Videoart at Midnight Edition

  1. 1996/2017, (excerpt from) 6:39 min, HD Video, color sound, Ed. 40 (+10 artist's proofs)

    A woman is sitting alone in a chair, her elbows propped up on the armrests. She is holding a book in her hands that conceals her face. Its cover reads: “Time Without End.” She could be sitting in the suite of an elegant hotel, if it wasn’t for the American landscape monotonously passing by in the window behind her. The woman is sitting in a “Santa Fe Super Chief” speeding forward, the luxury train of the rich and beautiful of the 1940s. Slowly, she lowers her arms and, with them, the book. We can make out her face. Her eyelids close. The book is resting on her knees. Asleep, she pushes it away—it falls on the floor.

    The actual narrative is only slowly revealed in Klaus vom Bruch’s found-footage work Time Without End (1996): the film sequence from the Technicolor film noir Leave Her to Heaven (1945) by John M. Stahl was manipulated by the artist in such a way that the image sequence and its soundtrack, in a continuous loop, are moved along the continuously progressing timeline, frame by frame, that the flow of movement gives way to a staccato.

    In the drop of the book, which moves forward image by image, the deconstruction of the narrative motif culminates: the movement now reverses itself, as if the book bounced back from the floor. The image sequence is pushed back again frame by frame until the woman is holding the book in her hands again and her face disappears behind it, while the landscape, perforated by telegraph poles flitting past, continues to pass by endlessly in the background. The loop starts over.

    The motif ends with the resting book on the woman’s knees. The loop is reduced to a point, in a way circling within itself: a present continuous time without end, as it were. This pushes further the idea underlying the work of rendering visible the speed of technical developments and their perception. It is certainly no accident that vom Bruch chose a scene taking place on a train as his raw material, leading us as it does in the vicinity of Paul Virilio’s considerations on the connections between the development of (film) techniques, vehicles, and speed. Each specific medium possesses an inherent speed, which in turn influences the perception of the speed. In that way, Klaus vom Bruch’s Time Without End exposes the perception moments and logics of our contemporary speed machines.

    Marie-France Rafael

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  2. 2016, (excerpt from) 17:00 min, HD video, color sound, Ed. 40 (+10 artist's proofs).
    The Calling illustrates a fictional portrait of Thomas, a son of a protestant pastor who was not accepted to art school in East Germany during the times of the GDR due to his religious background. Nowadays, in his late 50’s, still haunted by that trauma, he lives with his wife, in a huge house that they inherited from the wife aristocrat family.
    Thomas actions are accompanied with a voice over of his daughter who tells his life story from her own perspective. Thomas has a rather comfort life free from financial burden. His daily leisure activities and houseman obligations are encompassed by melancholia and doubts about the sense of the calling of his life.

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  3. 2014, (excerpt from) 20:30 min, HD video, color sound, Ed. 40 (+10 artist's proofs).
    Anna and the Tower stages an encounter with Anna, newly trained as an air traffic controller, while on duty at Magdeburg-Cochstedt International, a former soviet airbase about two hours outside Berlin. Although fully updated in 2010 and ready for traffic, by winter 2013 it rarely had any commercial flights. The airport and tower lie quiet awaiting economic prosperity to come. Filmed on location with the control tower as stage, Anna rehearses the tasks of her job almost as rituals to pass the time. She repeats air-to-ground commands in a scripted performance of readiness, conjuring a hallucinatory narrative choreography of flights.

    Lynne Marsh is a Canadian artist, currently living and working in Los Angeles. She received her BFA at Concordia University in Montreal and her MA at Goldsmiths, University of London. From 2001-2016 she lived and worked in London.

    Her practice is concerned with questioning the status of the image through mediation, technology and production. Ideas central to Lynne Marsh’s research include offstage space; production-in-production; affective and cultural labour; music as a framing device; and the Brechtian revealing of the mechanics of cultural and theatrical production.

    Working with moving image, performance and installation, Lynne Marsh’s works develop out of an ongoing inquiry into specific sites of human spectacle. Her works capture the behind-the-scenes workings and turn the camera onto those subjects whose labour and gestures support and mediate events in these locations. In doing so, her works address the political dimension of its scenography. Marsh’s formal and conceptual strategies emphasize the camera’s performance as a means to reconfigure social space, presenting the mechanics that create an experience as a type of theatre or performance in its own right.

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  4. 1999/02, (excerpt from) 8:12 min, 8mm transferred on DV video, color sound, Ed. 40 (+10 artist's proofs).
    “In traffic, each driver is part of a whole, dependent upon the other’s common sense, a mobile individual figure amongst the wind of exhaust fumes, the breath of the multitude.
    The only natural way to withdraw from this movement is to manoeuvre into a space designated for this purpose when you reach your destination or interrupt your journey. Sometimes people who have successfully parked a car are filled with an even greater sense of delight than drivers revelling in their high-quality vehicle and its impressive road-handling.”
    From: Dirk Skreber, Erik Schmidt, “Versuch übers Parken und andere Bewegungen”, in: Urban Posing. Erik Schmidt, Brandenburgischer Kunstverein Potsdam, Potsdam und Snoek Gesellschaft, Cologne, Germany.

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  5. 2012, 37:23 min, SD Video, color, sound, Ed. 40 (+10 artist’s proofs)

    In September is The New Black Dani Gal works with the excessive media coverage of one of the most iconic terror attacks, which took place during the Munich Olympics in 1972. More than ten films, both fiction and documentary, have re-enacted this event. The work examine the mechanism of re-enacting historical events using cinematic tools, emphasizing different perspectives on how confusion is created about the different roles and their evaluation in this event.

    The video shows all the films layered on top of each other using transparencies. The films show the event in a chronological order and therefore show identical scenes of the event but represented differently in each film and same characters look only similar to each other.

    Layering them on top of each other points at the gap between an event itself, its representation through media in film and television, and between each representation. None of the films tell the exact same story; there is confusion in who is who and who did what during the event. This effect happens not only because of different interpretations of the event or multiple versions but also due to obligations to media standards and production values.

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Videoart at Midnight Edition

Olaf Stueber Plus

'Videoart at Midnight Edition' is a video-art edition.

This edition has accompanied the 'Videoart at Midnight’ program by Olaf Stüber and Ivo Wessel at the Babylon film theatre since 2012.

In a series featuring about eight artworks per year, with…

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'Videoart at Midnight Edition' is a video-art edition.

This edition has accompanied the 'Videoart at Midnight’ program by Olaf Stüber and Ivo Wessel at the Babylon film theatre since 2012.

In a series featuring about eight artworks per year, with just a small number of published copies, this edition is building up a collectable contemporary document of video art – a purchasable anthology of a medium that is gaining more and more importance within contemporary art.

'Videoart at Midnight Edition' gives a growing insight into the current video-art production of Berlin's international art scene. There will be renowned artists, but also relatively unknown young and promising ones. The edition will publish artworks by 'stars' as well as continuing to search for new talent in the art scene.

Each artwork is unique and produced or selected exclusively for the 'Videoart at Midnight Edition'. Each work is published in a limited edition of 40 (+ 10 artist's proofs).

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