrico Lunghi.

Sanja Iveković, a central figure on the Croatian art scene, has developed an engaged artistic practice since the early 1970s, animated by questions of genre, media, identity, and the public and private spheres. Her exhibition at Mudam – a decade after her unprecedentedly controversial public space project Lady Rosa of Luxembourg, which addressed the often -overlooked role of women in wartime – will present a large panorama of her works realised from 1975 to the present.”

MV

Source:

culturenet

mudam

The NewYork Times reports the American famous and humorous conceptual video-artist William Wegman has his show “William Wegman: Hello Nature,” through Oct. 21 at the Bowdoin College Museum of Art in Brunswick, Me. The exhibition aims to shine light on a less obvious aspect of Mr. Wegman’s oeuvre.

“It was while he was in Long Beach that Wegman got his dog, Man Ray, with whom he began a long and fruitful collaboration. Man Ray, known in the art world and beyond for his endearing deadpan presence, became a central figure in Wegman’s photographs and videotapes.

William Wegman was born in 1943 in Holyoke, Massachusetts. He received a B.F.A. in painting from the Massachusetts College of Art, Boston in 1965 and an M.F.A. in painting from the University of Illinois, Champagne-Urbana in 1967. From 1968 to 1970 he taught at the University of Wisconsin. In the fall of 1970 he moved to Southern California where he taught for one year at California State College, Long Beach. By the early 70s, Wegman’s work was being exhibited in museums and galleries internationally. In addition to solo shows with Sonnabend Gallery in Paris and New York, Situation Gallery in London and Konrad Fisher Gallery in Dusseldorf , his work was included in such seminal exhibitions as “When Attitudes Become Form,” and “Documenta V” and regularly featured in Interfunktionen, Artforum and Avalanche.”

MV

Source:

nytimes

http://www.wegmanworld.com

At the recently ended K3 International Short Film Festival in Villach, Austria experimental cinematographer Ivan Ladislav GGaleta presenting at the Museum of Contemporary Art in Zagreb (Photo by Media-Via)aleta from Croatia won the K3 Award for his latest film Deep End Art N°1.  The festival is organized in conjunction with Italy and Slovenia.

According to Culturenet.hr Ben Russell stated: “DEEP END ART No.1” by Ivan Ladislav Galeta is confident and entire, a living system unto itself. The title alone is a declaration of an idiosyncratic worldview, one whose conceptual borders extend far beyond the video frame. While it is clear that Galeta takes real pleasure in bird and bee, in sunlight and flare, and in time and decay, this is not enough. Lucky for us, “Deep End” turns this pleasure into the very material of video; aided by close-up and audio-amplification, “Deep End” is a fresh-picked apple for our eyes and ears (mostly held in our left hands).

Ivan Ladislav Galeta (Vinkovci, 1947) graduated in Visual Art at the Teachers’ Galeta: "Motion", 1974 (Photo by Media-via)Academy in Zagreb 1967, as well as in Pedagogy at the Faculty of Humanities and Social Sciences in Zagreb 1981. He headed the Multimedia Centre (MM) of the Students’ Centre in Zagreb (1987-1990) and founded and headed the Art Cinema Theatre of Filmoteka 16 (1991-1994).  Since 1993 he has been working as a media specialist at Zagreb’s Fine Arts Academy, where he has been appointed Full Professor in 2007. He initiated the introduction of Animation Studies (2000) and New Media Studies (2004), which grew into respective Academy Departments. He has been making films since 1969 and video-works since 1975. Since 1973 he has exhibited objects-installations, photographs-installations, video and TV works, texts, sound installations, ambience interventions, ecological projects, actions etc. His works have been included in important local and international collections of contemporary art and film archives like the Museum of Contemporary Art Zagreb, Croatian Film Clubs’ Association, International Short Film Days Oberhausen and Georges Pompidou Centre in Paris.

The Croatian/British video artist Breda Beban (1952-2012), my dear friend, two years before her death in London has made unrelatedly the video art work “My Funeral Song” inspired by subtle but deep affection of love and loss.

The Real Life was incorporated in her existential video art works, which could be now seen at Film Festival “I Mille occhi” in Trieste (Italy) and as The Adventure of the Real in Studio Tommaseo on Saturday, 15th September, curated by Dubravka Cherubini and Branko Franceschi.

Projection of films and videos: Jason’s Dream (1997), Let’s Call It Love (2000), I Can’t Make You Love Me (2003), Walk Of Three Chairs (2003), How To Change Your Life In A Day (2004)

Beban was a recipient of the Paul Hamlyn Award for Visual Arts, UK, 2001. Her film Jason’s Dream received the Silver Award for Music Film & Video, Worldfest, Houston International Film Festival, USA, 1998.

Beban lived and worked in London and Sheffield where she was a Professor of Visual Arts and a Reader in Media at the Sheffield Hallam University. (lecturing at university http://vimeo.com/3437562 )

MV

“The relationships between art, technology and identity have not been explored and expressed with such intensity, dynamics and continuity as it is a case with the medium of video. (…) Selected works deal with the issues of self-­‐representation in the physical, emotional, social and cultural contexts as one of key topics in Croatian art since early 1970s” writes the curator of the Marseille exhibition Branka Bencic, during the Festival of Croatia in France.

According to Culturenet.hr and 25 InstantsVideo from Marseille: “Constructed by means of language and representation identities are not a stable unit but a changing thread of ideological positions built as a temporary meeting point of subjects and codes on the crossroads of different social formations and personal histories. Project is developing as a survey of contemporary video production in Croatia.” (…) ” We can map historical trajectories of conceptual art and feminist art practices – that opened a model for understanding a relevant part of contemporary artistic production, practices considered self-­‐referential, performance and body based activities.”

Those older conceptual video masters – SANJA IVEKOVIĆ and DALIBOR MARTINIS, inspired the younger generation of artists :  IVAN FAKTOR, ZLATKO KOPLJAR, VLASTA ŽANIĆ, SANDRA STERLE, RENATA POLJAK etc.

* Image: Dalibor Martinis from 1970’s interviews himself in 2010 on Croatian National Television. One of the key questions was if he has been alive…

MV

Bill_Viola_DreamersBill Viola’s video work The Lovers (2005), will be shown at  the “50 Years of Video Art,” on 26th Festival Les Instants Vidéo, La Friche de la belle de mai in Marseille, France (November 7 – 30, 2013). The last month’s European exhibition of Bill Viola’s videos in Blain Southern Gallery showed the whole Earth “Dreamers” in moving images. Viola explains how his latest exhibits touch upon a near-death experience as a child, and the importance of water in his work (8 minutes) (thespace.org)
“Dreamers” (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Presented in the gallery on the lower-ground floor, and accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures.
“For over forty years, Viola’s practice has continuously transformed our understanding of video as an artform, expanding its technological scope and historical relevance. He draws from a range of influences, including Eastern and Western art and the spiritual traditions of Zen Buddhism, Islamic Sufism and Christian mysticism, to express fundamental truths underpinning human existence. Bill Viola’s profound visual language captures and expresses thoughts, feelings and memories that have a universal appeal, offering viewers a vehicle for the exploration and contemplation of their own circumstances and emotions.” (blain southern gallery)
Viola represented the U.S. at the 46th Venice Biennale in 1995, and his work has been the subject of large solo
survey exhibitions including: The Museum of Contemporary Art, North Miami (2012-2013), The Whitney Museum of
American Art (travelled to 5 venues) (1997-2000); Mori Art Museum, Tokyo (2006); and Palazzo delle Esposizioni,
Rome (2008).  He holds honorary doctorates from Syracuse University (1995), The School of the Art Institute
of Chicago (1997), and Royal College of Art, London (2004) among others, and was inducted into the American
Academy of Arts and Sciences (2000).
MV
Source:

Museum of Contemporary Art in Zagreb, in collaboration with Association Kazimir in Split and the Institute of Network Cultures in Amsterdam, is organizing an international conference of theorists, artists and experts for new media, especially for online video, under the title Video Vortex, which is set to take place on May 17-19 in Zagreb.

This platform deals with a recent phenomenon that has a considerable presence on the Internet (Vimeo, YouTube, Facebook).

Moving pictures (film/video) and internet are in the process of defining their dynamic and creative mutual relations, and therefore the conference will focus on the content of changes in contemporary art and film, but also in wider cultural, social and technological fields.

The initiator of the Network is a prominent new media theorist Geert Lovink from the Institute of Network Cultures in Amsterdam; previous conferences were held in Brussels, Amsterdam, Ankara, Split, and other cities. The Zagreb Conference is an important turning point, because for the first time the conference is supported by a big museum institution such as MSU. After the Zagreb Conference, the following ones will take place in Berlin, New York, and Paris. About thirty speakers will participate in the proceedings of the conference, divided in six panels: Contemporary Art and online video, Theoretical discourses on the contemporary shift in the digital moving image, Social network and online video in the region, The perspective of online cinema, Artists talk about their own work and research in online video, and Technological aspects and new developments of online video.

Participants of the Conference:
Seumas Coutts, Annelies Termeer, Sabina Salamon, Laurence Rickelts, Bojana Romić, Riczhard Kluszchinsky, Andreas Treske, Dagan Coen, Janos Sugar, Peter Perg, Damir Nikšić, Sandra Sterle, Gabriel Menotti, Jan Simons, Nina Koll, Miklos Peternak, Dalibor Martinis, Natalie Bookchin, Annie Abrahams, Maartin Brinkerink, Miha Colner, Richard Vickers.

The exhibition:
Concurrently with the Conference an exhibition will be held, with works that were created through the participative processes in internet networks, i.e. as authorial videos prepared for online distribution: Liu Wei, Perry Bard, Flag metamorphosis, Janos Sugar, Sandra Sterle, Natalie Bookschin, Dalibor Martinis, Damir Nikšić, Annie Abrahams. Curator: Tihomir Milovac. Curators for online video selection: Vera Tollman, Sarah Kesenne, Christiane Paul, Perry Bard, Brian Willems, Hebert Patrick & Alexandra Juhasz.

 

Source:

culturenet

msu

The internationally famous Croatian video artist Dalibor Martinis introduces to Croatian audience his performance “Simultaneous Speech” in Museum of Contemporary Art ( Zagreb, Gorgona theatre) on January 13, at 19 o’clock. With Dalibor Martinis there are 12 translators: Wang Qiaolan, Lea Kovacs,  Iva Stojevic, Wissam Sleman, Jana Busic,  Kozuko Kono Hut, Ana Petrovic, Marijeta Karlovic, Irena Sertic, Ignacio Esponera, Danijela Vukorepa, Zeljka Salopek, and Marija Popovic.

Dalibor Martinis enters the stage and starts his speech…12 translators simultaneously translate him to 12 languages. But what if they don’t translate his words but those of Fidel Castro in Hungarian, of Mao Zedong in French, of Osama bin Laden in Spanish, of Martin Luther King in Russian, of Gandhi in German, of Lenin in Turkish, of Joseph Beuys in Hindi, of Guy Debord in Greek, of Kasimir Malevich in Japanese, of Marcel Duchamp in Chinese, of Andy Warhol in Arabic, and of Marinetti in Swahili? Actually, it is the artist who translates the “translators” since his speech is composed of all the above speeches, a mixture of key texts of twentieth century, a speech of all speeches. A speech opera. And a lesson in matter of language and ideology. About our all understandings and all our misunderstandings. Does Dalibor Martinis with this stage performance give an ironical comment to the Babylonian language confusion in times of the EU enlargement? Is he comparing us to our mythical ancestors, who failed so magnificently with the building of the Babel tower? Is it possible to generate out of these texts of greatest artists and political leaders some general synthesis of the forever finished twentieth century, or the data recovery may be achieved only through unrelated fragments.

After the performance the book “Simultaneous Speech” will be presented by Nada Beros MSU, Boris Greiner and Dalibor Martinis.

MV

Source:

http://www.culturenet.hr/default.aspx?id=42380

Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012. The museum covers 40 years of  her work, from the early 1970s when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art, till a contemporary recent works. Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance.

As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.”

“(…) After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.”

MV

Source:

culturenet.hr

moma.org/

American video artist Dara Birnbaum has her first UK solo show in South London Gallery till the February 12.

Ben Luke informs that “Gallery’s main space is Arabesque (2011), a video installation which feels modish, with vast screens in an elegant architectural space, and material from YouTube. On the first floor, meanwhile, are several mid-Seventies videos, themselves archetypically of their time: edgy, handheld, full of social politics and a spare, consciously amateurish technique.”

Birnbaum’s provocative video works are among the most influential and innovative contributions to the contemporary discourse on art and television. In her videotapes and multi-media installations, Birnbaum applies both low-end and high-end video technology to subvert, critique or deconstruct the power of mass media images and gestures to define mythologies of culture, history and memory. Through a dynamic televisual language of images, music and text, she exposes the media’s embedded ideological meanings and posits video as a means of giving voice to the individual. (From Electronic Arts Intermix catalogue.)

Dara Birnbaum was born in 1946 in New York where she lives and works. She is especially famous for her uses of video to reconstruct television imagery using as material such archetypal formats as quizzes, soap operas, and sports programmes. Her techniques involve the repetition of images and interruption of flow with text and music. She is also well known for forming part of the feminist art movement.

MV

Source:

http://www.thisislondon.co.uk

http://en.wikipedia.org/

http://www.eai.org/

The Multimedia artist Vladimir Frelih informed us, as well as Culture.net that he as a “winner of the Kulturvermittlung Steiermark Scholarship, presents his works at the solo exhibition Grosse Schritte kleine bewegung from 4th November to 20th December in Graz.

Born in Osijek in 1963, studied Sculpture/Installations at Kunstakademie Düsseldorf (Germany). His tutors were Professors Hoover, Paik and Jatel. He became a Master Grade student in 2001 and attended tutorial classes by Professsor Jatel. 2008 Multimedia Lecturer at the Osijek Academy of Fine Arts and leader at the Department of Art. From 1994 his work has been shown nationally and internationally at exhibitions and events.

He uses a variety of art media and techniques with reference to their structural faults and advantages. His art work has received a number of awards and scholarships and is on display in several contemporary art collections and museums. Currently based in Osijek and Düsseldorf.”

MV

Source:

Culture.net

Cultural City Network Graz

On the September 4th, 1974 an internationally known Croatian video-artist Dalibor Martinis recorded a video work “Still life” (Mrtva priroda), with the still life placed on the TV set  while the TV news were announced. Now, at Korčula island Gallery Siva zona, 35 years later, he reads the same news in a new space-time context.

Multimedia artist Dalibor Martinis performs his video work “TV News” (TV Dnevnik) in Gallery Grey zone, at Korčula till August 7th.
Well known Croatian video-artist, was invited by curator and artist  Darko Fritz to show one of his video works from a series Data recovery, as a proces of a returning some important lost data back to memory, by giving them a positive,  informational and social entity.

While Martinis is reading the same News from 1974, 35 years later (2009), as a speaker, he uses new digital technology equipment and design, but the ideology constitution is from old times, belonging to the previous regime. The artist reassesses past life time in the context  of  new experiences, thus “recycling” the memory and returning the old work as positive aspect of previous (still) life, back.

We ask ourselves whether such a vertical back up can be  erected in time-space continuum efficiently enough to integrate the Memory or isn`t  it necessary to be more deeply affectionate about getting the inspiration while catching the Power of Now in “spinning wildly or standing still”? Is it sufficient to be just a witness or to stress a Human charisma and Body appreciation as well?

MV

Source:

http://www.vecernji.hr

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