1. mopPAPAIOANNOU2

    06:26

    from eleni papaioannou / Added

    16 Plays / / 0 Comments

    Eleni Papaioannou's artistic practice examines the relationship between artwork and urban space, the notion of the ephemeral, and the interrelation between spatial movement, material and sound. She creates large-scale site-specific installations and through her choice of locations makes associations between the work and architectural space. Her work is usually shown outside the confines of exhibition spaces in which the audience stumbling upon the work as they pass by, in order to change the viewer's perception on place and time. In her installation/performance “…'….”….”….”…” the artist will interact with the building and the surrounding place, by leaving traces of tiny gestures in the space. After visiting the Centre for Arts and Urbanistics in Berlin, ZK/U and observing the place she decided to mark several small elements as well as a big part of the soil of the building with short golden lings. With her action, corresponding to several preexisting traces in the space like the orange fence in the backyard of the centre, Papaioannou invite the audience to reflect the action of leaving and observing traces in urban space. The duration of the performance depends of the limits of the strength of the artist. The golden color has been chosen as a symbol of value / giving a value to unimportant elements in our environment, a value to the smallest artistic gesture and a value to the strength of duration of an act.

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    • Zerkalo_repetition 2015

      42:26

      from Eva Ingemarsson / Added

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      Zerkalo, work in progress at Atalante in January 2015. Eva Ingemarsson Dance Production www.evaingemarsson.se Five dancers, 12 large mirrors and 60 aluminum pipe The physical movement and the movement compositions meets a world of sounds, light illusions, a sculpture of pipes. The room fills with sixty uniform metallic objects and the emergence of a rain of shiny pipes where the dancers evoke own mirror images and sounding patterns. Eva Ingemarsson Dance Production Eva Ingemarsson Dance Production is a dance company based in Gothenburg, Sweden, at Atalante, a place for experimental performing arts. The choreographer and artistic director Eva Ingemarsson works with different combinations of artists, dancers, composers and visual artists. Eva Ingemarsson has worked as a choreographer since 1978. Her company has extensive experience in creating choreographic works and performances that integrate dance and choreography with photo, video and documentary interviews. Her choreography has a poetic and lyrical touch and explores the encounter between spatial and bodily identities. Eva Ingemarsson Dance Production has been on tours in England, Russia, China, Armenia, Lithuania, Morocco, Mexico and Finland.

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      • Sensory Spaces 7 - Aleksandra Domanović

        07:21

        from ARTtube / Added

        24 Plays / / 0 Comments

        Sensory Spaces is a series of commissioned solo projects presented in the Willem van der Vorm Gallery of Museum Boijmans Van Beuningen Rotterdam (NL), located in the freely accessible exhibition space in the museum’s entrance hall. Artists are invited to respond to the architectural qualities of the space, emphasizing notions of transformation and surprise. For the seventh edition Aleksandra Domanović (Novi Sad, Yugoslavia 1981) has made an installation that examines themes such as reproduction and representation and man and machine. In the Willem van der Vorm Gallery a cluster of semi-transparent foils printed with images that include skeletons with printers hangs from the ceiling. The images are computer-generated 3D models, printed as 2D renderings. In the images the perspective is reversed so that objects in the foreground appear smaller than those in the background. The various semi-transparent layers combine to create a three-dimensional image that changes constantly as one walks through the space. Reproduction, danse macabre and gender In this installation Aleksandra Domanović combines different perspectives, times and spaces. Her work questions how two-dimensional images relate to reality and the role of reproduction techniques and digitisation in this relationship. The images of skeletons, a symbol of mortality, refer to a series of woodcuts on the ‘danse macabre’ theme by Hans Holbein the Younger, which in 1538 was reproduced in large numbers thanks to the new technology of book printing. The installation also examines the relationship between women and technological innovation. It includes multiple images of the ilium, the part of the pelvis that differs markedly between men and women. Subjective and objective Aleksandra Domanović studied design and architecture. Her artistic practice began with her involvement in the website vvork.com, which she maintained together with several other artists. The website was one of the first blogs to show works of art online in their own right rather than as documentation. From the subjective and personal to the objective and general, Domanović draws inspiration for her artworks from her personal life and from the disintegration of Yugoslavia and its consequences. The exhibition is on show from June 14 2015 until January 31 2016.

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        • Kyle Jorgensen's "Parastroke" Animation/Installation at UMOCA

          02:21

          from kyle jorgensen / Added

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          Hand painted animation/installation that was part of the exhibition Parastroke at the Utah Museum of Contemporary Art's A-I-R Gallery. June 19th - July 18th 2015. Jorgensen’s Parastroke is an exploration into the effects that the Windows interface and creative programs—like Adobe Photoshop—have had on a generation of artists who grew up using computers for more of their daily tasks, and how those effects are manifested in their artwork. Introduced in the 1980s, the Windows interface (WIMP: window, icon, menu, pointer) allowed users to quickly navigate between programs and introduced the idea of layers and visual depth to their desktop computer screens. Later that decade, Photoshop integrated traditional analog art techniques and tools, which enabled artists to digitally “paint” with pixels rather than pigment. With the inclusion of virtual layers, artists could now “build up” a painting the way they would on a canvas. Parastroke is a playful examination of the Windows interface aesthetic, the shift from analog to digital, and the recent nostalgic return to analog. Jorgensen uses animation and digital prints to compare pixel-based ”brush” strokes to those made by hand. At the same time, he incorporates the hard edges, masking, slices, and cut-and-paste tools found in Photoshop that, in essence, turn his hand-painted panels into computer screens, while his traditional handmade animations become references to software-aided production.

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          • Zerkalo-repetition jan-15 scen 1

            08:32

            from Eva Ingemarsson / Added

            7 Plays / / 0 Comments

            ZERKALO Eva Ingemarsson Dansproduktion Premiär 8 september 2015. Rummet fylls av likformiga metalliska objekt och det växer fram ett regn av glänsande rörpipor. Fem stora speglar och femtio aluminiumrör fyller rummet i föreställningen Zerkalo. Den fysiska rörelsen och rörelsekompositioner möter ljudvärldar, ljusillusioner och rörskulpturer. Utforskande av identitet, speglingar och sårbarhet är några av de frågeställningar som, med avstamp i den uppmärksammade föreställningen Spegeln - Kairos 2013, utvecklas vidare i Zerkalo. Nu från ett annat perspektiv med inspirationskällor som Andrej Tarkovskijs film Stalker och Tove Janssons böcker om Mumindalen. Magi, mystik, och naturlyrik är några ord som finns med på vägen. Idé/koreografi - Eva Ingemarsson, Dansare - Anna Bergström, Janni Groenwold Tschanz, Maria Lindell, Gilda Stillbäck. Niklas Rydén - komposition/flygel, Dan Tommi Hildén - musik/skulptur, Viktor Wendin - ljus, Helena Ekenger - kostym, Pär Bengtsson - ljud, Tomas Persson Carlberg och Cecilia Suhaid Gustavsson - produktion, Petra Landström - layout. Spelas på Atalante 8-25 september 2015. www.atalante.org www.evaingemarsson.se

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            • "Discours économique amoureux grec", Jason Karaïndros 2015

              11:07

              from Jason KARAINDROS / Added

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              Il s’agit de se ré-approprier de manière décalée et ironique un vocabulaire qui envahit de plus en plus nos vies, en le replaçant dans un autre contexte. Les termes de ce dialogue ont été extraits des pages des divers articles économiques de la presse quotidienne et hebdomadaire grecque des années 2010-2015, en pleine crise. Dialogue dit, déclamé ou chuchoté par Jason Karaïndros lui-même et Virginia Mastrogiannaki, de manière amoureuse, douce, passionnelle ... 
 Œuvre montré à ART ATHINA en juin 2015 sur deux ordinateurs portables dans le pavillon SKOUZE 3, sur invitation de Virginia Mastrogiannaki. La version sous-titrée viendra bientôt. Voir aussi : http://www.jasonkaraindros.net/fr/actualites/

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              • Pretend We're Never Going to Die - Installation View (Part of 'Certej (IS) Mine')

                06:23

                from Andreea 'Cigaro' Anghel / Added

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                Video documentation of Andreea Anghel's recent solo show 'CERTEJ (IS) MINE' at the Old Bakery building in Wroclaw, Poland, opening on May 28th, runs through June 11th. Installation view of 'Pretend We're Never Going to Die'. Cuboid mirror structure, interlining material, three-dimensional mapping projection. 200 x 30 x 100 cm. Video: 1280 x 720, 8:49, dual audio channel, looped. 2015 Entire exhibition view: https://vimeo.com/132080898 Further reading and materials: http://cigaroh.com/CERTEJ-IS-MINE Videos and mapping included in the exhibition: The Infant: https://vimeo.com/98870790 Pretend We're Never Going to Die (video source): https://vimeo.com/129818141

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                • CERTEJ (IS) MINE - Andreea Anghel (Installation View)

                  07:30

                  from Andreea 'Cigaro' Anghel / Added

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                  Video documentation of Andreea Anghel's recent solo show 'CERTEJ (IS) MINE' at the Old Bakery building in Wroclaw, Poland, opening on May 28th, runs through June 11th. Further reading and materials: http://cigaroh.com/CERTEJ-IS-MINE Videos and mapping included in the exhibition: The Infant: https://vimeo.com/98870790 Pretend We're Never Going to Die (video source): https://vimeo.com/129818141 Pretend We're Never Going to Die (installation view):https://vimeo.com/132146977

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                  • Junko Mizuno’s Berry Chocolate Lady 8" Dunny Reviewed

                    04:34

                    from CoART Magazine / Added

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                    Created for SpankyStokes.com, this is a video review of Junko Mizuno’s 2015 San Diego Comic-Con Exclusive release, Berry Chocolate Lady. Art fabricated by Kidrobot.

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                    • +491631615759 | Michael Franz | 2015

                      20:59

                      from sammlung martin / Added

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                      Neben Fotografie, Zeichnung und Performance umfasst die künstlerische Praxis von Michael Franz (geboren 1974 in Neustadt) auch Film und Video. Den meisten Arbeiten ist dabei ein eher einfacher, unprätentiöser Ansatz sowohl in Bezug auf Inhalt und Setting, als auch bei der Wahl der geeigneten Mittel zur Umsetzung gemeinsam. 
Das Video +491631615759 zeigt nichts weiter, als die aus brennenden Geburtstagskerzen arrangierte Handynummer des Künstlers.
 Im Hintergrund ist eine vielbefahrene Straße mit einer Kreuzung zu sehen. Während die Kerzen nach und nach abbrennen und schließlich verlöschen, wird es langsam dunkel. Obwohl sich in den ca. 20 Minuten Stimmung und Szenerie deutlich verändern, erinnert die feste Kameraeinstellung des Videos an die formalen Qualitäten eines statischen Bildes mit malerischen Eigenschaften.
 Die Verwendung eines banalen Live-Streams einer Verkehrsüberwachungskamera für den Hintergrund und die Einbeziehung der eigenen Person über die Telefonnummer lassen das Video lesbar werden als Anspielung auf künstlerische Selbstvermarktung und Selbstverwertung im Internet, als verunglückten Werbeclip für eine Telefonhotline oder einfach als merkwürdiges Bild, das sein Pathos des Prozesshaften zwischen zeitbasierter technischer Bildlichkeit und dem Pragmatismus sentimentaler Künstlersubjektivität entwickelt.
 In diesem Sinne ist das Internet auch der wohl am besten geeignete Rahmen, um dieses Video zu präsentieren, das am 9. Juni 2015 erstmals im Rahmen eines Screenings bei Image Movement in Berlin gezeigt wurde und auch auf der Website des Künstlers zu sehen ist (www.michael-franz.org). In addition to photography, drawing and performance, Michael Franz’s artistic practice comprises film and video (b. 1974 in Neustadt). Most works are based on simple concepts in terms of content and setting as well as in the choice of appropriate means of realization.
 The video +491631615759 shows little more than the artist’s cell phone number spelled out of burning birthday candles. In the background you see a busy street with several intersections. While the candles burn down and eventually extinguish, it slowly gets dark. While the mood and scenery change significantly over time, the fixed camera position suggests a static image with painterly qualities. The use of a banal web-cam stream from a traffic surveillance camera for the video’s background and the immersion of the artist himself via the use of his actual telephone number provide space for various interpretations: an allusion to artists’ self-marketing on the internet; or a failure of a commercial for some kind of consumer hotline; or perhaps just a strange image, its process-related pathos developing between time-based, technical image-production and a rather pragmatic handling of a certain sentimental artists’ subjectivity.
 Taking this into oconsideration, the internet seems to provide the appropriate framework in which to present this work, which was first shown on June 9th at Image Movement in Berlin and can also be seen on the artist’s website (www.michael-franz.org).

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