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| For Action’s Sake | Santa Fe

March 4, 2010

For Action’s Sake – First Year Anniversary Celebration of Manipulated Image Experimental Short Videos Co-curated by Wilfried Agricola de Cologne and Alysse Stepanian

| 15 VIDEO ARTISTS from 10 COUNTRIES | ONLINE LIVE PERFORMANCES from HAMBURG AND SWEDEN | PERFORMANCES BY 12 LOCAL ARTISTS |

Alysse Stepanian Video still from “What is My Name, Sister?” currently in post production

Friday, March 12, 2010- 6:30pm – 11:00pm – Tickets: $10 (includes food and reception) Santa Fe Complex – 632 Agua Fria.
Santa Fe, NM 87501, USA.
Manipulated Image’s new official site – download event catalog.

SELECTED VIDEO ARTISTS
SELECTIONS BY STEPANIAN:
John Criscitello – guest presenter (Ithaca, New York); David Kareyan (Yerevan, Armenia); Ulf Kristiansen (Norway); Jonas Nilsson (Örebro, Sweden); Roland Wegerer (Austria); Julia Zastava (Moscow, Russia)

SELECTIONS BY AGRICOLA DE COLOGNE: Daniel LoIocono (Germany); David Jakubovic (USA); Ioannis Roumeliotis (Greece); Rafael (Belgium); Ascan Breuer (Germany); Alex Lora (Spain); Casey McKee (USA); Daniel Rodrigo (Spain)

ONLINE PERFORMANCES: – Niclas Hallberg, Stina Pehrsdotter (Sweden) – Igor Stromajer (Hamburg, Germany)

PERFORMANCES BY LOCAL ARTISTS – Anthony Buchanan – Philip Mantione, Al Faaet: The Autotelics – premiere performance – The Vivi Sect performance group: Red Cell, Chauncey Gadek – Martin Back, April Mae Bassett – Ian Anderson – Mike 360

Manipulated Image celebrates its first year anniversary on March 12, 2010, with a show titled For Action’s Sake. The videos are co-curated by multi-disciplinary media artist, Wilfried Agricola de Cologne, Chief Director and Curator of VideoChannel, and multi-media and video artist, Alysse Stepanian, curator and creator of Manipulated Image. This year Mr. Agricola de Cologne celebrates the 10th year anniversary of [NewMediaArtProjectNetwork]:||cologne.

Wilfried Agricola de Cologne Video still from Truth: Paradise Found (2004, 3:00)

Manipulated Image has been a pioneering program in bringing a global community of experimental video artists to Santa Fe, New Mexico, in the USA. It presents experimental short videos that have few, if any, alternative venues in Santa Fe. Curator, Alysse Stepanian culls fresh and innovative work from local, national and international artists, for unique programs that offer a sampling of current movements and conceptual frameworks in video art. Many of the videos screened are Santa Fe, US, or world premieres. Manipulated Image seeks new screening venues and online and offline partnerships in an effort to expand its local, national, and global audiences. Upcoming events are: co-curation with Brazilian filmmaker Kika Nicolela; co-curation with a video artist based in Tehran/Iran and co-curation with David Kareyan of the Armenian Center for Contemporary Experimental Art in Yerevan, Armenia.

These monthly screenings feature experimental short videos by artists that explore the innovative use of technology and software to manipulate image. Guest artists discuss the way they digitally transform images to achieve their personal vision. Past screenings have presented diverse work within contexts that have allowed fresh discoveries about the possibilities of video as a creative medium.

Ian Anderson. Performance. Santa Fe.

Since February 26, 2009, Manipulated Image has been holding screenings at the SF Complex, a non-profit organization comprised of scientists, technologists, and artists, in Santa Fe, New Mexico, USA.

Ascan Breuer. The Kurukshetra-Report. Video. (2008, 7:51) Germany

Read more…

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| The Only Constant | London

February 24, 2010

Video Is The Only Constant @ Corsica Studios.
March 3, 2010 – Corsica Studios 4/5 Elephant Road London SE17 1LB
+44 (0) 20 7703 4760. Free event.

The Only Constant, a collective of emerging video and filmmakers based in London, have joined forces with Corsica Studios for the monthly screening event ‘VIDEO IS THE ONLY CONSTANT’, a night of screenings followed by open discussions.

This month V.O.C includes live video and theatric performances, installations and video screenings from artists based internationally as well as the UK. Discussions with all artists involved in the night are a core element of V.O.C. Artists involved are invited to talk about their work and to respond to feedback from spectators. T.O.C want to know what has inspired an artist to create their work, their aims and ideas behind their art and ultimately understand the very essence behind an artist’s creation.

Ulf Kristiansen

The Tiger and the Lamb, 2009, Norway, 2’30

An animation based on 2 poems by William Blake.

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Matthias David Huser
Dogs, UK, 30’00

A car dealer who believes he is a cowboy. A man in a suit who has been looking for his dog for years. Two illusions and one band. – A roadmovie.


David Terranova and James Mountford
Afterlife (a requiem), 2009, UK, 3’40

An experimentation of light and shadows, with Nick Cave’s son Jethro and his girlfriend Sophie Willing.

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Barry Gene Murphy and Shaun O Connor
Disembodied #1, UK, 1’31

An exploration of human form using structured light 3D scanning techniques.

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John Bradburn
Distance, 2010, UK, video installation / Limits, 2010, UK, video installation

John Bradburn is a lecturer in Film Technology at Staffordshire University as well as a journalist for Vertigo Magazine on experimental cinema. His first feature Kyle (2007) was shown at the Seattle International Film Festival, West County Los Angeles Film Festival and Flatpack film festivals.

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Body Without Organs by Giada Ghiringhelli

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| What do You Think of Me? | interview with Kika Nicolela

September 15, 2009

“What do You Think of Me?” developed during  the Sumu art residency, Finland .

Kika Nicolela’s

“videos have thickness, are made as fabrics meant to be touched; have texture, density; they seem to be made of cross-stitch or embroidery. Not only the revealed content is rich in significance and layers to be unveiled, but also the aesthetic is like a brush at work. We can perceive a same fingerprint that embraces them all: the body, its verses, reverses and knots, its relation to the urban and organic surroundings.”

I WOULD BELIEVE ONLY IN A GOD WHO COULD DANCE, by Daniella Samad. This essay was conceived to introduce the exhibition KIKA NICOLELA | SELECTED VIDEOS AND PHOTOS, June 12 – July 08 2009, at the 16mm, London, UK.

·      You are working in different directions, how would you describe yourself? Which are the ideas and the concepts underlying your work?

I have been described as filmmaker, videomaker, videoartist, new media artist, multi-media artist, electronic artist… Any of them would be ok, I guess, but I would describe myself as an artist, plain and simple. 
I’m concerned with examining the connections between the camera, subject, author and viewer. I’m interested in issues such as the construction of identity, communication and voyeurism. I also investigate how the relationship between our body and the surrounding world (ie. nature or urban settings and culture) shapes our identity.

·       Can you describe the evolution in your work? What it is the process in the making of your film? How much do you plan in advance and how much do you improvise? For example, do you write scripts for your films?

Each of my films has its specificity, in its concept and also in the creative process. But one thing that they all have in common, is that I think it’s important to prepare for the shooting in detail – I almost always prepare a shot list, which is a kind of blueprint for me during shooting, and sometimes I do some tests with camera or rehearsals with the actors/dancers – but I am very interested in putting my “subjects” and myself in a situation that takes us out of our comfort zone. My videos are really about that: about creating a set up in which me and the subjects are obliged to face a strange or unique situation, and in this process we reveal a lot of ourselves. The “subjects” I am talking about can be actors, dancers, performers or “real” people, in the case of my videos that are closer to documentaries. In some more recent works, I have also been putting myself in front of the camera, as in the video “What do You Think of Me?” developed during my time in Finland at the Sumu art residency. 
Therefore, I do plan a lot in advance, but improvisation plays a major role in my creative process. I never write scripts for my films, not in the classical sense. But I do write a lot about I am going to do, I research about the theme or subject I am approaching, and I create this shooting list that is the base of the shooting. But it differs from a script a lot, because I know that I am going to be open to improvisation during shooting, and later again during editing. So the final result is related to this first shooting script, but not exactly correspondent to it at all. Read more…

| Particles of Reality | Rovner in Montreal

August 1, 2009

Particles of Reality by Michal Rovner.
DHC/ART Foundation for Contemporary Art

May 21, 2009 — September 27, 2009. Montreal, Quebec, Canada.

Michal Rovner, solo exhibition at DHC/ART presents sculptures  and a series of video installations that evokes a natural history museum. Michal Rovner’s layered and intentionally ambiguous work touches on the processes of historical documentation, archaeology, science and choreography.

The exhibition features key works including DATA ZONE (2003), a group of long tables embedded with illuminated Petri dishes in which silent clusters of abstracted figures, which form and reform, evoke laboratory cultures. IN STONE (2004) and STONES (2006-2009) merge light with stone, combining the ancient and the modern, where archaeology is animated by quietly moving imagery, recalling hieroglyphs, petroglyphs and cave paintings. Finally, a series of mesmerizing video installations ORDER, MORE and CULTURE PLATE #7 (ALL 2003) featuring emblematic, anonymous figures in patterns, culminates in the monumental TIME LEFT (2002), a grand opera of isolation and connection, in which row upon row of human figures forming a vast wall text in motion, endlessly march across the entire perimeter of a room to an unknowable destination.

Read more…

| Take Care of Yourself | Calle in São Paulo

July 8, 2009

Take Care of Yourself  by Sophie Calle.

From July 10 to September 7  on July 10 at SESC Pompeia , Sao Paolo. Promoted by SESC São Paulo and Associação Cultural Videobrasil.

“I received an email telling me it was over.
I didn’t know how to respond.
It was almost as if it hadn’t been meant for me.
It ended with the words, “Take care of yourself.”
And so I did.
I asked 107 women (including two made from wood and one with feathers),
chosen for their profession or skills, to interpret this letter.
To analyze it, comment on it, dance it, sing it.
Dissect it.  Exhaust it.  Understand it for me.
Answer for me.
It was a way of taking the time to break up.
A way of taking care of myself.”

When a boyfriend dumped her by email, French artist Sophie Calle asked 107 women to read it.


Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She also imposes elements of her own life onto public places creating a personal narrative where she is both author and character. She has been called a detective and a voyeur and her pieces involve serious investigations as well as natural curiousity.

In this “tour de force of feminine responses… executed in a wild range of media,” Sophie Calle orchestrates a virtual chorus of women’s interpretations and assessments of a breakup letter she received in an email. In photographic portraits, textual analysis, and filmed performances, the show presents a seemingly exhaustive compendium with contributions ranging from a clairvoyant’s response to a scientific study, a children’s fairytale to a Talmudic exegesis, among many others. Examining the conditions and possibilities of human emotions, Take Care of Yourself opens up ideas about love and heartache, gender and intimacy, labour and identity. 107 women (including a parrot) from the realms of anthropology, criminology, philosophy, psychiatry, theatre, opera, soap opera and beyond each take on this letter, reading and re-reading it, performing it, transforming it, and pursuing the emotions it contains and elicits.

Further information.
Also: Subjetividades em Trânsito workshop by Kika Nicolela , 14 – 17 July, Sesc Avenida  Paulista, part of  Olhares sobre o acervo do Videobrasil.

ECVP Volume II at Formverk and Alucine

June 26, 2009

The 12 videos that comprise the new volume of the project will be finished in July 2009.

Exhibitions have been scheduled at Fromverk, Sweden in September and Alucine, Canada in November 2009.

| Green Pink Caviar | Times Square NY

May 13, 2009

Chewing Color on MTV’s HD billboard at 44th Street in Times Square Presented by Creative Time, 44 ½. Video Exhibition Curated by Marilyn Minter. Screening extended through May 31.

Marilyn Minten_videolink

Green Pink Caviar, a five-minute video by the artist Marilyn Minter

“I wanted to make enamel paintings along the idea of ‘painting with my tongue.” Marilyn Minter

Creative Time, 44 ½, is a series of provocative video works that screen hourly on MTV’s gilded HD screen in Times Square. The first installment, Chewing Color, was curated by artist Marilyn Minter as a means of investigating what she refers to as the “pathology of glamour.” The films include Patty Chang’s Fan Dance, Kate Gilmore‘s Star Bright, Star Might, and Minter’s Green Pink Caviar. Onlookers may be thrown off by Minter’s models, which were shot on low definition video swirling and sucking bakery products from beneath a pane of glass — a distinctly different kind of “sexy” than the commercial advertisements plastered all over Times Square.

 

Marilyn Minten_02

Still from Green Pink Caviar

Marilyn Minter continues her interest in blurring the boundaries between fine and commercial art. Co-opting advertising genres and related spaces, she takes a new platform to direct her first video. Green Pink Caviar (2009) is a lush and sensual voyeuristic hallucination. Filmed with macro lenses, she captures the most minute movements of female mouths licking candy and cake decoration.

For more on the work, visit Marilyn Minter’s own website.

Marilyn Minter’s Exhibition
Screening schedule may be found on Creative Time’s website.