VIDEOART
VIDEOART locations:
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Kampus Hybernská, Hybernská 4, Prague 1
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Quadrio (vitrine), Spálená 2121/22, Prague 1
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Dungeon 17., Hořejší nábřeží, Prague 5
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GHMP, Colloredo-Mansfeld palace, Karlova 2, Prague 1
Videoart screenings:
20th July 2023 at 21.30 Theatre X10, Charvátova 39, Prague 1
28th July 2023 at 21.00 Stone Bell House, Prague City gallery, Staroměstské sq. 13, Prague 1
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Men of Western culture live on chairs. Unable to limit their bodies to the seated position and their desire for movement, some tribes reject the sedentary lifestyle and thus, try to domesticate the chair. Above all, they adapt their mobility and their behaviour to the possibility of this body flexion in search of a new form of existence, of a new identity.
Florine Mougel (born in 1991, France) is a multi-media artist perpetually relocating herself. After studying Cinema and Fine Arts in France, she graduated with a Master degree from the University of Art and Design in Linz, Austria. Her work reflects mainly on technology, phenomenology and sedentary lifestyle. Since 2019, she has regularly collaborated with Andréea Vladut as part of the RGBastler collective.
Ruy Cézar Campos <BRA>
Thrwtgthrnss, 2015
Video, 04:08 min
For geographer Doreen Massey, the throwtogetherness of space is constituted by the “contemporaneous existence of a plurality of trajectories” where sameness and otherness are both present in a “simultaneity of stories-so-far”. The video presents the poetics of displacement, showing a displaced body beside the eviction of a building in Berlin squatted by refugees, navigating through shattered illusions, repression and neglect of others.
Ruy Cézar Campos (Fortaleza, Brazil, 1989) is an artist and researcher. Through his research, he has reflected on discreet flows of data and fossil resource distribution, performed infrastructural landscapes, addressed media materialities in the context of contemporary climate, entangled methodologies of art and media archaeology for interculturality, as well as investigated modes of embodiment in the experience of the digital network. PhD in Media Studies from the State University of Rio de Janeiro|UERJ and currently conducting a postdoctoral internship at the Graduate Program in Contemporary Art Studies (PPGCA) at the Federal Fluminense University (UFF). He exhibited as a guest at the XIII Havana Biennial - The Construction of the Possible (2019) and participated in art exhibitions such as Take me To the River (Hamburg Bahnhoff - Museum für Gegenwarts, 2021), Latin American Futurologies (Toda la Teoria del Universo, 2020), Hybrid Languages - Digital Art Biennial (Oi Futuro Flamengo/Museu da Pampulha, 2018), Fields of Invisibility (Sesc Belenzinho, 2018), Infraestruturalizar a Cachoeirada (individual exhibition at Sesc Palmas, Tocantins, 2023), Horizontes Desejantes (Museum of Image and Sound of Ceará (MIS-CE), 2022), 28th Mostra de Arte da Juventude (Sesc Ribeirão Preto, 2018 - awarded with a graphic prize).
Monica Duncan & Senem Pirler <USA/TUR>
Confessions On A Transmission Line, 2022
Video, 06:15
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Confessions on a Transmission Line uses real-time signal processing tools and improvisational strategies. Through setting up a performance space where they interact with a discarded megaphone, the artist duo explores the audiovisual process of feedback as a spiritual practice in relation to camp and queer potentiality. By re-using this object as a tool and instrument to both project and receive transmission frequencies, they are searching for a way to communicate with our queer ancestors and those yet to be born.
Monica Duncan is a video and performance artist. Her time-based work explores the nature of visual perception, audience-performer relations and queer potentiality through camouflage, stillness and collective image-making. Duncan received her MFA in Visual Arts from the University of California, San Diego and while on a D.A.A.D fellowship her MA in Choreography and Performance at the Institute for Applied Theater Studies, Justus-Liebig University Giessen. Duncan joined the faculty of the Department of Music, Multimedia, Theatre & Dance at Lehman College-CUNY in Fall 2019.
Senem Pirler (she/her) is a sound and intermedia artist, and educator based in Troy/Brooklyn, NY. Pirler’s interdisciplinary work crosses over into sound engineering, sound art, performance, video art, movement, and installation. Born in Turkey, she studied classical piano at Hacettepe State Conservatory and sound engineering & design at Istanbul Technical University (MIAM). She developed her artistry working as a composer and recording engineer before moving to the U.S. in 2010 to study Music Technology on a Fulbright Fellowship. Pirler earned her M.M. in Music Technology at the Stephen F. Temmer Tonmeister Honors Track from NYU Steinhardt, and her Ph.D. in Electronic Arts from Rensselaer Polytechnic Institute.
Tina Willgren <SVE>
Ramblings, 2020
Video, 4:15
Ramblings depicts a number of distorted 3D characters moving about in a scrap land. Mythological shapes show up in a haphazard way, mirroring the image flow of the internet era and the mental processes behind shaping the meaning of the world. We are all connected through online content and create new worlds through the images, texts and sounds that reach us via technological equipment.
Tina Willgren is a visual artist working primarily with digital techniques. She lives and works in Stockholm, Sweden, where she received her MFA at the Royal Institute of Art in 2005. In her videos and installations, she explores the mind and body in relation to the contemporary world. Recent activities include “Konstpaus”, video works for display at three big screens in central Stockholm during night time in June/July 2021 (a project initiated by Stockholm Konst) and the solo exhibition “After Hours” at Galleria Ars Libera, Kuopio, Finland. During the autumn of 2021 she was artist in residence at Riddergade AiR, arranged by Viborg Kunsthal, Denmark. In 2022 she received a two-year work scholarship from the Swedish Arts Grants Committee. In April 2023 the AR piece “Camera Trap” for “KunstwanderwegXR”, Naturpark Hoher Fläming, Germany, went live.
Kelsey Paschich & Kevin Abbott <GER>
Recode, 2019
Video, 13:47
Recode explores dualistic identities of the virtual society. Through film and motion capture, this work utilizes dance to explore how information can be lost, glitched, or broken down through the current modes of communication, therefore transforming how humans are interacting with each other and themselves. Recode addresses vital ideas around communication in the contemporary world through dance, film and animation. The work explores how the constant evolution of technology challenges preconceived modes of human connection. Different conditions were created by the pandemic global crisis and dance serves as a language that can be shared across mediums, geographical boundaries, and cultures.
Recode is a collaboration between dancer/choreographer/multimedia artist Kelsey Paschich and Interactive Media Specialist/Animator Kevin Abbott.
Kelsey Paschich is a dancer, choreographer, interdisciplinary artist, and an Assistant Professor of Dance at Western Michigan University. She has a fascination with the architecture and design of the moving body and its relationship with technology. She views dance as a language that can be shared across mediums. Her work often utilizes multi-media elements inspired by surrealism as the theoretical and conceptual framework. Her international performance career spans 20 years and multiple genres. She has danced for the Moscow State Classical Ballet, River North Dance Chicago, and ARCOS Dance among others. She is the Founder and Artistic Director of project whitewall which is dedicated to the experimentation and creation of live + digital work which explores humanness, the moving body, and its relationship to technology. She is also co-founder of SHIFT | DANCE which is a movement, a platform, and a choreographic incubator to experiment and foster risk-taking in exploratory performance research.
Paschich holds an MFA in Dance from the University of New Mexico and a BFA in Dance from Point Park University. She is 1 of 36 certified Countertechnique® teachers globally. Paschich’s choreographic and performative experience, informs her pedagogical methodology in providing a progressive and holistic education that cultivates the next generation of artists.
Kevin Abbott, Director of the Center for Advancing Art and Research at Western Michigan University, has been combining media technology with the arts for over 20 years. An accomplished designer and artist, Kevin’s work has focused primarily on the integration of digital media with live performance, collaborating on over 30 theatre, dance and music performances. Kevin has worked with a wide variety of media technologies, animation, stereoscopic projections, motion capture, and video games. His current interests include the blending of video, dance, animation and real time rendering.
Anastasiia Biliaieva <UKR>
The Stream 2022
Video, 05:22
The stream is about the rushing information flow and the inevitability of falling under its influence. About the absorbing virtual reality and the impossibility of ignoring it. About the desire to learn a little more and the impracticability of this in reality. About the interdependence of people from each other and the immutability of such a situation.
Anastasiia Biliaieva is a dancer, choreographer, teacher, actress, performer from Odessa/Kyiv (Ukraine). She holds a master's degree in choreography from the Kiev National University of Culture and Art. At the moment she is staging choreographic sketches for an educational theatrical performance, and she also plays in another performance as an actress and dancer. Last year she was shooting short dance films, which later were shown at Ukrainian and international film festivals and received several awards. Before the war in Ukraine, she worked in various dance projects as a dancer. From time to time, she conducts dance classes for children and adults.
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Nicole Kouts <BRA>
Monologue, 2021
Video, 07:23
Monólogo critically explores the place of networks in our societies. In this video call recording static images of ears painted by Hieronymus Bosch are watching each other in silence. At successive intervals, a frame shines around the one who has the word. Only the thunder echoes in the room. Silence again. Soundscapes of noisy communication.
Nicole Kouts (São Paulo, 1997) investigates the multidisciplinarity of images as a transport medium of ancient beliefs to contemporary technologies; ghosts of the divine, the self and the infinite in luminous digital portals and obsolete analog media. Her interest in the relationship between media archaeology, image genealogy and digital language comes from an autobiographical experience, raised between the Brazilian, the Greek and the Internet cultures. She is a Bachelor in Visual Arts with a Postgraduate Degree in Scenography and Costume Design (Centro Universitário Belas Artes de São Paulo). Her work has integrated festivals and exhibitions in more than 15 countries, in spaces such as: Centre Pompidou (France), The Wrong Biennale, Oficina Cultural Oswald de Andrade (Brazil), Facultad de Artes UAEMéx (Mexico), Sharif Gallery (Ihran), Galerija Reflektor (Serbia), MUNI Faculty of Arts (Czech Republic), Museu de Arte de Ribeirão Preto (Brazil), Winchester School of Arts (England) and Cinesesc (Brazil).
Marta Ciolkowska <POL>
Social Prison, 2018
Video, 04:55
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Social media posts, updates, and ads constantly vie for our attention, shaping our cognitive style and learning methods. This is a result of a global situation dominated by smartphones, imposing a fast-paced, invasive experience. The expansive network presents contradictory flows of information, blending real news with visual smog and fake news. Can we still distinguish what's real? How many people possess the critical tools to defend against manipulation and ambiguous messages? Many are trapped in the isolation of personal devices. Despite celebrated social solidarity, it often leads to anxiety and withdrawal, contradicting the positive energy of mutual empowerment.
Marta Ciolkowska was born in Lodz (PL) in 1993 and currently lives in Giarre (CT), Italy. She holds a Master of Arts in Interior Design from the Strzeminski Academy of Fine Arts in Lodz (Poland). She deals with video, installation, sculpture and graphics, exploring the topics of human relations and impact on the environment and the influence that the surrounding technology has on a modern man. In 2014 she won the scholarship for the foreign mobility Erasmus+ and attended the one semester at Academy of Fine Arts in Catania (Italy). In the last few years she took part in different international exhibitions, festivals, workshops and artist in residency programs. Currently, she travels between Poland and Italy to realize her projects and to participate in internships and workshops.
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Anneliek Nieuwland <NLD>
Howudoin, 2021
Video,xx
Shot at the time of covid-related restrictions when statistics recorded a steep increase in domestic violence and abuse, this short video focuses on the possibility of virtual sharing of experience. It is a clear example of how the anonymity of the virtual realm enables the process of emancipation of overlooked and suppressed societal issues.
Anneliek Nieuwland’s artistic expression can be aptly described as tantalizing. This term encompasses a duality that she delightfully explores. On the one hand, her work exudes a playful allure, yet on the other hand, it possesses a provocative and unsettling quality. With her art, Anneliek reflects on the complexities of female sexuality and how it intertwines with the societal expectations perpetuated by the media.
Anneliek's installations imitate intimate situations and offer viewers a glimpse, a kind of voyeuristic excursions which give the spectator the chance to see, unnoticed, how women behave when they think they are alone.
Martina Chudá <SLO>
Urgency, 2018
Video, 02:54
The Urgency 2018 performance examines the perception of physical beauty and the pursuit of perfection.
It highlights the impact of standardized images, leading to stereotyping and stigmatization of diversity and imperfections. The performer portrays a sexless being, emphasizing the universality of the quest for physical beauty. The title satirizes the prevalence of surgical interventions and the dominance of aesthetics. The performance evokes an austere space reminiscent of a butchery or operating theater, symbolizing mass production and consumerist culture. It also delves into the existential dimension of false images and unattainable ideals, exposing them as tools of power structures.
Martina Chudá (*1990, Trnava) works with objects, installations, video and performance, which she often combines into multimedia outputs. She focuses on cultural-social-political themes through the prism of contemporary feminism and its principles. She comments on social events and public space. Along with her artistic work, she is involved in the management of the Interpretation alternative gallery in Trnava, teaches at an art school, and is a member of the Slovak Art Union as part of the TXT association. She has exhibited in solo and group exhibitions in Slovakia and abroad (e.g. her KAMUFLÁŽ solo exhibition at the Gallery VÝKLAD, Trnava, 2016; Podoby svobody group exhibition, Nitranska galéria and Divadelná Nitra festival, Nitra, 2019, etc.) In 2018, she won the TEXTILE ART OF TODAY - Danubiana Award (for Urgency 2018), winning another award in 2021 – the VIII. GRAND PRIX (for the work Torch of Freedom, 2021 and Urgency 2018). She lives and works in Trnava.
Mascha Naumova <RUS/GER>
Hyperconnected, 2022-23
Video, 13:00
In the video “Hyperconnected” the participants metaphorically describe the paradigm of a new society, a society in which the usual ties no longer apply. Six men and six women of different ages and statuses are randomly selected. Their task is to tear the seams – on their own clothes and those of others. This mechanical action poetically symbolizes the painful severing of the bonds we have made throughout our lives. The chosen form is dialogue, a dialogue between two participants, each unravelling the seams and ties, and a dialogue with the viewer, with the participants silently watching from the screen, forcing the viewer to communicate with himself. The result is a paradoxical intimacy. Minimalist language and a reduced colour palette enhance the effect of the intimate action. In this way, we are reminded that we are all in one, unified movement, the individual becomes part of the whole, a hyper-connection.
Mascha Naumova is a visual artist, performer and video maker who lives and works in Berlin. Her work addresses the themes of emotional experience, gender roles, femininity, sex, mortality and humanity’s fight against it. Mascha’s performances, influenced by theatrical plays and classical drama, are often close to mystical scenes. The artist’s work is also developed from monumental painting, emotional drift and social research. In her recent practices, the artist works through the spectrum of emotions which is supposed to be forbidden – or at least hidden from the public's eye.
Andrej Beštak and Anja Leko <HRV>
This Is How We Hike Rainbows, 2022
Video, 06:00
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The video explores the power of forgetting in the information age. It reflects on the transformative role of forgetting as a meditative tool, creating space for new experiences. Ceramic fingers and ethereal animations symbolize exploration and the emergence of new possibilities. The sensory experience evokes a feeling of unity and weightlessness. The video captures the concept of forgetting as a lifesaving elixir in an oasis of rejuvenation.
Andrej Beštak and Anja Leko are an artist duo born in Zagreb, Croatia currently living in Reykjavik, Iceland. Our artistic practice includes installation, performance, and video works, but overall it depends on the topic that we are interested in at the moment. Mostly we consider ourselves storytellers in spaces using visual language and sounds rather than words to create an emotional dialog between artwork and audience. We like to take paths that are light, goofy, and sometimes cartoony to tell stories that we find serious and possibly heavy to digest. We are interested in urban mythologies, spiritual experiences, techno music, club culture, individualism, materialism, heavy industry, collective memory, body, oblivion, future of the body, virtuality, object/subject relationship, and things like that.
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Jarkko Räsänen <FIN>
Altlanti, 2023
Video, 06:39
How would the AI imagine a collective performance in the lost Atlantis? An etude with Stable Diffusion AI about conceptions of human bodies in a nearly Utopian setting somewhere lost in time and space. The still images created with a standard neural network set taught with the generic content of the internet have been animated and accompanied by atmospheric ambient music by the artist himself.
Jarkko Räsänen (b. 1984, Finland) is an artist working with photography, moving image, and sound art. His work is computer-based, using algorithms that create new visuals from already existing images and moving images. He is interested in questioning the realism connected to image files that we consume by deconstructing them in the spirit of glitch art – despite this his work is more related to conceptual art via the strict structural operations he uses in programming them, rather than to errors. He wishes to bridge the coder-aesthetics to the traditions of experimental cinema and informalist & impressionist painting. He graduated from the Finnish Academy of Fine Arts, Time and Space Art department in 2011. During his studies he also spent a semester at the University of Arts Berlin. Räsänen’s works have been exhibited as part of Ars17 Kiasma, Moscow 4th Biennale, Anthology Archives New York, Videotage Hong Kong, Ars Electronica Linz and he has had international exhibitions, including Elevator Gallery London and Salon Dahlmann Berlin. His works are included in many notable collections, like Digital Fransisco Carolinum, Kiasma Museum of Contemporary Art, Finnish State Art Comission and HUS lab, and he has received William Thuring Award (nimikkopalkinto) in 2020 and The Young Artist of the Year title from the lawyer office Kuhanen-Asikainen-Kanerva in 2019.
Ivar Veermäe <EST>
The Heat, 2018 /2023
Video, 05:43
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The Heat is a thermal video, filmed in Eastern Estonia. It is the area where mining and energy production is located. Footage of energy infrastructure and exhaust heat from the power station chimneys is combined with material of local folk dance groups performing traditional dances. Excess energy in the form of water vapor and CO2 disappears into the dark background or is being turned into joyous group movements.
Ivar Veermäe combines video, photography and sound recordings with 3D animations into a mixture of documentary and staged or computer generated material. His work is often presented as multi-channel spatial installations evolves through artistic investigative research. Ivar collects first hand information from certain locations, interviews people connected to the place and issues in focus. Artist conducted complex theoretical research including environmental theory, climate literature, technology criticism, behavioral science and diverse (science)fiction.
Ivar is a BA in photography from the Estonian Academy of Arts in 2009 and a MA in 2014 at Spatial Strategies department in Weissensee Kunsthochschule Berlin. Born 1982 in Tallinn Estonia, he currently lives in Berlin.
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Fierbinteanu <BEL>
Nothingnesslessness, 2021
Video, 03:20
A short audio-video experiment on authority, fear and acceptance, presented as an astral projection. A cosmic character with multiple voices opens and closes the window of the (inner) universe several times to hear and/or ignore the protests and the galactic alarm sirens. Built like a mantra, this post-binary “to be or not to be” dilemma is presented as a monochromatic statement on multitude.
“Nothingnesslessness” is extracted from a three-piece maxi-single, which contains one ear-candy short song, one art-pop version and one sonic collage.
Fierbinteanu is an electronic-pop band, with activities related to music, sound & video art. Gabriela & Cristian Fierbinteanu have performed on European scenes, including Berlin Konzerthaus, and released records via independent labels. Their works have been presented and awarded in international festivals: RVK Fringe Fest (Reykjavik - Iceland 2021), Seasoning Spring (United Cowboys/Eindhoven 2021), Phonurgia Nova (Paris 2020), Grand Prix Nova (Bucharest 2020), Nuit de la fiction sonore à Arles (France 2019), Arts and Science days (St. Etienne/France 2019), 60 Seconds Radio (Canada 2019), Dvorak Marathon (Berlin Konzerthaus), Dvorak remix (The Czech Cultural Center/Bucharest).