Video

Meine Musik ist… MBLN¹¹ by Sven Vollbrecht @ Delicious Doughnuts club, March 17th, 2012

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Where music is, there is also art. Where people are, there is beauty. Delicious Doughnuts  club began its art shows in the early 90’s together with incipient creative tumult in Berlin as a result of the fusion of different kind of arts. Nowadays the club goes even further, so at regular intervals there are artists in various trends  to show their art in the nice shop window, such a prominent public place.

MBLN11 interview project. 
My music is… is an art project for and with the Delicious Doughnuts by Sven Vollbrecht (MBLN ¹¹). He shows short video loops, where the DJs from the March program are presenting their favorite tracks. These video loops are played in different video monitors on the Delicious Doughnuts showcase in March. The MBLN (MyBerLiN) interviews can be seen online.

Who are the DJs? Egokind (Callias), Bokka (b.tonal), Sergej Gorn (b.tonal), Andrej Rein (b.tonal)

Text: Free translation from German by me, original text on http://www.delicious-doughnuts.de/de/art/mbln/

Windows III 16/03 @ Deutscher Künstlerbund–Projektraum, March 16th, 2012

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The Deutscher Künstlerbund shows in its windows video projections of 31 students from the Kassel Art Academy and the University of the Arts in Berlin. The teachers of these arts colleges, the video artist Anna Anders, Bjørn Melhus and Maria Vedder proposed their students for the winter semester, the task of developing video projections specially made for the windows of the Deutscher Künstlerbund. The instructions to develop the works were that pieces must be related in form and content to the window as a screen and taking into account the special situation of the room on the ground floor (street level).  Also the pieces mustn’t exceed 1’30 min length.

Some of the works presented here can turn through the context and dimension to surreal moments. The usually rather noble presenting merchandise such as shop windows are converted through the images in trash bin or stovepipes, in a dollhouse, a predator cage, a cowshed, an intensive care unit, a bathroom or eyeglasses,with enormous eyes squinting. Fights and love stories are shown between the two windows, a giant cordless drill pass from one window to the other, cars falling from the sky and other strange things.

Moving images can be seen through the development of digital video and display technology in the urban streets more and more often and therefore produces more public art opportunities. That is the 3rd year in a row that pedestrians in Berlin-Mitte vicinity (Rosenthaler Strasse, 11)  will be challenged to pause and engage with art. 

Videos on the windows will be running till March 16th (Tuesday to Friday from  18:00 to 24:00 Uhr)

Artist showing their video pieces: Dovile Aleksaite | Serhan Alsan | Philip Bauer | Sigurður Unnar Birgisson | Nora Bolz | BenBrix | Fabian Brunsing | Manja Ebert | Ana Esteve Reig | Frieda Femfert | Kerstin fresh |Jeanette Gosslau | Yuri André Halliday | Alessa Hansen | Tilman Hatje | Ingrid Ladurner |Meike Martin | Martin Steffen | Anna Maysuk | Kristin Meyer | Sabine Moore | Aiko Okamoto| Felix Ott | Franz Christoph Pfannkuch | Ann Schomburg | Beatrix Schubert | Lukas Thiele |Jana Tost | Johanna Wagner | Lu Wang | Bastian Wienecke

Text source: http://www.kuenstlerbund.de/deutsch/projekte/aktuell/index.html, free translation from German by me.

‘Back to the garden’, Agnieszka Brzezanska @ Kamm Galerie, March 9th, 2012

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“Trees have long thoughts, long breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.” Herrmann Hesse, excerpt from Wanderings, 1918.

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Agnieszka Brzezanska photographs, films and paints pictures of her daily surroundings in which she sees a particular significance. In her second solo show at Galerie Kamm Brzezanska takes on the idea of a return to a place of rest and nativeness and the relationship between humans and plants.

The installation of the show with large-formatted prints hanging from the ceiling of the gallery space, a photograph placed on the floor and a sculpture in the space, creates the overall allusion to a forest. Leafs and tree branches – painted, photographed, filmed or computer-generated – serve as the common motif that tie the pieces together. They cover up a nymph-like creature, for instance, or seemingly form an entity with the movement and colour of human hair. Two unconventionally installed paintings, leaning against each other may recall childhood memories of building a “hut” as a hiding place in play, following a natural instinct. The film, which is screened inside it, formally echoes the fragmented image of the leaf-covered photographs. It shows a sequence of an open-air screening of a performance by dancer and choreographer Pina Bausch, which Brzezanska filmed with a simple digital camera from the window of her studio. In the background, the orchestral tunes of Sacre du Printemps by Igor Stravinsky are heard.

In this exhibition one comes across objects, images and sounds that can be surprising, humorous, mystical or even uncanny – much like in nature. While the works evoke an atmosphere of the metaphysical and spiritual, Brzezanska always manages to maintain a clear view and precise technique in her pieces. Leaning on theorists like Stephen Harrod Buhner, she calls into question our own position within the natural order, reviving the canon of theories and debates regarding the human being’s relationship with nature. In The Lost Language of Plants(2002) Buhner describes how man’s emotional disconnection from the Earth and plants causes a loss of health in ecosystems as well as a loss of “understanding of who we are”. In the communication with plants thus lies a healing power and potential source of joy that modern society has widely disconnected from. By taking the viewer back to the garden, Brzezanska opens up the realm of questioning our own relationship with nature,possibly taking a first step to reconnecting and communicating with it. As the Canadian painter Emily Carr observed in her life-long pre-occupation with nature: “Trees love to toss and sway. They make such happy noises.

Text source: http://www.galeriekamm.de/index.php?id=351&L=1

SUPER 8 & Mysterema @ Künstlerhaus Bethanien, March 6th, 2012

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With the roots of video art intertwined with that of cinema, SUPER 8 derives its title from the mid-century motion picture film format of the same name. An artist-curated, video art exhibition organized by Christopher Grimes Gallery (based in Los Angeles). This ambitious video exhibition features the works of forty international contemporary artists.  Each week of SUPER 8 focuses on a different city: Berlin, Dublin, Lisbon, London, Los Angeles, Rio de Janeiro, San Francisco, and Tokyo, eight artists will curate a week’s worth of programming with fellow artists from their respective cities. Within that week, a day is dedicated to the work of one artist. In addition SUPER 8 contextualizes artist work within a global community of artists working in the same media. Through various approaches, from a variety of generations, SUPER 8 presents a cross section of this often misunderstood and underestimated form of art. During the opening, short excerpts were exhibited.

The excerpt correspond to “Dust defying gravity”, 2003 by Grace Weir, shown on Tuesday, 6th of March

Mysterema, by Gabrielle de Vietri is showing two new works: “Captcha” is an audiovisual projection for which the artist has combed the Internet painstakingly in search of so-called captchas – those obviously meaningless sequences of letters that we must type in to assure no machine-generated spam is sent out.

Vietri’s works are multimedia, using performance, video, photography and text. They often take the shape of small experiments, and illuminate the evolution of identity and patterns of human behaviour before the background of socio-cultural and philosophical issues. In the exhibition De Vietri has written down and categorised a large number of captchas and, on the basis of these word-creations, has written a narrative plot in the style of a fairy-tale or a fantasy novel. The story, spoken by a professional actor, can now be heard in the exhibition space; at the same time, more and more new, large-format captchas are projected onto the wall. Thus, plenty of space develops for the visitor’s own imagination and individual interpretations of de Vietri’s imagined story.

A second piece comprises two components: “Anonymous Lovers Discuss the Work of Cyprien Gaillard” is an audio work, for which the artist has recorded the conversations of a couple as they pass through a Cyprien Gaillard exhibition in Paris. In the Künstlerhaus she has supplemented this sound recording with “Karstadt Courting Chair”, a seat suitable for intimate conversation, set into an island of quiet in the room: visitors are invited to sit down and listen to the two unknown lovers’ conversation – not only about art but also about personal matters, feelings, shared memories etc., offering the viewer both a challenge and a chance to develop his own interpretations of those many suggested, fragmentary stories.

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Text source:  http://www.bethanien.de/kb/index/trans/en

Windows III 02/03 @ Deutscher Künstlerbund–Projektraum, March 2nd, 2012

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The Deutscher Künstlerbund shows in its windows video projections of 31 students from the Kassel Art Academy and the University of the Arts in Berlin. The teachers of these arts colleges, the video artist Anna Anders, Bjørn Melhus and Maria Vedder proposed their students for the winter semester, the task of developing video projections specially made for the windows of the Deutscher Künstlerbund. The instructions to develop the works were that pieces must be related in form and content to the window as a screen and taking into account the special situation of the room on the ground floor (street level).  Also the pieces mustn’t exceed 1’30 min length.

Some of the works presented here can turn through the context and dimension to surreal moments. The usually rather noble presenting merchandise such as shop windows are converted through the images in trash bin or stovepipes, in a dollhouse, a predator cage, a cowshed, an intensive care unit, a bathroom or eyeglasses,with enormous eyes squinting. Fights and love stories are shown between the two windows, a giant cordless drill pass from one window to the other, cars falling from the sky and other strange things.

Moving images can be seen through the development of digital video and display technology in the urban streets more and more often and therefore produces more public art opportunities. That is the 3rd year in a row that pedestrians in Berlin-Mitte vicinity (Rosenthaler Strasse, 11)  will be challenged to pause and engage with art. 

Videos on the windows will be running till March 16th (Tuesday to Friday from  18:00 to 24:00 Uhr)

Artist showing their video pieces: Dovile Aleksaite | Serhan Alsan | Philip Bauer | Sigurður Unnar Birgisson | Nora Bolz | BenBrix | Fabian Brunsing | Manja Ebert | Ana Esteve Reig | Frieda Femfert | Kerstin fresh |Jeanette Gosslau | Yuri André Halliday | Alessa Hansen | Tilman Hatje | Ingrid Ladurner |Meike Martin | Martin Steffen | Anna Maysuk | Kristin Meyer | Sabine Moore | Aiko Okamoto| Felix Ott | Franz Christoph Pfannkuch | Ann Schomburg | Beatrix Schubert | Lukas Thiele |Jana Tost | Johanna Wagner | Lu Wang | Bastian Wienecke

Text source: http://www.kuenstlerbund.de/deutsch/projekte/aktuell/index.html, free translation from German by me.

David Zink Yi @ n.b.k. (Neuer Berliner Kunstverein), March 2nd, 2012

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The exhibition is premiering the video installation Horror Vacui (2009) two-channel video installation which runs for two hours documents rehearsals of the Latin band De Adentro y Afuera, founded by the artist together with Cuban musicians, and combines these images with footage showing rituals rooted in Afro-Cuban culture: Cajon, Tambor Batá, and Wiro from Palo Monte, an Afro-Cuban cult related to Santería and the religion of the Yoruba (practiced primarily in Nigeria and Benin) which is the root of a range of religious traditions in several countries of the Americas. By juxtaposing the band rehearsals and the ritual practices as equipollent elements in his video, Zink Yi examines the structural similarities between music-making and religious performance. The key to this semblance is that both think the emerging musical space as a collective plethora, a polyrhythm made possible by the rhythmical structure of the clave that pervades the entire piece. Zink Yi’s Horror Vacui sheds light on practices that allow individual and collective identities to emerge outside of models that assert identity by means of aggressive oppositions. The artist highlights alternatives to restrictive notions of cultural identity built on relations of power and inferiority.

Also in the exhibition it is presented Twilight Images a series of pictures, gelatin silver prints on baryta paper, that show a public park in Havana at night. There are different themes and areas of interest in Zink Yi’s work intersect in the portrait of Havana: the utopian visions of social revolutionaries, the stark reality of socialism, the cults and rites of the Afro-Cuban population. The black-and-white time exposures document a subtle play of light, a twilight heightened by the presentation in the exhibition space. The photographs are set into recesses of identical size, which are integrated into the exhibition architecture and presented in such a fashion that natural as well as artificial light shines through them, revealing, depending on its intensity, a wide variety of structures and shadings within the picture. As the lighting conditions change, the pictorial space changes accordingly.

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Curated by Kathrin Becker. Text source: http://www.nbk.org/en/ausstellungen/

‘The King is blind’-100° Berlin-Das 9.Lange Wochenende des Freien Theaters @ Sophiensaele, February 23rd, 2012

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Within 100º, the four-day theatre marathon that takes place from 23 until 26 February, Sharon Paz presents The king is blind, 2011, a combination of video and performance, investigating power and control using symbolic images of kings and servants. The performance and video are inspired from shadow theater, using silhouette images of actors placed in two-dimensional environments. The work is inspired by power structures of the past and reflects a critical view on current power structures. Music: Tobias Vethake. Performers: Camilla Milena Fehér, Jürgen Salzmann, Daniela Schulz, Karl-Heinz Stenz. Text source: http://www.sharonpaz.com/index.php?/project/biog/

100º will present more than 130 free productions: Stage versions of Effi Briest, performative concerts with seaman-aesthetics, performances on the topic of work and working-sounds, one-woman-monologues about goulash, virtual live connections to other parts of the world, karaoke singing games and highly acrobatic performances. Once again they have a mix of different aesthetics, contents and formats. Chaos is the concept of 100°.