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08/04/2021
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InsideOut: Lockdown Schmockdown @ CHB.

 
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MOMENTUM InsideOut @ CHB Fassadenkino

Presents

 

Lockdown Schmockdown

 

16 April – 30 May 2021

 

Please note that
THE SCREENINGS ON 7 – 30 MAY ARE CANCELLED
due to Lockdown regulations. We hope to resume the program after the end of the Lockdown.

 

But you can still watch the Lockdown Schmockdown program
as Season 4 of COVIDecameron on the MOMENTUM Channel on IkonoTV!

WATCH on IkonoTV >>

 
 

 

Open-Air Video Program on the Media Façade of

CHB – Collegium Hungaricum Berlin

& on the MOMENTUM Channel on IkonoTV

 

Gáspár Battha, Marina Belikova, Theo Eshetu, Gülsün Karamustafa, Tamás Komoróczky, David Krippendorff, Júlia Lantos, Éva Magyarósi, Bori Mákó, Map Office, Kate McMillan, András Nagy, Bea Pántya, Qiu Anxiong, Eszter Szabó, Kristóf Szabó, David Szauder, Viktória Traub

 

Curated by
Zsuzska Petró, David Szauder, Rachel Rits-Volloch

 

In Partnership With

 
 

@ Collegium Hungaricum
Dorotheenstraße 12, 10117 Berlin

Corona-Compatible Outdoors with FFP2 Masks and Social Distancing Required

 

Watch the videos on the outdoor screen. And listen to the sound in real-time on your phone!
Click Here to Listen during the screening times > >

https://stream.radio.co/sb3ec6b52c/listen > >

 

Every Friday – Sunday @ 8:30 – 10:00pm

PROGRAM CHANGING WEEKLY

 

& On IkonoTV


Due to the 10pm curfew in Berlin, we are happy that you can also watch the Lockdown Schmockdown video art program as Season 4 of COVIDecameron on the MOMENTUM Channel on IkonoTV any time of the day!

WATCH on IkonoTV >>

 

 

With the eyes and hearts of the world still locked onto the terrible aftermath of COVID-19, and with Berlin still in lockdown over a year after the pandemic began, MOMENTUM together with the Collegium Hungaricum Berlin gathers a selection of exceptional artists from the MOMENTUM Collection COVIDecameron exhibition in dialogue with artists from Hungary. Showing video artworks re-contextualized through the prism of life at the time of Corona, this exhibition series of video art in public space is a contemplation through art from elsewhere upon the poetry of the day-to-day as it relates to the changing world we inhabit. Created during the pandemic lockdown in Berlin, this open-air program of video art is our response to the long months of gallery and museum closures, and our gift to a public craving for culture in real-space and real-time. MOMENTUM Inside out and .CHB Façade Kino bring video art out of the gallery and onto the streets for all to see on Berlin’s Museum Island!

– Rachel Rits-Volloch

While Berlin is cautiously looking forward to spring and freedom in these uncertain times, Collegium Hungaricum Berlin has teamed up with MOMENTUM to offer a unique COVID-compatible art experience adjacent to Berlin’s Museum Island. We have gathered a selection of cutting-edge media and video art from Hungary to be shown in dialogue with works from the MOMENTUM Collection, reflecting on our shared experience of a world affected by a global pandemic. Starting on April 16th, the open-air screening program Lockdown Schmockdown, initiated by MOMENTUM IsideOut together with CHB Fassadenkino, will be running every Friday to Sunday from sundown until 11pm, until the end of May.

– Zsuzska Petró



 

WEEK 1 / 4 / 7

16 – 18 April, 7 – 9 + 28 – 30 May

 

Eszter Szabó, Dispenser of Delights (2013-2015)

Eszter Szabó’s video is dealing with the notion of waiting for miracles to happen. The weary protagonists exercise self healing rituals, and appear in front of a 3D background with textures of photos from existing real estate advertisements that were downloaded from the internet. The original photos give a very sincere insight into a typical home in today’s Hungary. The movements of the lonely figures were inspired by traces of “sublime beauty” that can be detected in these very familiar spaces.

BIO

Eszter Szabó lives and works in Budapest. She has a master’s degree from the Hungarian University of Fine Arts, and a postgraduate degree from Le Fresnoy Studio, France. Eszter has also participated in several workshops and study visits, among others at the Salzburg Summer Academy with Shirin Neshat, in Bielefeld with Artist Unlimited, as well as in Brooklyn, New York with Triangle Arts. Her works have been presented at various solo and group shows around the world, eg. Paris, Bruxelles, New York, Barcelona, Berlin, London, Rome, Salzburg.

Gülsün Karamustafa, Personal Time Quartet (2000)

Gulsun Karamustafa’s 4-channel video installation and soundscape, Personal Time Quartet, was intended as a portrait of the artist’s childhood. Yet now, seen through the prism of Corona-times, this portrait of innocent domesticity instead paints a picture of how many of us have felt during the various pandemic lockdowns, stuck indoors and perpetually repeating the same domestic tasks.

BIO

Gülsün Karamustafa was born in 1946 in Ankara, Turkey. She lives and works in Istanbul and Berlin, where she is recognized as one of the most important and pioneering Turkish contemporary artists. She received her MFA from the Istanbul Academy of Fine Art in 1969. Using personal and historical narratives, Karamustafa explores socio-political issues in modern Turkey, addressing themes including sexuality-gender, exile-ethnicity, and displacement-migration. Her work reflects on the traumatic effects of nation building, as it responds to the processes of modernization, political turbulence, and civil rights in a period that includes the military coups of 1960, 1971, and 1980.

Karamustafa is one of the laureates of the 2014 Prince Claus Award, and her recent solo exhibitions include: “Chronographia” at Hamburger Bahnhof – Museum for Contemporary Art, Berlin (2016-2017); “Swaddling the Baby”, Galerie Krinzinger, Vienna (2016) / Villa Romana, Florence (2015); “Mystic Transport” (a duo exhibition with Koen Thys), Centrale for Contemporary Art, and Argos Centre for Art and Media, Brussels (2015-2016); “An Ordinary Love”, Rampa, Istanbul (2014); “A Promised Exhibition”, SALT Ulus, Ankara (2014), SALT Beyoglu, SALT Galata, Istanbul (2013); amongst many others. Karamustafa took part in numerous international biennales, including: 31st Sao Paulo Biennial (2014); 3rd & 10th Gwangju Biennials (2000, 2014); 4th Thessaloniki Biennale (2013); 1st Kiev Biennale (2012); Singapore Biennial (2011), 3rd Guangzou Triennial (2008); 11th Cairo Biennial (2008); 2nd Contour Video Art Biennale, Mechelen (2005); 1st Seville Biennial (2004); 8th Havana Biennial (2003); 3rd Cetinje Biennial (2003); 2nd, 3rd & 4th Istanbul Biennials (1987, 1992, 1995).


Viktória Traub, Loops (2020/2021)

Viktória Traub’s figures repeat the same ritualistic movements over and over again. These movements are rituals of love, connection and care, which may give joy, or cause pain at the same time. During the past year, some of us experienced isolation, or loneliness, others found the constant companionship of their loved ones rather challenging. Either way, our life in lockdown has once again proven the importance of meaningful personal connections.

BIO

Viktória Traub graduated at the Moholy-Nagy University of Art and Design as an animation artist in 2008. In 2006, she spent a semester at the animation department of ESAD (Escola Superior de Artes e Design) in Portugal. Since her graduation, she has been working as animation director for various production companies. Her short films The Iron Egg and Mermaids and Rhinos have been presented at a series of film festivals around the world. In 2018, the Mermaids and Rhinos was selected by the Association of Hungarian Film Critics as the Animation of the Year. At the moment, she is working on the preproduction of the short animation Shoes and Hooves, as well as GIF-animations and graphic designs.

Qiu Anxiong, Cake (2014)

In a timeless and exquisitely crafted contemplation on the past, the present, and the relationship between the two, Qiu Anxiong’s Cake combines painting, drawing and clay with a discordant soundtrack of mechanical noises. With heart-rate monitors, sirens, and police radio scanners running throughout the soundtrack, and images of wrestlers rendered in a variety of media, this work can be read as particularly emblematic of the struggles of our viral times.

BIO

Qiu Anxiong (b. 1972, Chengdu) is one of China’s most prominent contemporary artists. He studied at the Sichuan Fine Arts Institute, and in 2003 he graduated from the University of Kassel College of Art in Germany after six years of studying both contemporary international art and traditional Chinese culture. After having worked predominantly in oil painting during his studies in Kassel and having later turned to landscape painting in the tradition of the old Chinese masters, Qiu’s return to Shanghai in 2004 marked a shift in interest towards animations and video art. In his animated films, Qiu co-mingles the classical and the contemporary, using the traditional Chinese ink-and-wash style to transpose contemporary social and environmental issues onto traditional Chinese landscapes, taking the undifferentiated mass of history as his raw material. Qiu’s works are known for their profound and bleak contemplation on the relationship between man and nature, and criticism of mass urbanization and environmental degradation.

Qiu Anxiong’s work is held in numerous museum collections, including: Museum of Modern Art, NY, USA; Metropolitan Museum of Art, NY, USA; Spencer Museum of Art, Kansas, USA; Ashmolean Museum, Oxford University, UK; Kunst Haus Zurich, Switzerland; Museum of Contemporary Art Tokyo, Japan; Art Museum of Hong Kong, Hong Kong; Astrup Fearnley Museum of Modern Art, Oslo, Norway. Qiu Anxiong rose to international prominence in the 2006 Shanghai Biennial, and, the same year, received the CCAA Contemporary Art Award from the Shanghai Zhengdai Museum of Modern Art (2006). Subsequently, he participated in numerous international biennales and festivals, including: 3rd Nanjing International Art Festival, China (2016); 1st Animation Film Festival Xi An, China (2012); 4th Ink Painting Art Biennale Tai Pei, Taiwan (2012); 1st Animation Biennale, OCAT Art Center, Shen Zhen, China (2012); Chengdu Biennale, China (2011/2001); 54th Venice Biennale, Italy, Collateral Program (2011); 29th Sao Paulo Biennale, Brazil (2010); Busan Biennale, Korea (2010); Nanjing Bienale, China (2010); Animamix Biennial, Today Art Museum, Beijing, China (2009); 6th Asia Pacific Triennial of Contemporary Art (APT6), Queensland Art Gallery, Brisbane, Australia (2009-2010); 11th Cairo Biennale, Egypt (2008); 2nd Athens Biennial, Greece (2009); 5th Media Biennale, Seoul, Korea (2008); Mediations Biennale, Poznań, Poland (2008); 3rd Guangzhou Triennial, China (2008); 16th Biennale of Sydney, Australia (2008); 3rd Lianzhou International Photo Festival, China (2007);


Júlia Lantos, Incognito (2020/2021)

Incognito’s main character struggles with the challenges of everyday life. She sees her job as a prison, and the world as a war that is fought with alienation, aimlessness and selfishness instead of weapons. Her only refuge from the cruelty of the outside world is her apartment, while her only companion is a yellow bird, symbolising her desire for freedom. One day, a peculiar cloud appears above her apartment, which triggers an almost supernatural process in her life: she gradually withdraws from society, stops going to work and ignores the world beyond the four walls of her home. However, the outside world cannot be ignored forever, eventually it breaks down the protective walls around her.

BIO

After finishing high-school, Júlia spent a year in Berlin in order to further her professional and personal development. She earnt her bachelor’s degree from the Budapest Metropolitan University in 2018 with her short film Incognito. Since 2018, she has been undertaking illustration and animation projects. Currently, she is finishing her master’s degree. Incognito has been screened at several international film festivals, and won an award at the Alternative Film Festival in Toronto for Best Animated Short Film.

David Szauder, Six Easy Pieces About Nothing (2020-2021)

1 – Personal Rain Snow (2021). 2 – Galactic Drama (2020). 3 – The Philosopher Garden (2020). 4 – Kinetic Amusement (2020). 5 – Joyride /em>(2021). 6 – Cosmic Accident (2020)

“Last June, after almost four months of lockdown, I began to work with animated compositions that depicted imaginary figures in a timeless space, with no other human being in sight. The figures themselves are motionless, while the space they peacefully inhabit shows some kind of cosmic motion. The objects of this environment, as well as the space itself are animated by a mysterious force. The ensuing rhythmic movement renders their experience eternal. The figures are peaceful, pensive, and subdued, yet isolated and perhaps even lonely. They appear as though they were all ‘sitting on the edge of the void…’ – But perhaps, it’s not about the void, and one day, they might swing into action. We’ll see. Will we?” (Dávid Szauder)

BIO

Media artist David Szauder (b. 1976 in Hungary) studied Art History at the Eötvös Loránd University and Intermedia at the Hungarian University of Fine Arts in Budapest, and completed a Masters Fellowship at the School of Arts, Design and Architecture at the Aalto University in Helsinki. From 2009 to 2014 he worked as the curator at the Hungarian Cultural Institute in Berlin (CHB). David Szauder is a visiting lecturer at the Film Academy, Potsdam, in addition to leading workshops on interactive media in Berlin and Budapest since 2010. Since 2019, he is the New Media Advisor for the Artistic Director of the VEB 2023 European Capital of Culture. Szauder has participated in a variety of international projects as artist and curator. In cooperation with MOMENTUM, previous projects include: “Art Nomads: Made in the Emirates” at Studio 1, Kunstquartier Bethanien (Berlin, 2016);“Ganz Grosses Kino” KIK Eight at Kino International (Berlin, 2016); MOMENTUM InsideOut: Amir Fattal, “Atara” (Berlin Gallery Weekend, 2015); MOMENTUM InsideOut: “A Time for Dreams” & “Budapest Sketch”(Berlin Art Week, 2014); “PANDAMONIUM Preview // INTERPIXEL: Media Art from Shanghai and Budapest” (Berlin Gallery Weekend, 2014);



 

WEEK 2 / 5 / 7

23 – 25 April, 14 – 16 + 28 – 30 May

 

Éva Magyarósi, Garden of Auras (2015)

Éva Magyarósi’s work is a manifestation of poetic visualisation and visual poetry. Her works typically tell us about the mysteries of the female soul, about the body and feelings, displaying polyphonic stories of strange dreams and situations experienced in real life. The pieces often blend strategies of experiencing evanescence through images and narration, and of processing remembrance through making it collective. Her works of art can be interpreted as visual diaries, in which the fictive and the personal past are blended, thus contributing to the literary works of different philosophical theories on time and memory.

BIO

Éva Magyarósi (born in Budapest, 1981) lives and works in Budapest. She graduated at the Moholy-Nagy University of Art and Design as an animation artist in 2005. Éva is represented by Erika Deák Gallery, and has participated in various solo and group shows nationally and internationally, including: Love Stories, Video Forever, Isztambul, 2017; Ghosts, Château du Rivau, Patricia Laigneu Collection, Kochi – Muziris Biennale, Kerala, 2016; Un Instant Forever, Analix Forever, Genova, 2014; Planking and Dreaming, balzerARTprojects, Basel, 2013; Print Biennale, Kairo, Egyipt, 2003.

Éva is a very versatile artist, working in several genres: she writes short stories, creates public sculptures, animations, photos, and drawings, even though she is primarily known for her video art. Her work is a manifestation of poetic visualisation and visual poetry. Her works typically tell us about the mysteries of the female soul, about the body and feelings, displaying polyphonic stories of strange dreams and situations experienced in real life. The pieces often blend strategies of experiencing evanescence through images and narration, and of processing remembrance through making it collective. Her works of art can be interpreted as visual diaries, in which the fictive and the personal past are blended, thus contributing to the literary works of different philosophical theories on time and memory.

Marina Belikova, The Astronaut’s Journal (2016), Animation, 5 min 19 sec

In The Astronaut’s Journal, painted in the frame-by-frame oil on glass technique, the viewer is taken on a journey through memories, fears, hopes and other distant corners, found in one’s inner space. The immersive trip between planets is based on the author’s life story and was inspired by Stanislav Lemm’s Solaris: “Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers, and without finding what lies behind doorways that he himself has sealed.”

BIO

Marina Belikova is a Berlin based media artist, working with photography, graphic design and 2D animation. She has a background in web and media design. In 2012-2013 she did an M.A. in Communication Design in Kingston University London and in 2016 she graduated from Bauhaus University Weimar with an M.A. in Media Art and Design, making “The astronaut’s journal” as her master thesis. Belikova tells narratives through the old school oil on glass animation technique, where each frame is painted individually and then captured with a camera as stop motion animation. She also works with photography and mixed media, exploring the topics of human memories and interaction between people and urban spaces. Her animation have been screened at multiple film festivals in more than 10 countries and her photo series have received the Bauhaus Essentials Prize and have been shown various exhibitions.


Bori Mákó, Silence (2018)

“My favoured subjects are natural images, landscapes and spaces that still preserve traces of human activities. In my work, I research transitory ethereal atmospheres, that are strongly influenced by the theme of solitude. My multidimensional site-specific video installations are designed to pull the audience into the imaginary world of the video itself. The process of inward attention is essential to me, and I feel that focusing on nature ist the best way to evoke this meditative state.” (Bori Mákó)

BIO

Bori Mákó graduated from the Moholy-Nagy University of Arts and Design in 2018 and holds a master’s degree in animation. Her visual language represents different genres of digital painting, and her exhibition portfolio includes large-scale prints, printed publications and video installations. In addition to her artistic work, she participates in animated movie projects. She is a founding member of Hen Studio, and she has been teaching Digital Paintings since 2019.

Kate McMillan, Paradise Falls I (2011) + Paradise Falls II (2012)

A topic made especially poignant in today’s pandemic reality, Kate McMillan’s Paradise Falls is a tribute to the disappeared, to the forgotten sites of distant traumas, to the frailty of personal and historic memory. Drawing parallels between physical and psychological landscapes, McMillan has created moving paintings where ghost-like people flicker in and out of existence, as symbols of fractured histories that disappear from focus, yet continue in our collective psyche as haunting traumas. Seen now, from the epicenter of our pandemic crisis, this begs the question of how will we look back upon, and remember, the time of Corona?

BIO

Kate McMillan (b.1974, Hampshire, UK), lived in Perth, Australia from 1982-2012, relocating to London in 2013. McMillan’s work incorporates a range of media including sculpture, film, sound, installation, textiles and performance. She is interested in the linking narratives of forgetting and place, often focusing on the residue of the past. McMillan’s artworks thus act as haunting memory-triggers for histories and ideas that are overlooked. McMillan has resided on the Board of the Perth Institute of Contemporary Arts (PICA) and the National Association for the Visual Arts (NAVA) based in Sydney. She earned her Phd at Curtin University, Perth. In addition to her practice as an artist, she is currently a Lecturer in Contemporary Art in the Department for Culture, Media and Creative Industries, King’s College, London.

McMillan’s work has been featured in various museums and biennales, including: the 17th Biennale of Sydney; the Trafo Centre for Contemporary Art, Poland; Minsheng Art Museum, Shanghai; Art Gallery of Western Australia; Gertrude Contemporary, Melbourne; Perth Institute for Contemporary Art; John Curtin Gallery, Perth; Govett Brewster Art Gallery, New Plymouth, New Zealand, and the Australian Centre for Photography, Sydney. Previous solo exhibitions include ‘The Past is Singing in our Teeth’ presented at MOMENTUM in 2017, which, in 2018, toured to the Civic Room in Glasgow and Arusha Gallery for the Edinburgh Arts Festival. Other solo exhibitions include ‘Instructions for Another Future’ 2018 Moore Contemporary, Australia; ‘Songs for Dancing, Songs for Dying’, 2016, Castor Projects, London; ‘The Potter’s Field’, 2014, ACME Project Space, London; ‘Anxious Objects’, Moana Project Space, Australia; ‘The Moment of Disappearance’, 2014, Performance Space, Sydney; ‘In the shadow of the past, this world knots tight’, 2013 Venn Gallery; Paradise Falls, 2012, Venn Gallery; ‘Lost’ at the John Curtin Gallery in 2008, ‘Broken Ground’ in 2006 at Margaret Moore Contemporary Art and ‘Disaster Narratives’ at the Perth Institute of Contemporary Arts for the 2004 Perth International Arts Festival.


Bea Pántya, Transit (2012)

“If you stay still for a long time, nature will draw you in and absorb you. You can listen to its rhythm, its depth, and explore previously hidden details. Sometimes it moves fast, sometimes it makes only one minuscule movement a day.

My textile sculptures are based on existing and non-existing, living, and decaying forms in nature, abstract shapes and patterns, which are created by time, gravity and different organisms. If you watch them closely, you can see and understand the connection between the textures, colours, dimensions, scents and dynamics. I create gardens, a living and moving world, which can feel different from our universe, yet built from the elements of our reality. Transit is an experimental object animation about the dynamics of devastation and the micro worlds, spaces, and new life forms – the fantasy worlds beyond the humanly observable spheres.” (Bea Pántya)

BIO

Bea Pántya graduated at the Moholy-Nagy University of Art and Design in 2021 as an animation artist. She works with textile sculptures and has participated in several exhibitions in Hungary. Her most recent short films, Transit and Horizon Leap have been presented at a number of international film festivals, such as: the Hungarian Independent Film Festival, 2009 and 2010 (1st prize); IX Videominute, Zaragoza, Spain, 2009 (3rd prize); Naoussa International Film Festival, Greece, 2010; Mediawave Film Festival, Hungary, 2013; International Short Film Festival, Lille, France, 2013; Hiroshima International Animation Festival, Japan, 2013; Montreal Stop-motion Festival, Canada, 2014.

Theo Eshetu, Festival of Sacrifice (2012)

Faith and spirituality is the subject of Theo Eshetu’s Festival of Sacrifice, depicting an ancient cultural tradition, the celebration of Eid-ul-Adha, the Islamic Festival of Sacrifice. Turning the ritual itself into a trance, the video recreates, through its multiplication of images, the kaleidoscopic patterns that highlight the transcendental aspect of the event. In creating aesthetic beauty from images of ritual slaughter, Eshetu shows us how spirituality can locate beauty, hope and a deeper meaning even in times of death and disease.

BIO

Theo Eshetu was born in London 1958, and grew up in Addis Ababa, Dakar, Belgrade and Rome. He now lives and works in Berlin. A pioneer of video art since 1982, Theo Eshetu draws from anthropology, art history, scientific research, and religion—Catholic, African, Muslim, Buddhist—to explore clashes and harmonies of human subjectivity between world cultures in the global context. Though essentially conceptual, and often exploring video’s formal components of time and light, Eshetu’s work is often focused on cultural displacement, and is always grounded in compelling aesthetic components, often achieved through fractal repetition, such as kaleidoscopic mirroring, multi-screen projections, or mosaic-like patterning of images.

Among numerous international awards, Eshetu was Artist in Residence at Tarabya Cultural Academy, Turkey where he completed aspects of production for Altas Fractured (2017) which was featured in Documenta 14, Athens and Kassel in 2017. In 2012 he was Artist in Residence at the DAAD program in Berlin, where he exhibited The Return of the Axum Obelisk at DAADgalerie in 2014. In 2011 he participated the Venice Biennale and the Sharjah Biennale. His work has appeared at: The New Museum, NY; the New York African Film Festival; DIA Foundation’s Electronic Arts Intermix, NY; Snap Judgments at ICP (International Centre for Photography), NY; BAM Cinemateque, NY; Brooklyn Museum of Art, NY; Baltimore Museum of Art, Maryland USA; Smithsonian National Museum of African Art, Washington DC; the Institute of Contemporary Arts, London; Africa Remix at The Hayward Gallery, London; the Venice Film Festival; Roma Film Festival; Museum of Modern Art in Rome; Museum of Modern and Contemporary Art, Nice, France; the UNESCO headquarters in Paris; the Martin Gropius Bau, Berlin; among many other museums, biennales, and film festivals.



 

WEEK 3 / 6 / 7

30 April – 2 May, 21 – 23 + 28 – 30 May

 

Tamás Komoróczky, Nondirectionality (2019)

The vertigo-inducing composition of Tamás Komoróczky’s video Nondirectionality (outlook from the tower) evokes the imagery of ancient Christian hermits living in secluded towers. Looking down from the protagonist’s point of view towards the swirling chaos of the world beneath, the feeling of isolation, loneliness and quiet tranquility become palpable. As we are about to enter the second year of the global pandemic, most of us are painfully familiar with the sense of total isolation and the role of the quiet observer.

BIO

Tamás Komoróczky was born in 1963 in Budapest, currently lives and works in Budapest and Berlin. He graduated as painter in 1990, and two years later finished his postgraduate studies in the mural department at the Hungarian University of Fine Arts, Budapest. He also studied in the Video Department of the Staatliche Kunstakademie Düsseldorf, Germany in 1991. Tamás was awarded several scholarships and artist residencies, among others at the Hungarian Academy in Rome, at Künstlerhaus Bethanien, Berlin as well as at the European Center for Contemporary Art Actions in Strasbourg. His works have been presented nationally and internationally at a great number of solo and group shows, eg. The Dead Web – The end, Ludwig Múzeum, Budapest, 2020; Public Private Affairs, Ferenczy Múzeumi Centrum – Művészet Malom, Szentendre, 2019; Abstract Hungary, Künstlerhaus, Halle für Kunst & Medien, Graz, 2017; Opus Aquanett, Wissenschaftshafen, Magdeburg, 2017; Video Art Projections on the Manhattan Bridge, New York, 2016; Kritik und Krise #3:Ornament der Brüderlichkeit, Collegium Hungaricum Berlin, Berlin, 2014; PANDAMONIUM PREVIEW / INTERPIXEL, Collegium Hungaricum Berlin, 2014; The Hero, the Heroine and the Author, Ludwig Museum, Budapest, 2012; Action!, INFERNOESQUE, Berlin, 2010; Screening Room: Contemporary Hungarian Video Artists, Janos Gat Gallery, New York, 2009; Art Forum Berlin (Lada projekt), Berlin, 2008; Focus Istanbul, Martin-Gropius-Bau, Berlin, 2005; Loud and Clear Too, Chinese European Art Center, Xiamen University Art College Künstlerhaus Bethanien, Berlin, 2005; 1. Muestra del Internatcionale Video, El Salvador, San Salvador, 2003; Try again later, Gaswork Gallery, London, 1998; Beyond Belief, Museum of Contemporary Art, Chicago, 1995.

David Krippendorff, Nothing Escapes My Eyes (2015)

David Krippendorff’s Nothing Escapes My Eyes is a time-warping tribute to a changing world where, to a moving soundtrack from the eponymous opera, a would-be Aida sheds tears for a place and time which no longer exist. COVID-19 changed our world forever, leaving gaping holes in the hearts of those who lost loved ones, impoverishing those prevented from working. Yet it also generated a remarkable outpouring of creativity, good will, and good humor as people around the world try to cope, individually and communally, with our changing world in the time of Corona.

BIO

David Krippendorff, born in Berlin in 1967, is a US/German interdisciplinary artist and experimental filmmaker. Currently based in Berlin, he grew up in Rome, Italy, and studied art at the University of Fine Arts in Berlin, Germany, where he graduated with a masters degree in 1997. His works, films and videos have been shown internationally, including: the New Museum (New York), ICA (London), Hamburger Kunsthalle (Hamburg), Museum on the Seam (Jerusalem). He has participated in four Biennials (Prague, Poznan, Tel Aviv, and Belgrade), as well as in many international art and film festivals worldwide.


Kristóf Szabó, WRONG DATA / empty space (2020)

“In February 2020, I visited the ARCO Madrid fair, and almost immediately after my return to Budapest, Covid-19 reached Europe. My friend from Madrid sent photos of the empty city, which I developed further, and created the first piece of the series. I decided to send out a request to artists around the world to collaborate in a photographic series. Luckily, I received a great number of photos from artists, who helped me to expand the project. We created a global artwork that symbolises the collaboration of artists and, at the same time, draws attention to the defects of the functioning of our society, which we must re-evaluate to avoid further catastrophes.

Due to Covid, a certain error, or glitch occurred in our lives. Previously busy urban spaces have been abandoned, the world has stopped, people are forced to stay at home. The problem was caused by human activity in the first place: by our way of life, excessive travelling, globalisation and international trading. Now that globalisation is at a standstill, CO2 emissions have dropped drastically, and our biological footprint has been considerably lowered in a relatively short time. The newly empty spaces are the true witnesses of our overworked, wasteful lives, and also the proof that we need to change our ways urgently, in order to avoid future tragedies.” (Kristóf Szabó)

Contributors: Kiszner Édua, Antal István, Marcin Idźkowski, Angela Galvan, Gasquk, Kristijonas Dirse, Peter Korcek, Erhan US, Ciro Di Fiore, Elena Kilina, Sangeeth Aiyappa, Vladimir Stepanchenko, Raki Nikahetiya, David Leshem, Haccoun Myriam

BIO

Kristóf Szabó was born in 1988 in Győr (Hungary). He graduated as a graphic artist (2012) and art teacher (2013) at the Hungarian University of Fine Arts in Budapest. In 2011, he studied at the Dresden Academy of Fine Arts. Kristóf has been using the brand name KristofLab since 2016, in order to highlight the interdisciplinary and collaborative nature of his creative process, as well as his media art practice. He is a member of the Ziggurat Project, a Hungarian interdisciplinary ensemble creating artistic performances bridging over various genres of creative output. Kristóf has been working with the group on site-specific experimental projects around Europe since 2015.

Map Office, Viral Operation (2003)

In Viral Operation the Hong Kong artist duo Map Office fly to Berlin from a Hong Kong ravaged by the SARS epidemic, this century’s first major viral outbreak in 2003, for a road trip crossing all possible European land borders on their way to the Venice Biennale. Wearing masks, they are treated as suspect Others, potential contaminants. Now, 18 years later, when we are all wearing masks and travel restrictions abound, we look back at Viral Operation as a social experiment, prefiguring what was to come.

BIO

MAP OFFICE is a multidisciplinary platform devised by Laurent Gutierrez (b. Casablanca, 1966) and Valérie Portefaix (b. Saint-Etienne, 1969). This duo of artists/architects has been based in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression that includes drawing, photographs, video, installations, performance and literary and theoretical texts. Their entire project forms a critique of spatio-temporal anomalies and documents how human beings subvert and appropriate space. Their projects have been included in major international art and architecture events, including: the 7th, 11th and 12th Venice Architecture Biennale (2000, 2008, 2010), the 7th Gwangju Biennale (2008), the 10th Istanbul Biennale (2007), the 15th Sydney Biennale (2006), and the 52nd Venice Art Biennale (2007).

Laurent Gutierrez is an Associate Professor at the School of Design, The Hong Kong Polytechnic University, where he leads the Environment and Interior Design discipline and the Master of Strategic Design as well as the Master in Urban Environments Design. He is also the co-director of SD SPACE LAB. Gutierrez is currently finishing a PhD on the “Processes of Modernization and Urbanization in China focusing on the Pearl River Delta region.”

Valérie Portefaix is the principal of MAP OFFICE. She received her Master of Architecture degree from the School of Architecture Paris-Belleville and a PhD in Urbanism from the Pierre Mendes University France. She is currently a Visiting Assistant Professor at the School of Design, The Hong Kong Polytechnic University.


Gáspár Battha & András László Nagy, Parallel Waves (2018)

Inspired by the idea of “levitation”, Parallel Waves makes reference to the tensions induced by this phenomenon and its various forms found in nature: sound and light waves, smoke, wind and gravity or the murmuration of flocking birds. Parallel Waves takes the viewer to another dimension full of wonder, yet fully rooted in scientific facts.

Concept & Animation: Gaspar Battha (gasparbattha.com) & Andras Nagy (andrasnagy.xyz/) | Sound: Adrian Newgent (adriannewgent.nl/)

BIO

Born in Budapest (born in 1988, Hungary), Gáspár Battha spent a considerable part of his childhood in Bergen, Norway. He received his master’s degree in art and media at the University of Arts in Berlin (UdK). He has been working as a freelance art director, motion designer and media artist. Gásoár has produced a great number of independent art projects and has developed multimedia projects for museums, exhibitions and product launch events around the world. He has been guest lecturer at the University of Arts in Berlin since 2014.

David Szauder, Light Space Materia(2020)

Szauder’s film Light Space Materia commingles found footage related to the seminal ideas of the Bauhaus with digital 3D animations and a soundtrack made by the artist to foreground the haptic qualities of the materiality of image and sound. Szauder focuses on the fundamental question of how modern technology could change the formal expression of movement. Just as the Bauhaus always held an important pioneering position in the relationship of art to technology, this synergy becomes increasingly important as new technologies of making and viewing images continue to evolve in our over-mediated pandemic age where we engage with the world predominantly through our screens.

BIO

Media artist David Szauder (b. 1976 in Hungary) studied Art History at the Eötvös Loránd University and Intermedia at the Hungarian University of Fine Arts in Budapest, and completed a Masters Fellowship at the School of Arts, Design and Architecture at the Aalto University in Helsinki. From 2009 to 2014 he worked as the curator at the Hungarian Cultural Institute in Berlin (CHB). David Szauder is a visiting lecturer at the Film Academy, Potsdam, in addition to leading workshops on interactive media in Berlin and Budapest since 2010. Since 2019, he is the New Media Advisor for the Artistic Director of the VEB 2023 European Capital of Culture. David Szauder has participated in a variety of international projects as artist and curator. In cooperation with MOMENTUM, previous projects include: “Art Nomads: Made in the Emirates” at Studio 1, Kunstquartier Bethanien (Berlin, 2016);“Ganz Grosses Kino” KIK Eight at Kino International (Berlin, 2016); MOMENTUM InsideOut: Amir Fattal, “Atara” (Berlin Gallery Weekend, 2015); MOMENTUM InsideOut: “A Time for Dreams” & “Budapest Sketch”(Berlin Art Week, 2014); “PANDAMONIUM Preview // INTERPIXEL: Media Art from Shanghai and Budapest” (Berlin Gallery Weekend, 2014);

 


ABOUT .CHB

Collegium Hungaricum Berlin (CHB) was established in 1924 with the aim of facilitating scientific exchange between Hungary and Germany. Today, CHB is active in the fields of both science and culture. Collaboration with Hungarian, German and international organisations plays an essential role in the professional programme of CHB. Between 1973 and 1990, the predecessor of CHB, the old “House of Hungarian Culture” in Karl-Liebknecht Straße, was an integral part of the intellectual community of East Berlin. In 2007, CHB moved to its new, cutting-edge building next to the Museum Island and Humboldt University. Collegium Hungaricum Berlin is part of the worldwide network of Hungarian Cultural Institutes, and a founding member of EUNIC Berlin, the association of European Cultural Institutes.

 

IN PARTNERSHIP WITH


24/01/2021
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Stefano Cagol

WebsiteCV

1 November – 31 December 2015

 

Stefano Cagol is an Italian-born artist. He participated in 55th Venice Biennale (Maldives National Pavilion), 2nd Xinjiang Biennale, 1st Singapore Biennale and presented his works and actions at Kunstmuseum Bochum, ZKM Karlsruhe, Folkwang Museum, Maxxi in Rome, Museion in Bozen, Laznia in Gdansk, Westergasfabriek in Amsterdam, Kunstraum Innsbruck, MARTa Herford, among others. He is the recipient of the Terna 02 Prize for Contemporary Art, Rome, and of the VISIT #10 of the RWE Foundation, Essen.

During his Artist Residency at MOMENTUM, the brand new venue CLB Collaboratorium Berlin will devote its first exhibition to Stefano Cagol. For his first solo show in Berlin he will present “The Body of Energy (of the mind)”, a year-long project the artist has developed as a European expedition on search for signs of energy, both physical and cultural energy, triggering a reflection on what is not visible, on resources, on relations.

Stefano Cagol states “Symbols, metaphors, current topics, immediateness, stimulating, communicating, openness, multiple points of view. These are the key words to my relationship with the public. It couldn’t be any other way. The artwork is an opportunity to better understand our own time and future. It’s a sort of mission. In my account art is never closed in itself.”


 

Stefano Cagol’s residency is generously supported by the VISIT programme of RWE Stiftung für Energie und Gesellschaft gGmbH. Stefano Cagol is recipient of VISIT #10.

 

TBOE_SALERNO_UNIVERSITY_CAGOL_2.jpg


“The Body of Energy (of the mind)” at CLB Berlin

Exhibition 7 November – 12 December 2015

The exhibition at CLB Collaboratorium Berlin opening on 6 November features the launch of the book “The Body of Energy (of the mind)” by Stefano Cagol, produced by Revolver Publishing.

Supported by VISIT Programme of the RWE Stiftung für Energie und Gesellschaft gGmbH, the exhibition “The Body of Energy (of the mind)” at CLB Collaboratorium Berlin and the MOMENTUM Residency is the culmination of a year-long project the artist has developed as a European expedition from Norway to Gibraltar on search for signs of energy, both physical and cultural energy, triggering a reflection on what is not visible, on resources, on relations. The show spans from the experience of the travelling project, through video, photo and installation, to new artworks created in Berlin.

Stefano Cagol states “Symbols, metaphors, current topics, immediateness, stimulating, communicating, openness, multiple points of view. These are the key words to my relationship with the public. It couldn’t be any other way. The artwork is an opportunity to better understand our own time and future. It’s a sort of mission. In my account art is never closed in itself.”

During the travelling project the artist enacted his symbolic survey of energy using an infrared camera and involving the public, the architecture and the environment. Involved institutions that hosted the project from October 2014 to March 2015 are, among others, Bergen Kunsthall Landmark, Bergen (NO); Museo MA*GA, Gallarate (IT); Museum Folkwang, Essen (DE); Listen to the Sirenes, Gibraltar (UK); Madre, Naples (IT); MAXXI, Rome (IT); Museion, Bozen (IT); Kunst Halle Sankt Gallen (CH); ZKM, Karlsruhe (DE); Fondazione Bevilacqua La Masa, Venice (IT).




PHOTOS FROM THE OPENING

01/12/2015
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MOMENTUM_InsideOut Together With Bar Babette
Present
The MOMENTUM AiR Exhibition
Linda Carrara, Fang Lu, Gerri Ondrizek

22-23 October 2015 @ 8pm – Late
At Bar Babette
Karl-Marx-Allee 36

 
MORE ABOUT MOMENTUM Artists-in-Residence >>

 

Linda Carrara
I’m a Still-Life (2014)

12 min.

CVWebsite

The objects represented by Linda Carrara come from everyday life, but are here utilised as primary forms rather than mundane objects. They assemble into a metastructure and reassemble in forever changing compositions while questioning the visible world. This still-life no longer refers to inanimate everyday objects. This is the painting itself that becomes the object; of unknown origin, ageless, and endlessly processable. The painting itself is made into a malleable thing prone to a long questioning gaze. The object of representation has always been a mediator of thought.

I’m a Still-Life is a documented action shot in a single sequence. If it can be defined technically as a video, it has neither beginning nor end, nor duration and it is not unique. Every movement causes a break, generates a new scene and involves the future whose potential is yet infinite. These interactions become the tool of a mental dialogue between the neutral presence of the material object and the evocative potential it inspires.


 

Fang Lu
Lovers Are Artists [Part One]
(2012)

18 min (originally shown as 4 channel installation on TVs), silent

CVWebsite

Casting: Guan Xiao
Camera: Hai Li
Installation Photos: Wang Wei

A stop-motion video composed out of thousands of images shot in the traditional hutongs of Beijing. The images depict a lone female figure going about her daily activities of buying vegetables and eating yoghurt; but before long these mundane tasks turn towards the kooky and nonsensical as the items become immersed in fictional games and scenarios that yield no discernible outcome nor serve any functional purpose. Not unlike the artistic process, these apparently meaningless gestures are founded upon internal imbalances that inform an individual’s perspective on the world and impact their encounters with reality…

[Text by Pauline Yao, Read More on Amorous Acts at Arrow Factory >>]


Gerri Ondrizek
Cellular (2012)

12 min.

CV – Website

Digital Film made with Atonics Micro fire digital cameras mounted on Olympus stereomicroscopes
Sound made with AMF, atomic force microscope

Cellular is a film of a blast pore, or a multiple cell embryo.  More than 200 hours of still images of each embryo were made with Atonics Micro fire digital cameras mounted on Olympus stereomicroscopes and made into a film using Astor IIDC imaging software. My colleague at Reed College, Steve Black, professor of developmental Biology and Zoology., provided me with a lab space to make the films of the blast pore. I worked with his lab assistant Allison Egar to make a film of development which was used for the still images.  To make my film, I edited 10 film sections to overlap and repeat the phases of development just before a recognizable body is evident. Each segment represents the different eggs in the process of development. Each is edited prior to full gestation, creating a loop of endless potential.

The film Cellular is overlayed with the recording of The Sound of Cells Dividing.

The Sounds of Cells Dividing

Since 2003, nanotechnology and the AMF (atomic force microscope) pioneered by James Giminski, Professor of Chemistry at UCLA  and Andrew Pelling Associate Professor of Biophysics at the University of Ottawa, enables researchers to also touch a cell. Like the blind reading brail or a hand touching the pulse, the needle of the AMF can touch cells which are less than half the diameter of a human hair. This touch can also record the sound the cell emits when dividing or dieing. Through touching and hearing rather than only seeing, an entirely new knowledge base has emerged, one that artists have known, that of multiple sensory knowledge.  What we can now listen to within a cell has revolutionized our knowledge of cellular gestation, division and the relationships within the interior architecture of our body.

The sounds one is hearing in the film Cellular is five tracks of healthy to damaged cells diving and dieing. I accessed these recordings from James Gimzewski Professor of Chemistry at UCLA and Andrew Pelling Associate Professor of Biophysics at the University of Ottawa. The recorded cells vibrating at the nanoscale, with amplified vibration (or oscillation) of the cells, bring them into the range of human hearing. This new area of study is called “sonocrology”. The main tool for learning about cell sounds is the atomic force microscope (AFM). Instead of using optics to show an image, the AFM uses a very fine tip to feel a cell in the same way a needle is used to feel the pattern of vibrations pressed into vinyl records. Gimzewski and Pelling have found that cells with cancer or other diseases give off very low and strained frequencies while healthy cells give a more pleasant sound. Sonocytology has proven to be a noninvasive way to detect disease.  In 2007, Gimzenwski used nanotechnology to demonstrate that metastatic cancer cells are softer than healthy cells. The study represented one of the first times researchers have been able to take living cells from human cancer patients and use nanotechnology to determine which were cancerous through touch.

 


PHOTOS FROM THE EVENT

15/10/2015
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Water(proof) Federation Square

 
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WATER(PROOF)

At Federation Square

 

Shaarbek Amankul // Stefano Cagol // Nezaket Ekici
Janet Laurence // Shahar Marcus // Almagul Menlibayeva
Nina E. Schönefeld // Shingo Yoshida

 


 

Curated by Rachel Rits-Volloch & Tainá Guedes

 
 

PUBLIC SCREENING:
1 – 30 September 2019

 

@ Federation Square, Melbourne

 

Food Art Week, created by artist/chef Tainá Guedes in 2015, is a non-profit project, whose mission is to promote positive change in our environment and society by asking how ‘what we eat and how we eat it’ is irrevocably affecting our environment. With a new thematic focus each year, the topic of Food Art Week 2019 is WATER. Life on our planet started in the water. Like our planet, we ourselves are 70% water. Yet many living beings have no access to clean water. Plastic pollution, nanoparticles, pesticides and antibiotics are damaging our freshwater and oceans. Only 2% of the total water on our planet is clean.

MOMENTUM is Berlin’s platform for Time-Based Art: Video, Performance, New Media, Sound, and in our cooperation with Food Art Week, also Food. To address the crucial issues raised by Food Art Week 2019: WATER, we present a video program by renowned international artists engaged in a broader dialogue on the deterioration of our environment. Shaarbek Amankul’s (Kyrgystan) video New Society, documents the devastating ironies of economic privation in his native Kyrgystan, where poor villagers drain the contents of water bottles into the arid earth, preferring the quick cash from recycling to the water itself. Environmental artist Janet Laurence (Australia) addresses the fragility of our oceans in her video Deep Breathing – Resuscitation for the Reef, created for the UN Climate Conference, COP21, in Paris. This work envisions a hospital for the Reef’s threatened corals and other marine species in this time of ecological crisis, making visible the otherwise invisible devastation beneath the surface of the sea. Stefano Cagol’s (Italy) video performance amidst the ice of the Arctic Circle, Evoke, Provoke [the border], raises issues of mankind’s unrelenting impact upon even the harshest of environments. Almagul Menlibayeva’s (Kazakhstan) film, Transoxiana Dreams, documents the desertification of the Aral Sea, poetically following the plight of fishermen who now have to drive for hours from their village to reach the rapidly shrinking sea. Nezaket Ekici (Turkey) and Shahar Marcus’s (Israel) video performance Salt Dinner is set within another shrinking sea, Israel’s Dead Sea. What looks like an absurd aquatic picnic is in truth a brutal endurance test for both artists; the excess of salt they are consuming with the sea water being as lethally dehydrating as the midday sun.

Nina E. Schönefeld’s (Germany) video Dark Waters takes place in another poison sea. Set in a dystopian future where the oceans are poisoned with plastic and only jellyfish can survive in their waters, this film sadly bears more resemblance to truth than science fiction. Shingo Yoshida’s (Japan) video Réprouvé is striking for its very absence of water; turning a garbage strewn wasteland in Chile into a beautiful sound installation, it is nevertheless a frightening glimpse of what our planet may soon look like if we do not take better care of it, and if we do not curb overproduction of waste. Nezaket Ekici’s Water To Water, the documentation of her performance at Berlin’s Haus Am Waldsee museum, poses a beautifully impractical solution to a future of impending water shortages. Over the course of several laborious hours she manually filters five pitchers of lake water, drunk with varying degrees of reluctance by her audience.

These video works in our program for Food Art Week may be only tangentially about food, and yet each work illustrates in its own way the vast diversity in which water impacts upon the cycle of life on our planet. From the desertification of climate change to the predicted floods of melting glaciers, water is as deadly in its scarcity as it is in excess. And yet, life cannot exist without it. WATER(PROOF) is about such paradoxes. In our utter dependence on water, we nevertheless contrive to poison and squander it. Nothing is waterproof, in the sense of being impervious to water, when water is perceived as integral to most every industry which sustains our lifestyles and quality of life. Yet our lifestyles are poisoning our planet. WATER(PROOF) assembles the positions and experiences of eight international artists, each proving, in their own way, the precarious paradoxes of the cycles of water consumption and production, integrally linked to what we eat and how we eat it.


ARTISTS

 

Shaarbek Amankul

New Society
2017, digital video, 2’40” (long version 7′)

The video New Society shows poor villagers on the outskirts of the Kyrgyz capital, Bishkek, emptying aid packages of bottled water onto the arid ground so they can recycle the plastic for cash. The devastating irony by which the normally environmentally sound practice of recycling results in the wastage of water is a reflection upon the economic privation and shortsightedness wherein a population comes to prefer the quick cash from recycling to the water itself. This twisted take on the water economy is devoted to the search for social identity on the part of thousands of residents of the suburbs of Bishkek, (the so called “circle of self-builders”). This work looks at the population who left their villages after the collapse of the Soviet Union, only to remain marginalized to this day by the city infrastructure through unemployment and poverty.

Shaarbek Amankul – BIO

Shaarbek Amankul (b. 1959 in Bishkek, Kyrgystan, lives and works in Bishkek) is one of the leading artists and curators driving the emergence of Central Asian contemporary art. In his art practice he has shown work throughout Europe, Central, Asia, and the US. Through his curatorial practice, he strives to build a dialogue with other artists and audiences by organizing international artist retreats and exhibitions in Europe and in his native Kyrgyzstan. Since 2011, he has been running the Nomadic Art Camp, an annual international platform for young artists, providing much needed opportunities for artists from the region. Amankul is also the founder and director of the B’Art Art Center in Kyrgyzstan, which he founded in 2006.

Stefano Cagol

Evoke Provoke [the border]
2011, HD video, 12’30”

The impact which mankind has upon the natural environment is at the root of this work created at Kirkenes, in the Norwegian Arctic Circle, during one of the periods Cagol spent abroad as an artist-in-residence. Cagol staged a series of emblematic actions that he filmed with a video camera, in total solitude, immersed in a fascinating but hostile natural environment, in extreme climactic conditions. The setting seems to be cloaked in twilight, barely dispelling the darkness, and the temperature is 25 degrees below zero. In those frozen lands, Cagol tries to communicate in one way or another, using different forms of signaling. He endeavours to modify the landscape, to light it up, to melt the snow with a flame, but every attempt at interaction with this harsh environment is in vain. The irony here is not lost. While one man cannot make a visible impact upon this frozen landscape, the impact of mankind as a whole is all too devastating. For Cagol in this case the border is precisely the one between himself, his body and his mind, the extreme nature that surrounds him, and the impact which mankind has upon this natural environment. Evoke Provoke (The Border) was shown at the solo exhibition Concilio in the church of San Gallo, as a collateral event at the 54th Venice Biennale, and is held in the MOMENTUM Collection.

Stefano Cagol – BIO

Stefano Cagol (b. 1969 in Trento, Italy) received a post-doctoral fellowship at the Ryerson University in Toronto, Canada, after having graduated from the Accademia di Brera in Milan. He participated in Manifesta 11 and Manifesta 7; at the 55th Venice Biennale, invited by the Maldives Pavilion; at the 54th Venice Biennale with a solo collateral event; and at the 1st Singapore Biennale. In 2017 a still from Evoke Provoke [the border] becomes part of the Collection of the German Ministry of Environment (Sammlung Bundesministerium für Umwelt, Deutschland), and he is part of the grand inaugural exhibition curated by Veit Loers at Haus Mödrath – Räume für Kunst in Cologne. In 2014-2015 his solo project “The Body of Energy (of the mind)” was presented at a series of European museums, such as the MAXXI Museum in Rome, Madre Museum in Naples, Maga Museum in Gallarate, Museion in Bolzano, Kunsthalle St. Gallen, ZKM in Karlsruhe, Museum Folkwang in Essen, Landmark / Bergen Kunsthall. Among grants and awards he won the Visit prize of Innogy Foundation in 2014 (Germany) and the Terna Prize for Contemporary Art in 2009 (Italy). He has been selected for many artist in residence programs including: Ruhr Residence 2016; Cambridge Sustainability Residency 2016; Air Bergen; BAR International in Kirkenes; International Studio and Curatorial Program ISCP in New York; ICP-International Center of Photography in New York. Stefano Cagol Lives and works in Trento.


Nezaket Ekici

Water To Water
2015, video documentation of live performance

Having participated in FAW2017, we are proud to invite Nezaket Ekici back to Water(Proof) for FAW2019 with documentation of her performance Water To Water (2015), and her video performance together with Israeli performance artist and filmmaker Shahar Marcus, Salt Dinner (2012).

In her performance Water To Water (2015), commissioned for her solo exhibition at Berlin’s Haus am Waldsee, Nezaket Ekici transforms the dirty water of the lake into drinkable water which her assistants offer to the spectators. With a performance practice indebted in equal measure to the visual opulence of the theatrical and the physical excesses of the durational, Ekici here embodies the spectacle of our water cycle. Seemingly floating above the lake in a voluminous red gown which also forms her water delivery system, Ekici laboriously pulls water up from the lake, bucket by bucket, and operates a hand-pumped water filter to channel the clean water through her dress into pitchers held by her assistants below. The performance, lasting several hours, results in five pitchers of water, drunk with varying degrees of reluctance by the audience. Ekici embodies through her own labor and sweat a metaphor for the invisible process delivering clean water to our taps. This most essential of resources is what we most often take for granted. Ekici’s performance subtly asks the questions at the back of all our minds: How clean is our water, really? And how much longer will we have clean water on tap?

Nezaket Ekici – BIO

Nezaket Ekici (b. 1970 in Kırşehir, Turkey) studied art pedagogy, art history, and sculpture at Ludwig Maximilian University and the Fine Arts Academy, Munich, and received her MA degree in art pedagogy (1994–2000). Thereafter, she studied performance art with Marina Abramovic at the Hochschule der Bildenden Künste Braunschweig, where she received her BFA and MFA (2001–04). Nezaket Ekici recently participated in the prestigious International Artist Residency Programs of the German Academy in Rome at the Villa Massimo (2016-2017), and the German Foreign Ministry Residency in Tarabia, Istanbul (2015-2016). Recent group exhibitions include: 56th Venice Biennale (2015); Petach Tikva Museum of Art, Israel (2015); The Pleasure of Love, 56th October Salon, Belgrade (2016); The Contemporary Art Gallery of Georgia, Georgia National Museum, Tbilisi (2016); MOCAK, Museum of Contemporary Art, Krakau (2016); Museum Villa Rot, Burgrieden (2016); Tel Aviv Museum (2016/2017); Gabriele Münter Preis, Akademie der Künste, Berlin & Frauenmuseum, Bonn (2017); Oslo Museum (2017); Tiroler Landesmuseum Innsbruck (2018); Sanatorium Istanbul (2018); The Gallery for Israeli Art at the Tivon Memorial Center (2018); Seoul Museum, Seoul (2018); Großen Kunstschau, Worpswede (2018/19); Museum of Islamic Art and Near East Culture Be‘er Sheva (2019). Nezaket Ekici lives and works in Berlin and Stuttgart.

Janet Laurence

Deep Breathing: Resuscitation for the Reef (2015), HD video 32’58”

Janet Laurence’s video Deep Breathing – Resuscitation for the Reef (2015), and accompanying photo series Corral Collapse Homeopathy (2015) were created for the UN Climate Conference,COP21, in Paris. Shot in Australia’s Great Barrier Reef – a World Heritage site which is the planet’s largest living, and rapidly dying, structure – this series of works envisions a hospital for the Reef’s threatened corals and other marine species, making visible the otherwise invisible devastation beneath the surface of the sea, and offering hope for the healing of the marine world from the consequences of global warming and human impact. If we can care for marine life in the same way that we care for our own species, there is a chance of deflecting environmental catastrophe. Laurence’s work is an emergency response: a hospital for the Reef in this time of ecological crisis, intended to aid survival and effect transformation.

Janet Laurence – BIO

Janet Laurence (b. 1947 in Sydney, Australia) is among Australia’s most established artists. In 2015 she was the Australian representative for the COP21/FIAC, Artists 4 Paris Climate Exhibition for the UN Climate Conference in Paris, for which she created Deep Breathing – Resuscitation for the Reef and Coral Collapse Homeopathy, both shown in this exhibition. Further selected recent international projects and exhibitions include: the 57th Biennale of Venice (2017); Veiling Medical Glass, A Medicinal Maze, Novartis Campus, Sydney (2017); The Treelines Track, Bundanon, Australia (2017); GASP: Parliament, Hobart, Tasmania (2017); Inside the Flower, IGA Berlin (2017); Schloss Biesdorf, Centre for Art and Public Space, Berlin (2017); Fellowship at the Hanse-WissenschaftKolleg (HWK), Germany (2016-2017); H2O Water Bar, Paddington Water Reservoir, Sydney (2016); Deep Breathing (Resuscitation for the Reef), Australian Museum, Sydney (2016); Cuenca Bienal, Cuenca, Ecuador (2016); Deep Breathing: Resuscitation for the Reef, Musée National d’Histoire Naturelle, Paris (2015); The Skullbone Experiment: A Paradigm of Art and Nature, Queen Victoria Museum, Tasmania (2014); Animate/Inanimate, TarraWarra Museum of Art, Healsville, Victoria, Australia (2013); 1⁄2 Scene, Australia China Art Foundation Shanghai (2013); SCANZ: 3rd Nature, New Plymouth, New Zealand (2013); After Eden, Sherman Contemporary Art Foundation, Sydney (2012); The Alchemical Garden of Desire, McClelland Gallery, Victoria, Australia (2012). Janet Laurence is a recipient of Rockefeller, Churchill, and Australia Council Fellowships, and the Alumni Award for Arts, University of New South Wales. She was a Trustee of the Art Gallery of New South Wales, a former Board Member of the Visual Arts Board of the Australia Council, and is a Visiting Fellow at the New South Wales University Art and Design. Janet Laurence lives and works in Sydney.


Shahar Marcus

Nezaket Ekici & Shahar Marcus Salt Dinner
2012, video performance, 3’19”

Turkish/German artist Nezaket Ekici and Israeli artist Shahar Marcus together address geopolitical and environmental forces through the medium of performance in their video Salt Dinner (2012). Shot in the scorching heat of Israel’s Dead Sea, their performance ironically confronts human endurance with the extremes of nature and culture. In this actual and political hotbed, Muslim and Jew share an opulent feast. Whether a wedding or a wake remains unclear, but what looks like an absurd aquatic picnic is in truth a brutal endurance test for both artists. The excess of salt they are consuming with the sea water is as lethally dehydrating as the midday sun. Shot in a rapidly shrinking ocean in a part of the world fought over for millennia, this international summit offers no solutions for political and environmental stability.

Nezaket Ekici and Shahar Marcus both work separately as artists but started to collaborate on projects in 2012. Their ongoing project In Relation revolves around an exploration of time, space, culture, religion, and the often absurd ways in which people interact with the environment. In this, as a German-based Muslim and an Israeli-based Jew, they collaborate on performances and videos that bridge cultures and religions as well as the long distances between Berlin and Tel Aviv. Focusing on the origin of the latin word relatio (relation), meaning ‘bringing back’, they set out to bring back a knowledge that has been forgotten by most of us: a relation with ourselves and our environment. Since 2012 they have produced ten video works together: Salt Dinner, Sand Clock, Floating Ourselves, Clean Coal, Fossils, Fields of Breath and Lublin Beach, TBQ, all concentrating on the Ancient Greek aphorism γνῶθι σεαυτὸν: know thyself.

Shahar Marcus – BIO

Shahar Marcus (b. 1971 in Petach Tikva, Israel) studied Linguistics and History of Art at the University of Tel Aviv. Marcus primarily works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations- incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ‘experiments’ took place: lying on the operating table, set on fire, dressed in a ‘bread suit’ and more. Food is also a major theme in Marcus’s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting. Shahar Marcus is an active artist for over a decade and has exhibited at various art institutions, both in Israel and around the world, including: The Tate Modern; The Israel Museum; Tel Aviv Museum of Art; Petach Tikva Museum of Art; Copenhagen Kunsthalle; Moscow Biennale; Poznan Biennale; Moscow Museum of Modern Art; The Hermitage, Saint Petersburg; and at other art venues in Poland, Italy, Germany, Georgia, Japan, USA, and Turkey. His works are in many important museum collections, such as: The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art, as well as intuitions in Poland and Italy. Shahar Marcus lives and works in Tel Aviv.

Almagul Menlibayeva

Transoxania Dreams
2011, HD video

Almagul Menlibayeva has been commissioned to create a series of works for the FAW2019 campaign. We are also proud to screen her video Transoxania Dreams (2011). Menlibayeva  films mythological narratives placed and staged in the vast landscape of her native Kazakhstan, ravaged by 60 years of Soviet occupation. She leads her audience to the brutally changed region of the Aral Sea where its indigenous people live in the Aralkum, the desert of a once-thriving region now entirely devoid of water due to radical Soviet irrigation politics.

The region of Transoxiana (Greek for ‘across the Oxus’) in southwestern Kazakhstan, Uzbekistan and Tajikistan, once the eastern part of the Hellenistic regime under Alexander the Great and the former homeland of the nomadic tribes of Persia and Turan at the banks of the Oxus River, remained an important trade region along the Northern Silk Road with flourishing civilizations and fertile plains for many centuries. Afflicted by former Soviet policies and abandoned by commercial and cultural interests, today, Transoxiana lies bare and stripped in a surreal state of existence with discarded fishing fleets on dusty terrain, ravaged by metal scavengers while its inhabitants look on as the sea keeps receding into a far and unreachable distance of a seemingly better world. Menlibayeva tells the tale of a young fisherman’s daughter who observes the dramatic changes to the landscape of the Aral region and its population through a child’s eyes in a dreamlike mélange of documentary and fantasy. Menlibayeva visually walks the viewer through a vacant landscape and a symbolic dream whereby the girl’s father searches for the remaining sea and new fishing grounds while encountering strange and seductive four-legged female creatures (Centaurs) on his way through the hostile desert. Drawing on the image of the Greek mythological figure of the Centaur, Menlibayeva creates alluring hybrid beings, both sexually charged and bizarre. According to the legend, when the ancient Greeks first encountered the nomads of the Transoxianian Steppes on their horses, they initially believed them to be mythological quadruped, part person part animal, fearing their savage and magical powers. In Transoxiana Dreams Menlibayeva, a pictorial sorceress herself, breeds an eccentric storyline and fantastical imagery extracted deeply from her own atavistic repertoire; leading us visually through an existing, yet unimaginable, landscape in a distant and hypnagogic world.

Almagul Menlibayeva – BIO

Video artist and photographer Almagul Menlibayeva (b. 1969 in Almaty, Kazakh SSR) holds an MFA from the Art and Theatre University of Almaty. She works primarily in multi-channel video, photography and mixed media installation and her work addresses such critical issues of post-Soviet modernity as social, economic, and political, transformations in Central Asia, de-colonial re-imaginings of gender, environmental degradation, and Eurasian nomadic and indigenous cosmologies and mythologies.

In conjunction with her solo exhibition Transformation at the Grand Palais in Paris (France, 2016-2017), she was awarded the prestigious Chevalier Ordre des Arts et des Lettres by the French Minister of Culture in 2017. She was also the Winner of the Main Prize of the International Film Festival Kino Der Kunst (2013) in Munich, Germany. Menlibayeva has gained international recognition by participating in: the Venice Biennale, Italy (2005, 2007, 2009, 2015); Sydney Biennale, Australia (2006, 2012); the Sharjah Biennial, UAE (2010); the Mediterranean Biennale, Israel (2010); the Moscow Biennale, Russia (2011, 2015); the Kiev Biennial, Ukraine (2013); the Daegu Photo Biennale (2016); and the Gangwon International Biennale, South Korea (2018). Selected solo exhibitions include: Videoart at Midnight #98: Almagul Menlibayeva, Berlin (2018); Transformation, Grand Palais, Paris, France (2016-2017); Union of Fire and Water, 56th Venice Biennial, Italy (2015); Transoxiana Dreams, Videozone, Ludwig Forum, Aachen, Germany (2014); An Ode for the Wastelands and Gulags, Kunstraum Innsbruck, Austria (2013); Daughters of Turan, Casal Solleric, Palma De Mallorca, Spain (2012); LATT: Europe at large #6, Museum van Hedendaagse Kunst (M HKA), Antwerp, Belgium (2010); Kissing Totems, Priska C. Juschka Fine Art, New York, USA (2008). Recent selected group exhibitions include: Haifa Museum, Israel (2018); Neues Museum in Nuremberg, Germany (2018, 2016); Astana State Museum, Kazakhstan (2018, 2016); Museum van Hedendaagse Kunst, M HKA, Antwerp, Belgium (2017-2020, 2010); National Museum of Contemporary Art, Athens (EMST), Greece (2017). Almagul Menlibayeva lives and works in Almaty and Berlin.


Nina E. Schönefeld

Dark Waters
2018, 4K video, 15’55”

Dark Waters is set in the year 2029. All the oceans are so contaminated with plastic waste that they have become death zones. The only creatures still able to live there are poisonous jellyfish. The government is trying to keep this eco-disaster secret. The film narrates the risky quest for the truth by helicopter pilot Silver Ocean. The movie deals with the social, environmental and political climate of today and our future world. It questions the contemporary roles of female characters and heroes, exploring the relationship between art and the present digital age. The movie story imagines a world where, due to drastic environmental changes, we need to fight for our democratic rights and survival.

Nina E. Schönefeld – BIO

Nina E. Schönefeld (b. 1972 in Berlin) is a multidisciplinary artist based in Berlin. She studied Fine Art in Berlin (UdK) and in London (Royal College of Art). She holds a Master of Arts and a PhD in Art History. Together with Marina Wilde she founded “Last Night In Berlin” a cultural project/blog that documents art openings in Berlin. Schönefeld’s art examines the contemporary social and political climate. Through unusual mediums, objects and videos, the artist questions the contemporary roles of artists, exploring the relationship between art, blockbuster movies and the present digital age. Her stories imagine a dystopian world where, due to drastic political and environmental shift, we need to fight for our democratic rights and survival. Selected recent exhibitions include: ‘Some Demonstrations’, Manifesta/Manifestina, Zurich (2016); solo show at CoGalleries, Berlin (2016); solo show at Fahrbereitschaft, Berlin (2017); Diskurs Gallery, Berlin (2017); Palazzo Ca’ Zanardi, Venice (2018); Goethe Institute, Beijing (2018); BBA Gallery Award Exhibition, Berlin (2018); solo show at Berlinische Galerie, 12 x 12 IBB Video Space (2018); Villa Heike, Berlin (2019); Lage Egal Gallery, Berlin (2019); Mitte Media Festival, Berlin (2019); Made in NY Media Center by IFP, New York (2019); Bamhaus in Luxembourg (2019); Aram Art Museum, Korea (2019).

Shingo Yoshida

Réprouvé
2018, 4K video, 3’37”

Photographer and video artist Shingo Yoshida finds inspiration in travelling, myths, traditions and the overwhelming beauty of nature. Yoshida considers the world as his studio and therefore a place of constant creation. In his video and photographic works Yoshida expresses his deep reverence for nature and its power, as well as his sense of wonder at encountering new cultures and ways of living. Shot in Calama, Chile, Shingo Yoshida’s film Réprouvé takes us through a garbage-strewn wasteland at the edge of the city, where the artist creates an oasis of beauty, turning discarded bear bottles into a sound installation. In an exhibition about water, Réprouvé is striking for its very absence of water. Creating beauty in the most unlikely of places, it is nevertheless a frightening glimpse of what our planet may soon look like if we do not take better care of our most necessary natural resource – water.

Shingo Yoshida – BIO

Shingo Yoshida, born in 1974 in Tokyo, and currently lives and works in Berlin. Yoshida received his MA with highest honors from Ecole Nationale Supérieure d’Art, Villa Arson in Nice France in 2004. In 2005 he earned a post-graduate diploma at the Ecole Nationale Supérieure des Beaux-Arts de Lyon, France, and subsequently in 2007 he received another post-graduate diploma in the Program La Seine of Ecole Nationale Supérieure des Beaux-Arts de Paris. in 2013 Yoshida completed the prestigious international artist residencies at Villa Arson Nice France – Centre National d’Art Contemporain, and was awarded the Fellowship of Overseas Study Programme for Artists by the Agency for Cultural Affairs of the Japanese Government. Yoshida’s work has been shown in many international exhibitions, including: Palais de Tokyo, Paris (2007, 2012); the Museo de Arte Contemporáneo MAC, Santiago, Chile (2012); the 60th International Short Film Festival Oberhausen, Germany, (2014); Videoart at Midnight #67: Shingo Yoshida, BABYLON, Berlin (2015); POLARIZED! Vision Competition Winner, Lapland, Rovaniemi, Finland (2015); Gunma Museum of Art, Tatebayashi, Gunma, Japan (2016); Mulliqi Prize, National Gallery of Arts, Prishtina, Kosovo (2016); Instituto Zappa (Accademia Di Brera) Viale Marche, Milan, Italy (2016); Onufri International Prize, National Gallery of Arts, Tirana (2016); IkonoTV (2017). In 2016 Shingo Yoshida’s works entered into the following Collections in Berlin: Berlinische Galerie, Akademie der Künste, and Fluentum.


 

IN PARTNERSHIP WITH

Initiated by Tainá Guedes and

 

WITH THANKS FOR GENEROUS SUPPORT

 

WITH THANKS TO OUR MEDIA PARTNERS

24/04/2015
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Amir Fattal BuildingScape

 
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Atara_Still1

 

Premiering on Berlin Gallery Weekend!
1st & 2nd of May
9:00pm – midnight

Projected on the facade at Französische Straße 56-60, Berlin
(the future Palais Varnhagen)

Click HERE for more information and full program of events >>

 

Atara, 2015
Video installation by Amir Fattal

The video installation Atara is dealing with different layers of the concept of resurrection in the context of German history. It combines together a reversed version of the Liebestod aria from the opera Tristan Und Isolde by Richard Wagner and images taken at the workshop of the Berliner Stadtschloss in Spandau, where the new Baroque-style stone facade is being constructed for the rebuilding of the Stadtschloss. The word ‘Atara’ in Hebrew means crown, which is used in a famous Talmudic expression meaning “to restore to it’s former glory“.

The video Atara is dealing with a process that is taking place ‘out of time’ or ‘out of space’, in this case bringing the historical narrative of creation and destruction into the context of two buildings that used to stand at the same place in Berlin: the Berliner Stadtschloss and the DDR’s Palast der Republik. The parallel story of these two buildings brings together different epochs in the political history of Berlin, while their aesthetics reflect the changing ideologies that they used to represent. Atara is asking the question: what does it mean to build a Baroque style palace in the year 2015?

Atara transforms the artistisinal workshop in Berlin’s Spandau into a space station, and the artists who work there on the creation of the sculptural façade into astronauts. The video follows their technical process and the historical references that they are using in creating a place that was lost 70 years ago. It shows the combination of the old traditional stone carving technique together with the long process of creating the different elements and figures by using old photographs and some of the original remains of the original palace. The process combines sculptung in clay, making silicone molds, plaster positives and later stone carving. The process as a whole becomes a metaphor for the attempt to re-frame the historical events that took place in Germany during the 20th century, and the ongoing attempt to transcend into a new era.

 


 
 


Amir Fattal was born in Israel in 1978, and is currently based in Berlin. Fattal graduated from Universität der Künste, Berlin, in 2009, and is a conceptual artist whose practice is one of historical reflection grounded in the history of aesthetics and cultural schisms. Fattal’s overarching concerns are the cultural connections between Germany and Israel – countries inexorably linked through their history, memory, culture, architecture, and the geographical diaspora which resulted in mass migrations, transposing cultures to new and different nations. The territory of Israel was once part of the Ottoman Empire, and then later administered by the British, yet the very creation of Israel is the legacy of the failed attempt to start the new Third Reich.

 

BuildingScape is a Berlin-based company that develops artistic, architectonic and urban media interventions and concepts to accompany and promote the construction process of pivotal European building projects. The primary aim is to transform what is often perceived to be a social inconvenience in the form of major construction sites into living urban interventions that creatively address the process of urban transformation and development. With this frame of thinking, BuildingScape addresses the building of future architectural and cultural icons within their immediate and broader social context. To achieve these objectives, BuildingScape designs innovative artistic interventions within and upon the structures of construction sites, including large-scale video projections in public space, and the commissioning of site-specific works through artist residencies. By bringing contemporary art into direct contact with urban development in public space, BuildingScape transforms the process of construction into cultural and social experience that is as innovative and inspiring as it is entertaining and educational. BuildingScape was founded in 2014 by Can Togay (former Director of the Collegium Hungaricum Berlin), David Szauder (artist and curator), and Thomas Hölzel (collector and developer).

 


PHOTOS OF THE EVENT

04/03/2015
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Intersection InsideOut

 
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MOMENTUM_InsideOut Screening
 

For Cinema Total, part of the Berlinale International Film Festival

10 – 16 February 2014

20:00 – 24:00
 

FEATURING:

Theo Eshetu // Bjørn Melhus // Reynold Reynolds // Sarah Choo Jing // Bence Fliegauf

 

Curated by:
David Szauder, Fanni Magyar, Francoise von Roy, Rachel Rits-Volloch

 

Venue:
Media Facade, Collegium Hungaricum, Dorotheenstrasse 12, 10117 Berlin-Mitte

A selection of video works illustrating Cinema Total’s special focus on the intersection of film and video art, screened after dark on .CHB’s panorama window – the Medienfassade.

 

The event follows the INTERSECTION Panel Discussion for CINEMA TOTAL (more information here>>)

 

Bjorn Melhus, Policia, 2007

Bjorn Melhus (born 1966, Kirchheim unter Teck) is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew.

Through a synchronised sound and light projection that evokes a helicopter gunship in battle, Murphy creates a disturbingly imaginative portrayal of Post Traumatic Stress Disorder. Operating a dramatic reduction to abstract fields of colour, the visual onslaught is concentrated on, as well as intensifying, the violent soundscape of guns and rotating helicopter blades. The videolight sequence is based on sound snippets from the movie Blue Thunder (USA, 1982), which was one of the early 80’s media rehabilitation of Vietnam war veterans in civilian society. By re-integrating war veterans into a civilian society, the war itself was subconsciously brought to America and turned the air space above the urban landscape of Los Angeles into a battlefield. In Murphy the visible stream of colored light and the absence of the image itself creates an imaginary movie that possibly connects to the first draft of the screenplay for Blue Thunder which featured Frank Murphy as more of a crazy main character with deeper psychological issues, who went on a rampage and destroyed a lot more of the city. Murphy is a true abstract Post Traumatic Stress Disorder.

Exhibiting a paradoxically static yet active Mexican police helicopter, appearing to be simultaneously vigilant and pointless, it is as if suspended on it’s way to an emergency operation. Acting as a biting commentary on the hollowness of the Mexican state, where country’s security apparatus imposes surveillance systems that fails to offer security, Policia delineates the paradox of control in contemporary Mexican society. In a country that is being increasingly militarized and where drug barons and paramilitary organizations are eroding the political and legal structures of the state, the suspended helicopter points to the increasingly blurred boundaries between the various groups competing for power.

Tracey Moffatt, Night Cries, 1989

Tracey Moffatt (born 1960, Brisbane) is an Australian photographer and filmmaker. Moffat began her career as an experimental filmmaker and as a producer of music videos, and she continued making films after establishing herself as a photographer.  She uses obscure references to issues of sexuality, history, representation and race. In the late 1990s she focused on the relationship between Australian Aborigines and white colonial settlers. The use of photogravure and deliberately flawed prints heightens the ambience, informed by late 19th century photography as well as by Expressionist cinematic techniques of shadow and distortion. The typically atmospheric, dreamlike quality of these works creates a space in which actors can embody wider sexual and social conflicts. Moffatt’s work since 2000 has retreated from specific locales and subject matter and become more explicitly concerned with fame and celebrity. 

Her works often deal with indigenous issues and questions black and white relationships. Drawing on manifold aesthetic icons from both withe and black Australia in her photo series and films, Moffatt presents her agenda of life in contemporary Australia in highly stylized terms. Her short film Night Cries is engaged with the older movie’s problematic ideologies of race and power relations. The short telling a story of an adopted middle-aged Aboriginal women who is bound to care for her dying white mother, both of them being entrapped within their histories. They are shown to embody the tension between the white education and an Aboriginal parentage. The Technicolor aesthetics of Night Cries studio landscape and interior are set against the chilling soundscape of the titular cries, thus creating a cinematic style torn between melodrama and the Gothic.


Bence Fliegauf, Milky Way, 2007

Bence Fliegauf (born 1974, Budapest) learnt all aspects of his industry. After training as a stage designer, he worked on film sets as well. He also worked as an arts journalist and made television documentaries for various Hungarian broadcasters. Even without the official sanction of the film academy, he soon convinced the trade of his talent and skills. Fliegauf has completed his films there ever since. He has so far made three highly distinctive full-length fiction films, one long documentary, and a handful of experimental shorts. A highly thoughtful and involved film maker, Fliegauf is heavily involved in the technicalities of film making alongside the metaphysics of moving image creation.

Milky Way is perhaps Fliegauf’s most experimental film yet, it is always accessible and mesmerizingly beautiful. It consists of ten lengthy landscape shots filmed with a static Scope camera, most of them featuring subtly modulated sound and human figures engaged in what initially appear to be strange, arcane rituals. There’s no overall plot though the painterly scenes proceed from night through various exquisitely captured daylight hues and back to night again – but each vignette suggests some sort of small, mysterious narrative, be it suspenseful, sad or drily funny.

Reynold Reynolds, Secret Life, 2008

Reynold Reynolds (born 1966, Central Alaska) influenced early on by philosophy and science, and working primarily with 16mm as an art medium. Reynold Reynolds has developed a film grammar based on transformation, consumption and decay. Detailed evolving symbols and allusive references create a powerful pictorial language based on Reynolds’ analytical point of view. By subtly altering the regular conditions of life and watching their effects, he transfers the experimental methods of science to filmmaking, where he frames reality in his laboratory and changes one variable at a time to reveal an underlying causality.

Secret Life (2008) explores the edges of our human perception, where time does pass but is almost impossible to observe. This is the first part of the Secrets Trilogy, portrays a woman trapped in an apartment with a life of its own. She moves at a mechanical speed and her mind is like a clock whose hands pin the events of her life to the tapestry of time; reflected in the mechanical eye of the camera. Her thoughts escape her and come to life, growing like the plants that inhabit the space around her: living, searching, feeling, breathing and dying.


Choo Jing Sarah, The Hidden Dimension, 2013

Choo Jing Sarah (born 1990, Singapore) is a Multidisciplinary Fine Artist who has recently graduated from the Nanyang Technological University’s School of Art Design and Media. Focusing on the relationship between space and time, Choo’s work depicts identifiable moments and characters within contemporary Singaporean society. Intentionally constructed and staged, the artist reflects upon local social and cultural norms.

Solitude has become a significant issue in today’s society. In her recent work, Choo reflects upon this phenomenon. In The Hidden Dimension she questions the effectiveness of the relief offered by daily routines. Seven members of her family are depicted engaged in trivial acts of self-occupation. At exactly the same point in the film, in an unexpected cadence, they simultaneously break from their self-imposed Sisyphean distraction and look out into the audience and each other.

02 lightning Strikes extra

Theo Eshetu, Lightning Strikes, 2009

Theo Eshetu (born 1958, London) his childhood was spent between Ethiopia, Senegal and Yugoslavia, among other nations. Theo Eshetu has worked in media art since 1982, creating installations, video art works, and television documentaries. As a video maker, he explores the expressive capabilities of the medium and the manipulation of the language of television. Exploring themes and imagery from anthropology, art history, scientific research, and religious iconography, he attempts to define how electronic media shapes identity and perception. World cultures, particularly the relationship of African and European cultures, often inform Eshetu’s work.

Lightning Strikes (2009) is being shown to coincide with Theo Eshetu’s exhibition The Return of the Axum Obelisk at the DAAD Galerie, running from Feb 1 – March 15th 2014. The Obelisk of Axum was taken as a war trophy from Ethiopia to Rome by Mussolini’s army during the Italian occupation of 1935. Since the signing of a peace, treaty in 1942 it became the subject for debate as to whether it should be returned to Axum or not. Over the years support for its restitution grew, but neither political or historical arguments, nor a legal battle to full fill a contractual commitment, succeeded in having the Obelisk returned. Further research into its structural conditions to withstand the process of dismantling and remounting resulted in a declaration that it was simply too fragile to be returned. It was only in 2002, when the Obelisk was damaged by a lightning strike struck by lightning, that the decision to have it returned was made.


20/11/2014
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Fragments of Empires Opening Weekend

 
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Fragments of Empires


Opening Weekend

 

8 – 9 November 2014

@ .CHB Collegium Hungaricum Berlin
Dorotheenstrasse 12, 10117, Berlin Mitte

Eshetu_ROMA_grab
 

Fragments of Empires Opening Weekend at .CHB

will follow the exhibition vernissage at MOMENTUM Berlin

7 November @ 19:00

Kunstquartier Bethanien, Mariannenplatz 2, 10997, Berlin Kreuzberg

More Info about the Exhibition here >
 

 

PROGRAM

Saturday 8 November

Symposium
@ .CHB Panoramahall
17:00 – 19:00

With:

Lutz Becker, David Elliott, Theo Eshetu, Mark Gisbourne,
Gülsün Karamustafa, Fiona Pardington, Bojana Pejic, Sophia Pompéry

 

Saturday & Sunday 8,9 November


Sound Installation
After the Wall by Lutz Becker

Outside .CHB, 12:00 – 19:00

 

MOMENTUM_InsideOut Screening
On .CHB Media Facade
19:00 – 24:00
Featuring Theo Eshetu and Sophia Pompéry

 

 

On the Occasion of the 25th Anniversary of the Fall of the Berlin Wall:


Sound Sculpture

After the Wall by Lutz Becker, 1999/2014

8 & 9 November @ 12:00 – 19:00

Outside .CHB

For Fragments of Empires, Lutz Becker re-visits a sound installation commissioned for the exhibition After the Wall held at the Moderna Museet Stockholm in 1999, also curated by David Elliott. Its five constituent sound montages are based on original recordings made at the fall of the Berlin Wall. After its installation in Stockholm it travelled subsequently to Budapest and Berlin. MOMENTUM presents the sound sculpture After The Wall in the context of the 25th anniversary of the fall of the Berlin Wall. The fall of the Berlin Wall 25 years ago, in November 1989, symbolised the end of the separation of the City of Berlin, as well as that of Germany into an Eastern and a Western state. It marked, for everybody to see, the final collapse of Communism. It was a moment in history that promised to the people of Germany and other Europeans a new beginning. The significance of the Berlin Wall extended far beyond the city, beyond the borders of Germany. It epitomised the Cold War confrontation between the Warsaw Pact and the NATO alliance. The Wall separated the spheres of interest between Communism and Capitalism. On 13. August 1961 the government of East Germany, the GDR, began to seal off East Berlin from West Berlin by means of barbed wire and anti-tank obstacles. The underground and railway services of Greater Berlin were severed and West Berlin was turned into an island within GDR territory. A solid wall gradually replaced the provisional fence. It was made up of concrete segments of a height of 12 feet and was 165 miles long.

A trench ran parallel to it to prevent vehicles from breaking through. There was a patrol corridor behind it, watch towers, bunkers and electric fences. It appeared to the population of Germany that the split of their country and of Berlin would last forever. In 1989, as a reaction to Gorbachov’s reforms in the Soviet Union and massive unrest in their country, the government of the GDR decreed the opening of the Wall on 9. November 1989. In the following days and months demolition workers began with tearing it down. On 1. July 1990 the GDR gave up her statehood and merged with West Germany. For the Germans the demolition of the wall was an act of liberation. It gave hope for a future in which unhindered communication and freedom of movement would be everybody’s natural right. Within days of the ‘opening’ of the wall its terrifying symbolism lost its power. Millions of people came to Berlin to look at the now defunct wall and to take a piece of it with them to remember this moment of history. Hundreds of people attacked the graffiti covered surfaces of the Wall, eroding it bit by bit. The so called ‘Mauerspechte’, wall-peckers as opposed to woodpeckers, worked on the Wall day and night; their hammering, knocking and breaking sounds travelled along the many miles of Wall. The high density concrete of the structure worked like a gigantic resonating body; its acoustic properties created eerie echoes driven by the random percussion of the hammering.


Limited Edition Record Release with The Vinyl Factory
Vinyl Cover_Lutz Becker

AFTER THE WALL

A Sound Sculpture by Artist Lutz Becker (1999 / 2014)

For the 25th Anniversary of the Fall of the Berlin Wall
 
 

And So That Everyone Can Join In On The Day:
 

A FREE DOWNLOAD TO CELEBRATE THE POWER OF THE PEOPLE!

DOWNLOAD IT AND PLAY IT LOUDLY ON 9 NOV 2014!
 

WE WANT EVERY CITY WORLDWIDE TO RING WITH THE UNCOMPROMISING SOUNDS OF FREEDOM.

The Berlin Wall was first breached on 9th November 1989, as the result of popular mass meetings and demonstrations within the GDR. It was not demolished at a single stroke, but over days and weeks was slowly chipped away as people from East and West joined together to obliterate a hated symbol of oppression. This was the first in a chain of events that led to the end of the Soviet Union and the Iron Curtain. Europe was freer than it had ever been before! And the ramifications spread the world-over!

In 1989 the whole of Berlin rang and rocked to the liberating sound of hammers and pickaxes as the Wall was demolished. It was intended to build a better world without any walls.

Artist and film-maker Lutz Becker made a montage of these percussive sounds as the opening work in After the Wall, a large exhibition of art from the post-communist countries of Europe, that opened in 1999 on the 10th anniversary of this world-changing event. Now for the 25th anniversary, to coincide with the opening of Fragments of Empires at MOMENTUM Berlin, we encourage you to download any of the 5 tracks of this sound sculpture, resonating through time into the present and future.

Remind politicians today that it was the power of the people that brought down the Wall in 1989 and that ideals of freedom have still to be protected!

Wherever you are in the world, download the Wall and play it loudly on Nov 9!!!

  

AFTER THE WALL – Potsdamer Platz
Strong athmosphere. It is the basis of the installation. Hammering and distant voices.

  

AFTER THE WALL – Invalidenstrasse
Dramatic close-up percussion of hammers.

  

AFTER THE WALL – Checkpoint Charlie
Heavy percussion. Massive rhythmical sound bundles.

  

AFTER THE WALL – Brandanburger Tor
Relaxed, regular beats quite close.

  

AFTER THE WALL – Night
End piece with dominant echos.

 

MOMENTUM_InsideOut Program

8 & 9 November @ 19:00 – 24:00

On .CHB Media Facade

 

ARTISTS AND WORKS

Theo Eshetu, ROMA, 2010

Theo Eshetu was born in London 1958, and grew up in Addis Ababa, Dakar, Belgrade and Rome. He now lives and works in Berlin. Forging a hybrid language to merge practices of video art and documentary filmmaking, Eshetu explores perception, identity, and notions of the sacred through electronic time-based media and optical devices and effects. He draws from anthropology, art history, scientific research, and religion—Catholic, African, Muslim, Buddhist—to explore clashes and harmonies of human subjectivity between world cultures in the global context. Though essentially conceptual, Eshetu’s work is often focused on cultural displacement, and is always grounded in compelling aesthetic components, often achieved through fractal repetition, such as kaleidoscopic mirroring, multi-screen projections, or mosaic-like patterning of images.

Fragments of Empires features Eshetu’s video ROMA (2010). As Fellini himself pointed out despite the imperial, papal, fascist nature of Rome in reality it is an African city. This was Theo Eshetu’s starting point for ROMA, a vision of the city in which the sacred and profane dialogue with its ephemeral and eternal qualities to reveal a city full of the ghosts of its imperial past. Rome is a place of layers of history and the accumulation of mental states that this implies. At its core Rome is the root of a specific aspect of western civilization and classical Antiquity – not in the Arts, which are in Greece, or in the Sciences, which are in Egypt – but in the aspect of its Power. A monumental power once spanning continents, now residing in the memory of monuments. ROMA portrays this through the eyes of unidentified foreigners that come to visit Rome bringing with then their diversity, art and culture only to find them absorbed into the city’s own fabric. We see the city through marvelled eyes and ultimately it’s the city itself that creates a loss of identity.

Sophia Pompéry, Atölye / Atelier, 2013

Sophia Pompéry is a Hungarian artist (born 1984 in Berlin) whose family roots extend both through the Ottoman and the Austro-Hungarian Empires from brothers separated by the politcal re-drawing of national borders. Pompéry studied from 2002 to 2009 at the Kunsthochschule Berlin Weissensee. In 2009 and 2010, she participated in the Institute for spatial experiments by Olafur Eliasson at the Universität der Künste, Berlin. In 2011 she was awarded with the Toni and Albrecht Kumm Prize for the promotion of fine arts and in 2012, became a fellow of the DAAD art program with a six-month stay in Istanbul. She lives and works in Berlin and Istanbul.

For Fragments of Empires, Pompéry re-edits her 2013 site-specific installation, Atölye / Atelier. The film was shot in a traditional Armenian-Turkish workshop for stucco work in Istanbul. Handed down over 5 generations of craftsmen, the expertise in this atelier provided the décor for some of the best known buildings in Istanbul, such as the Dolmabahce Palace. This atelier today is an historical memory of Istanbul, the representative capital of the Ottoman Empire. A multitude of ornamental fragments of representational buildings in a diversity of historical and cultural styles mingle here in an eclectic way. One has the impression of standing in an archive of architectures and histories, entangling western Orientalism and the Ottoman version of European Rococo.


 

Symposium

8 November @ 17:00 – 19:00

@ .CHB Panoramahall

 

With:

Lutz Becker, David Elliott, Theo Eshetu, Mark Gisbourne,
Gülsün Karamustafa, Fiona Pardington, Bojana Pejic, Sophia Pompéry

 

[fve] http://vimeo.com/114563560 [/fve]

 

Speakers

Lutz Becker

Lutz Becker was born in 1941 in Berlin, Germany and now lives and works in London, UK. Lutz Becker is an artist, filmmaker, curator and film-historian. He studied at the Slade School of Fine Art, London, where he graduated under Thorold Dickinson and became a distinguished director of political and art documentaries. A practicing painter, he is also a curator of exhibitions. He collaborated with the Hayward Gallery on The Romantic Spirit in German Art (1994), Art and Power (1995), and Tate Modern on Century City (2001).

For Fragments of Empires, Becker re-visits a sound installation commissioned for the exhibition After the Wall held at the Moderna Museet Stockholm in 1999 and subsequently in Berlin in 2000 at the Hamburger Bahnof, also curated by David Elliott. Its five constituent sound montages are based on original recordings made at the fall of the Berlin Wall. MOMENTUM presents the sound sculpture After The Wall in the context of the 25th anniversary of the fall of the Berlin Wall. The fall of the Wall 25 years ago, in November 1989, symbolised the end of the separation of the City of Berlin, as well as that of Germany into an Eastern and a Western state. It marked, for everybody to see, the final collapse of the idealogical empire of Communism.

DAVID ELLIOTT

David Elliott is an English born curator and writer. From 1976 to 1996 he was Director of the Museum of Modern Art in Oxford, England, Director of Moderna Museet [The National Museum of Modern and Contemporary Art] in Stockholm, Sweden (1996-2001), founding Director of the Mori Art Museum in Tokyo (2001-2006), the first Director of the Istanbul Museum of Modern Art [Istanbul Modern] (2007), Artistic Director of the 17th Biennale of Sydney (2008 – 2010) and Artistic Director of the 1st Kiev International Biennale of Contemporary Art (2011-12), Artistic Director of the 4th International Biennale of Work by Young Artists in Moscow (2014-2014), Rudolf Arnheim Guest Professor in Art History at the Humboldt University, Berlin (2008) and Visiting Professor in Museum Studies at the Chinese University in Hong Kong (2008/11/13). From 1998 until 2004 he was President of CIMAM (the International Committee of ICOM for Museums of Modern Art). He is Hon President of the Board of Triangle Art Network/Gasworks in London and on the Asia Advisory Board of the Guggenheim Museum in New York.


Theo Eshetu

Theo Eshetu was born in London 1958, and grew up in Addis Ababa, Dakar, Belgrade and Rome. He now lives and works in Berlin. Forging a hybrid language to merge practices of video art and documentary filmmaking, Eshetu explores perception, identity, and notions of the sacred through electronic time-based media and optical devices and effects. He draws from anthropology, art history, scientific research, and religion—Catholic, African, Muslim, Buddhist—to explore clashes and harmonies of human subjectivity between world cultures in the global context. Though essentially conceptual, Eshetu’s work is often focused on cultural displacement, and is always grounded in compelling aesthetic components, often achieved through fractal repetition, such as kaleidoscopic mirroring, multi-screen projections, or mosaic-like patterning of images.

Photo Credit: Oliver Mark

Mark Gisbourne

Mark Gisbourne: Stratford-on-Avon, in England (1948). Educated in Rome, and Courtauld Institute of Art, University of London, where he was a tutor. Lecturer Master’s Programme, Slade School of Art, University College, University of London, and Senior Lecturer Sotheby’s Institute, Masters Programme(s) (accreditation University of Manchester), where he supervised numerous contemporary art dissertations, many of his students have become directors and curators of museums and galleries across the world. He is a former Treasurer and twice President of the British Art Critics Association (AICA), an International Vice-President AICA, and he co-organised the World Congress of Art Critics, Tate Modern following the museum’s opening in 2000. Recent Visiting Professorships include the University of Sassari, and the Alvar Aalto University, Helsinki.

His concentration today is an international curator of exhibitions across Europe, and as a writer of more than a dozen books and nearly three hundred catalogue publications, these having been published variously in over twenty languages. For the last ten years he has curated the international exhibition Rohkunstbau in Brandenburg (the last being Rohkunstbau XX ‘Revolution’, July-September, 2014) that included many international artists and produced extensive catalogues. He is currently involved in a series of exhibition projects with German artists in both Zagreb and Berlin. As a contemporary critic he has written numerous articles and reviews over the last thirty years. His latest book publications in English, English/German, English/Spanish, English/Russian published in 2013-14, include among others a Collector’s book ERZGEBURTSTAG “ERZKUNST” (Kerber Verlag, Berlin, 2013), a new three hundred page publication Berlin Art Scene (Becker Joest Volk Verlag, February, 2014), and several monographic publications on Titus Schade (Distanz Verlag, 2013) Paule Hammer (Kerber Verlag, Berlin, 2013), Markus Keibel (Berlin, Distanz Verlag, 2013), Adrian Ghenie (Berlin, London and New York, Hatje Cantz Verlag, 2014), Bosco Sodi (2014, Mexico City and New York), Anne Wolff ‘Persona’ Glass Sculpture (Arnoldsche Art Publishers, Stuttgart, October, 2014) and Philipp Fürhofer ‘Diaspheres’ (Hatje Cantz, May, 2014), and most recently monographic essays in Via Lewandowsky, Christoph Steinmeyer, Rayk Goetz (Kerber Verlag, October 2014) and Kames Lee Byars (curator and catalogue, Nicolai Verlag, Berlin). His recent international touring exhibition with an extensive catalogue was I Am A Berliner: Eighteen Positions in Berlin Painting (Zagreb, Kunsthalle of the Artist Association, 2012; Helena Rubenstein Pavilion, Tel Aviv Museum; Sassari Modern and Contemporary Museum, Sardinia, 2013). He currently lives and works in Berlin.


Gülsün Karamustafa

Gülsün Karamustafa was born in 1946 in Ankara, Turkey. She lives and works in Istanbul, where she is recognized as one of the most important and pioneering Turkish contemporary artists. Her work addresses questions of migration, displacement and military dictatorship (during the 1970s she was imprisoned by the Turkish military). She was refused a passport for sixteen years until the mid-80s and, unlike other Turkish artists, could not emigrate or travel. This enforced isolation led her to an analysis of her own situation and context: the city of Istanbul, interior migration and nomadism within Turkey, and the ideological and psychological ramifications of identity. Like a sociologist or anthropologist, Gülsün Karamustafa explores the historical and social connections of oriental cultures in her works, often using materials that express the hybrid character of different cultures and religions. Ostensibly reverting to historical lore, Karamustafa’s artistic comments oscillate actually between sensual meta-narratives and ironic-critical stories about the present situation, addressing themes of identity and migration, cultural difference and acculturation within the contexts of orientalism and post-colonialism. Since the end of the late 1990s, she has often used already existing materials and images of oriental or occidental origin that she fragments, dismantles and reassembles in order to contrast ‘private’ with ‘public’ by referring to every-day life, culture, art history, and the media.

Fiona Pardington

Fiona Pardington was born in 1961 in Devonport, New Zealand, of āi Tahu, Kati Mamoe and Scottish descent. She lives and works in New Zealand. She is recognized as the leading woman artist working with photography in New Zealand. Her work examines the history of photography and representations of the body, taking in investigations of subject-photographer relations, medicine, memory, collecting practices and still life. Fiona has been working in a still-life format within museums, recording taonga (Māori ancestral treasures) and other historic objects such as hei tiki (greenstone pendants) and the now extinct huia bird. In these works, she brings to a contemporary audience an awareness of traditional and forgotten objects. Re-examining the history of portraiture in more recent work, she addresses the New Zealander traditional idea of the photograph as a stand-in for an actual person – a way of looking at portraits that western minds associate with traditions of Maori animism that imbue photographs of loved ones who have passed away with their actual presence and characteristics. Applying this tradition to a still-life format, Pardington portrays ancestral Maori carvings alongside objects redolent of the colonial history of an island nation at the outer edges of empire.


Bojana Pejic

Bojana Pejić has organized many exhibitions of Yugoslav and international art. In 1995 she organized an international symposium, The Body in Communism, at the Literaturhaus in Berlin. She was chief curator of the exhibition After the Wall–Art and Culture in Post-Communist Europe, organized by the Moderna Museet, Stockholm (1999), which was also shown at the Museum of Contemporary Art ­Foundation Ludwig in Budapest (2000) and at Hamburger Bahnhof in Berlin (2000-2001). Pejić recently curated Gender Check–Femininity and Masculinity in the Art of Eastern Europe at MUMOK (Museum Moderner Kunst Stiftung Ludwig, Vienna). Pejić lives and works in Berlin.

Sophia Pompéry

Sophia Pompéry is a Hungarian artist (born 1984 in Berlin) whose family roots extend both through the Ottoman and the Austro-Hungarian Empires from brothers separated by the politcal re-drawing of national borders. Pompéry studied from 2002 to 2009 at the Kunsthochschule Berlin Weissensee. In 2009 and 2010, she participated in the Institute for spatial experiments by Olafur Eliasson at the Universität der Künste, Berlin. In 2011 she was awarded with the Toni and Albrecht Kumm Prize for the promotion of fine arts and in 2012, became a fellow of the DAAD art program with a six-month stay in Istanbul. She lives and works in Berlin and Istanbul.



THE FRAGMENTS OF EMPIRES Symposium
(photos by Camille Blake)

 


INSIDE_OUT SCREENING
(photos by Camille Blake)

 

WITH THANKS FOR GENEROUS SUPPORT IN REALIZING THIS EXHIBITION

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19/11/2014
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Fragments of Empires InsideOut

 
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On the Occasion of

Fragments of Empires Opening Weekend

 

MOMENTUM

Presents

 


 

8 – 9 November 2014

19:00 – 24:00

@ .CHB, Dorotheenstrasse 12, 10117, Berlin Mitte

 


 

Featuring:

Theo Eshetu, ROMA, 2010

Sophia Pompéry, Atölye/Atelier, 2013

 


 

The InsideOut screening will follow the sound installation

After the Wall by Lutz Becker (1999/2014)

8 – 9 November @ 12.00 – 19.00

Outside .CHB

 
Eshetu_ROMA_grab
 

The sound installation and the screening are a part of

Fragments of Empires exhibition opening weekend

@ .CHB Collegium Hungaricum Berlin

More info here >

 

 

Made possible by the generous support of:

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ARTISTS AND WORKS

 

Theo Eshetu, ROMA, 2010

Theo Eshetu was born in London 1958, and grew up in Addis Ababa, Dakar, Belgrade and Rome. He now lives and works in Berlin. Forging a hybrid language to merge practices of video art and documentary filmmaking, Eshetu explores perception, identity, and notions of the sacred through electronic time-based media and optical devices and effects. He draws from anthropology, art history, scientific research, and religion—Catholic, African, Muslim, Buddhist—to explore clashes and harmonies of human subjectivity between world cultures in the global context. Though essentially conceptual, Eshetu’s work is often focused on cultural displacement, and is always grounded in compelling aesthetic components, often achieved through fractal repetition, such as kaleidoscopic mirroring, multi-screen projections, or mosaic-like patterning of images.

Fragments of Empires features Eshetu’s video ROMA (2010). As Fellini himself pointed out despite the imperial, papal, fascist nature of Rome in reality it is an African city. This was Theo Eshetu’s starting point for ROMA, a vision of the city in which the sacred and profane dialogue with its ephemeral and eternal qualities to reveal a city full of the ghosts of its imperial past. Rome is a place of layers of history and the accumulation of mental states that this implies. At its core Rome is the root of a specific aspect of western civilization and classical Antiquity – not in the Arts, which are in Greece, or in the Sciences, which are in Egypt – but in the aspect of its Power. A monumental power once spanning continents, now residing in the memory of monuments. ROMA portrays this through the eyes of unidentified foreigners that come to visit Rome bringing with then their diversity, art and culture only to find them absorbed into the city’s own fabric. We see the city through marvelled eyes and ultimately it’s the city itself that creates a loss of identity.

Sophia Pompéry, Atölye / Atelier, 2013

Sophia Pompéry is a Hungarian artist (born 1984 in Berlin) whose family roots extend both through the Ottoman and the Austro-Hungarian Empires from brothers separated by the politcal re-drawing of national borders. Pompéry studied from 2002 to 2009 at the Kunsthochschule Berlin Weissensee. In 2009 and 2010, she participated in the Institute for spatial experiments by Olafur Eliasson at the Universität der Künste, Berlin. In 2011 she was awarded with the Toni and Albrecht Kumm Prize for the promotion of fine arts and in 2012, became a fellow of the DAAD art program with a six-month stay in Istanbul. She lives and works in Berlin and Istanbul.

For Fragments of Empires, Pompéry re-edits her 2013 site-specific installation, Atölye / Atelier. The film was shot in a traditional Armenian-Turkish workshop for stucco work in Istanbul. Handed down over 5 generations of craftsmen, the expertise in this atelier provided the décor for some of the best known buildings in Istanbul, such as the Dolmabahce Palace. This atelier today is an historical memory of Istanbul, the representative capital of the Ottoman Empire. A multitude of ornamental fragments of representational buildings in a diversity of historical and cultural styles mingle here in an eclectic way. One has the impression of standing in an archive of architectures and histories, entangling western Orientalism and the Ottoman version of European Rococo.


Lutz Becker, After The Wall, 2000

Lutz Becker was born in 1941 in Berlin, Germany and now lives and works in London, UK. Lutz Becker is an artist, filmmaker, curator and film-historian. He studied at the Slade School of Fine Art, London, where he graduated under Thorold Dickinson and became a distinguished director of political and art documentaries. A practicing painter, he is also a curator of exhibitions. He collaborated with the Hayward Gallery on The Romantic Spirit in German Art (1994), Art and Power (1995), and Tate Modern on Century City (2001).

For Fragments of Empires, Becker re-visits a sound installation commissioned for the exhibition After the Wall held at the Moderna Museet Stockholm in 1999 and subsequently in Berlin in 2000 at the Hamburger Bahnof, also curated by David Elliott. Its five constituent sound montages are based on original recordings made at the fall of the Berlin Wall. MOMENTUM presents the sound sculpture After The Wall in the context of the 25th anniversary of the fall of the Berlin Wall. The fall of the Wall 25 years ago, in November 1989, symbolised the end of the separation of the City of Berlin, as well as that of Germany into an Eastern and a Western state. It marked, for everybody to see, the final collapse of the idealogical empire of Communism.

To mark the 25th Anniversary of the Fall of the Berlin Wall, we are proud to release with The Vinyl Factory a limited edition record of After The Wall.

 



INSIDE_OUT SCREENING
(photos by Camille Blake)

 

26/09/2014
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A Time For Dreams

 
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MOMENTUM_InsideOut Presents:

 

A Time For Dreams
Selected Videos from the 4th Moscow International Biennale for Young Art
Curated by David Elliott

 


 

On the Occasion of Berlin Art Week 2014

 

19 – 21 September 2014

Screening Nightly @ 19:00 – 24:00

Reception & Dialogue
Sunday, 21 Sept @ 17:00 – 19:00

@ .CHB, Dorotheenstrasse 12, Berlin Mitte 10117

 

Featuring:
Chen Zhou // Wojtek Doroszuk // Versia Harris // Yuree Kensaku & Maythee Noijinda // Lu Yang // Ma Qiusha // Anuk Miladinovic // Sun Xun // Michael Wutz

 

 
 

READ HERE THE INSIDEOUT CATALOGUE

 

 

Organizers of 4th Moscow International Biennale for Young Art:
National Centre for Contemporary Arts (NCCA), Moscow Museum of Modern Art (MMOMA)

 

     
      MMOMA Logo

 

&

.CHB_InsideOut Presents:
Budapest Sketch

Curated by Fanni Magyar
 

Featuring:
János Brückner / / László Csáki // Danila Kostil & Attila Stark

 

 

A Cooperation between MOMENTUM and the NCCA

@ .CHB the Collegium Hungaricum Berlin

 

 

19 – 21 September 2014

Screening Nightly @ 19:00 – 24:00

@ Dorotheenstrasse 12, Berlin Mitte 10117

 
 

a time for dreams

In consciousness of the power, the necessity and moral framework of art, and of the many different ways in which dreams can be imagined and invoked, the 4th International Moscow Biennale of Young Art, from which the works in this screening program have been selected, presents propositions, myths, desires, beliefs – dreams – that are all, or can become, versions of reality. But inevitably, these too contain, and are contained by, other dreams and ideas. Benevolent or malevolent, open or closed, these ‘boxes’ may both reveal and hide what lies within them. But together, the works in A TIME FOR DREAMS create reverberations of recognition, anxiety, puzzlement, perplexity, knowledge, conviction, aspiration and delight that may transcend and demolish all barriers. The simple reason for this is that the containment of dreams is a futile, hopeless and impossible task. Understand them, we may; work with them, we should, but should we try to deny or imprison them, they would melt through our fingers like dust.

[Text by David Elliott]

 

ARTISTS and WORKS

Work descriptions courtesy of the 4th International Moscow Biennale of Young Art Catalog

 

VERSIA HARRIS

Versia Harris is a Barbadian artist living and working in Weston St. James. Upon graduating from the Barbados Community College with a BFA in Studio Art, she was given The Leslie’s Legacy Foundation Award for most outstanding student.She has shown is Trinidad and Aruba and will do a four week residency in at the Vermont Studio Center, Vermont, next year. She has created a narrative of an original character to address the perceptions of self as it compares to the unrealistic other. Her primary media includes pen and watercolour on paper. She also uses Adobe Photoshop to manipulate her drawings and create animations.

 

They Say You Can Dream a Thing More Than Once
2013, Video, 11:46 min

My work explores the fantasies and experiences of a character of my own invention. This character is introduced to the animations of Walt Disney and consequently layers what she desires from these animations onto her life. Her perception of and relationship with her world changes as she compares her reality with the fantasies of the Disney stories.She struggles with her perception of self as “she” appears in complete contrast with theDisney princesses. Sparked by my interest in storytelling, I created this character and story to generate a comparison between the iconography of Disney and the reality “she’ knew. I have fabricated this narrative to address how one can be influenced by the media. How the things that we see, read or hear create a desire in us to possess those things and eventually integrate them into our reality only to consume them again. Yet I am also fascinated by the ways in which the very things that we desire from fantasy can elude our grasp while changing the ways we interact with what we see and feel round us. Ultimately, are fantasy and reality as distinct from each other as one would think? A dream is a wish your heart makes when you’re awake and They say you can dream a thing more than once are the two animations I have created to express the tension between a reality and the desire for an different reality. In these multiple large-scale projections. I wish to create animmersive environment and experience for the audience. The animations will also be revisited, re-edited and recombined as they interact with each other.

WOJTEK DOROSZUK

Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Kraków, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), Belfast Exposed, The Stenersen Museum (Oslo), Joseph Tang Gallery in Paris etc.

 

FESTIN
2013, Video, 20:15 min

Festin takes as its inspiration the paintings of the 17th century Flemish still life artists, such as Frans Snyder, Jan and Ferdinand Van Kessel who depicted sumptuous spreads of food often with dead animals that have been recently shot. Here in a post-humanist experimentation, this has been employed to envisage a future world, from which human-beings have disappeared. The film portrays a vanitas tableau of decay and disorder where non-existent guests have been usurped by uninvited intruders — insects and abandoned dogs. This imagery creates a post-apocalyptic epilogue for humankind, a portent of a future that cannot help but refer to present-day representations of abandoned settlements and ghost towns around the world.


YUREE KENSAKU & MAYTHEE NOIJINDA

Born in 1979 in Bangkok, Thailand, Yuree Kensaku graduated from the Visual Arts Department of the School of Fine Arts and Applied Arts of Bangkok University in 2002. Her works were shown in solo exhibitions “108 Paths to Vanity” (2004, Bangkok); “It’s Spiritually Good!” (2005, Bangkok); “The Adventure of Momotaro Girl” (2007, Yokohama, Japan); “Love in Platinum Frame” (2007, Bangkok). Some recent group exhibitions she joined are “Talk about Love” (2007, Bangkok); “School of Bangkok: Who and Where are We in this Contemporary Era” (2007, Bangkok). Her works have been collected by the Yokohama Museum of Art in Japan.

 

Twelve Cats
Video, 9 min
Courtesy of artists and 100 Tonson Gallery

Twelve Cats is inspired by the Thai folk tale, Nang Sib-song [‘12 Ladies’], a story about twelve ladies captured by a giant who blinds them and locks them in a cave. The ladies are siblings. Only the youngest retains her eyesight, and only in one eye. As they are confined to a cave and cannot find food, the ladies finally have to eat their own children, and then even each other. Here I have modified Twelve Cats from the original to create a fantasy world full of nightmares. I have imagined new animal characters that are both lovely and painful at the same time — all in their own ways.

ANUK MILADINOVIC

Anuk Miladinovic was born in Basel in 1984. In 2005-2012 she studied in Munich Academy of Fine Arts and successfully graduated under the supervision of Prof. Peter Kogler. The artist lives and works in Munich and Lissabon.

 

Access
2012, Video, 9:17 min
Photography: Jakob Wiessner, sound: Joachim von Breitenstein

Access features a nondescript, grey, dry business environment where anonymous, slightly ridiculous businessmen with drab suits and briefcases, a cleaning woman, a metro station and a peculiar lift take centre stage. The film is a kind of confusing non-event, which intrigues precisely because it is a non-event: an illogical succession of repeated minor, banal actions by anonymous, silent, mostly waiting figures in carefully staged settings, in which the absurd and the surreal are recurrent themes. Although the film, and to a certain extent all of Miladinović’s work, is exceedingly illogical and alienating, it offers an instant familiarity, enabling the viewer to easily identify with what can be seen and heard. So I would describe this work as a visual fiction, and certainly not as a fantasy. The observational character of the piece, her through-composed images, attention to colour, detail, silence and rhythm and the sometimes slightly menacing undercurrent of her fiction evoke cinematic stylists such as Roy Andersson, Jacques Tati and David Lynch.


MA QIUSHA

Ma Qiusha was born in 1982 Beijing, China. In 2005 she Graduated from Digital Media studio of The Central Academy of Fine Arts. Beijing, China. In 2008 she finished MFA Electronic Integrated Art, Alfred University in New York, United States. Ma Qiusha had a number of solo exhibitions such as 51 m2#12:Ma Qiusha in 2010, Ma Qiusha:Address-Curated by Song Dong in 2011 and Static Electricity in 2012. The artist currently Lives in Beijing, China.

 

Rainbow
2013, Video, 3:43 min
Courtesy of artist and Beijing Commune

Rainbow, recorded in one shot with a high-definition camera, presents a dream-like scene: three teenage girls, dressed for figure skating, spin hand in hand, mashing tomatoes under their skates. The acne on their young faces, the tiny mesh of the stockings on their vigorous legs, the splashing crimson juice of the fruit and the skate blades are amplified and rendered more vivid by the sharp lens of the camera.

MICHAEL WUTZ

Michael Wutz was born in 1979 in Ichenhausen, Bavaria, Germany. In 2004 he graduated from Schweizer Cumpana Scholarship for Painting in Bucharest. In 2001-2006 he studied at the Universität der Künste Berlin under Prof. Leiko Ikemura. In 2005-2006 Michael Wutz was a Master student under Leiko Ikemura at the UdK Berlin. The artist currently lives and works in Berlin.

 

Tales, Lies and Exaggerations
2011, Experimental Animation, 9 min

The animation Tales, Lies and Exaggerations combines various drawn, photographed and filmed documents connected with projects that Michael Wutz has been working on. The plot was inspired by the ‘Cut-Up’ technique developed by William S. Burroughs and Brion Gysin, as well as by proto-Surrealist authors such as the Comte de Lautréamont. Both these works examine different aspects of dreams and dreaming: its language, mechanisms, symbols and utopian spaces.


SUN XUN

Sun Xun was born in 1980 and raised in Fuxin, located in the North East of China. In 2001 he graduated from Art High School of China Academy of Art and in 2005 from the Print-making Department of China Academy of Art. Sun Xun has held multiple solo exhibitions around the world, most notably at the Hammer Museum (Los Angeles), The Drawing Center (New York), Kunsthaus Baselland (Basel), A4 Contemporary Arts Centre (Chengdu), Minsheng Art Museum (Shanghai) and the Louis Vuitton Taipei Maison (Taipei). He has also been included in numerous significant group exhibitions at the Skissernas Museum (Lund), Times Museum (Guangzhou), Jordan Shnitzer Museum of the Moving Image (New York), Minsheng Art Museum (Shanghai), Kunsthalle Bern (Bern), and Taiwan Museum of Fine Arts (Taipei), amongst others. Furthermore, his video work has been widely exhibited at film festivals around the world, from Germany and Austria, to Sweden, South Korea, Brazil, and Iran. Sun Xun is widely considered one of China’s most talented rising artists. He was awarded in 2010 the Best Young Artists award by the CCAA, the Young Art Award by Taiwan Contemporary Art Link, and the Arts Fellowship by Citivella Ranieri Foundation (Italy). The artist currently lives and works in Beijing.

 

Some Actions Which Haven’t Yet Been Defined in The Revolution
2011, Video Animation, 12:22 min
Courtesy of artist and ShanghART Gallery

This is an animation film made using woodblock printing that took more than a year to complete. Woodblock printing has a unique history in China since it was used as a cultural weapon in the Revolution, and is still the inheritor of revolutionary spirit. So it is more than a technical medium. These animation frames relate a special memory of a remote country, but the memory continues to repeat in reality.

LU YANG

Lu Yang was born in 1974 in Shanghai, China. In 2007 – 2010  she did a Master of Arts New Media Art department, China Academy of Art 2003 – 2007 Bachelor of Arts New Media Art department, China Academy of Art. Her work has been widely shown at major alternative spaces throughout China and has earned the support of major figures like artists Zhang Peili, Yao Dajuin, and Wang Changcun and curator Zhang Ga. The artist had solo exhibitions in 2009 (“The power of reinforcement – Luyang’s solo exhibition”, Zendai MOMA, Shanghai), 2010 (“Lu Yang’s Hell”, Art Labor Gallery, Shanghai “Torturous Vision”, input/output, Hong Kong) and 2011 (“LU YANG: THE ANATOMY OF RAGE”, curated by Zhang Peili, UCCA, Beijing “The Project of KRAFTTREMOR” Boers Li Gallery, Beijing). The artist currently lives and works in Shanghai.

 

Uterus Man
2013, Video Animation, 11:20 min

The shape of the female uterus resembles the outline of a person standing straight, arms open wide; this is the source of inspiration for the character of Uterus Man. Each part of the armor of Uterus Man coincides with a different part of the human uterus. The gender of Uterus Man is ambiguous: it may seem to be male by virtue of its super-hero powers, but the source of these powers is the unique ability of the uterus to propagate. This contradictory configuration determines the asexuality of Uterus Man. ‘It’ possesses all kinds of unique ultra-deadly weapons, due in part to the power of altering genes and heredity functions. For example, using the power of gene alteration, its attack can instantly change the enemy into a weaker species, before pressing home the attack. The power of altering hereditary functions can change the sex of the enemy, or instantaneously evoke a genetic disease to weaken it, and then attack again. This contradictory configuration calls into question the law of propagation of natural beings. These queries concerning biological gender, grading of species, genetic breeding and evolution are all concealed within the integrated setting of Uterus Man. I, as the originator and creator of Uterus Man, would like to invite all creative types around the globe to march into the world of Uterus Man and change our ideas of the universe.


CHEN ZHOU

Chen Zhou was Born in 1987 in Zhejiang, China. In 2009 he graduated from China Central Academy of Fine Arts, Media Art Lad with BFA, Beijing, China. He had a number of solo as well as group exhibitions around China (SH Contemporary ‘Hot Spots’Project, AIKE-DELLARCO in Shanghai Exhibition Center in 2013, I’m not not not Chen Zhou in Magician Space in 2013 and ’m not not not Chen Zhou at Magician Space in Shanghai in 2014).The artist currently lives and works in New York.

 

Spanking The Maid II
2012, Video, 13 min
Courtesy of artist and Aike-Dellarco Gallery

Spanking the Maid is a plan for a feature-length film based on Robert Coover’s novel of the same title,. It consists of 4 parts: top-level conference, fitness program, spanking the maid and Koro. The entire plan explores in four loops the structure of the power system. This will be the second part of the whole film, and is concerned with media violence and the construction of awareness. It shows how the media encompasses an underlying pornographic desire that seeps into a will for power.


ABOUT THE CURATOR

David Elliott is an English born curator and writer. From 1976 to 1996 he was Director of the Museum of Modern Art in Oxford, England, Director of Moderna Museet [The National Museum of Modern and Contemporary Art] in Stockholm, Sweden (1996-2001), founding Director of the Mori Art Museum in Tokyo (2001-2006), the first Director of the Istanbul Museum of Modern Art [Istanbul Modern] (2007), Artistic Director of the 17th Biennale of Sydney (2008 – 2010) and Artistic Director of the 1st Kiev International Biennale of Contemporary Art (2011-12), Artistic Director of the 4th International Biennale of Work by Young Artists in Moscow (2014), Rudolf Arnheim Guest Professor in Art History at the Humboldt University, Berlin (2008) and Visiting Professor in Museum Studies at the Chinese University in Hong Kong (2008/11/13). From 1998 until 2004 he was President of CIMAM (the International Committee of ICOM for Museums of Modern Art). He is Hon. President of the Board of Triangle Art Network/Gasworks in London and on the Asia Advisory Board of the Guggenheim Museum in New York.

ABOUT THE 4TH MOSCOW INTERNATIONAL BIENNALE FOR YOUNG ART

The Moscow International Biennale for Young Art is one of the largest and most ambitious projects in the field of contemporary art. The Biennale combines the creative initiatives of artists of the new generation from Russia and abroad. Leading Moscow museums and centers of contemporary art, in collaboration with regional and foreign partners, have participated in the preparations for this event.

The project attracts the steady attention of critics, curators and other representatives of professional society and a wide section of the public; all who are not indifferent to the future of art.

One of the main tasks of the Biennale is to discover new young artists. The project presents an opportunity to the new generation to create links and set up creative partnerships within the professional art scene. The Biennale provides a space to demonstrate the relevant strategies of the new generation of artists and curators.

For this fourth edition of the International Biennale for Young Art in Moscow David Elliott has chosen the title A Time for Dreams in acknowledgment of the chronic precariousness of our own times and the urgent need for the dreams and visions of younger and future generations to break the barrier of ‘things as they are’ to make things better.

The organisers of the Biennale are the The National Centre for Contemporary Arts (NCCA) and Moscow Museum of Modern Art (MMOMA).


ABOUT NCCA

The National Centre for Contemporary Arts (NCCA) is a museum, exhibition and research organization which aims its efforts at the development of contemporary Russian art within the context of the global art process, at the creation and implementation of programs and projects in the sphere of contemporary art, architecture and design both in this country, and beyond its borders.

The National Centre for Contemporary Arts was created in Moscow in 1992, at the moment when contemporary art was only acquiring the basis for its normal existence and development in Russia. The Centre provided an important and crucial structure consolidating the activities of masters of contemporary art, stimulating their creative efforts. The activity of NCCA has been essential in the processes of the reorganization of the artistic life in Russia during the 1990s. It was important both for Moscow, where the Centre was based then, and for many regions of the country where NCCA efforts initiated the implementation of art projects in the sphere of contemporary art triggering the processes of its development there.

Today, when the efforts of the previous years are bringing fruit, the National Centre for Contemporary Arts continues its active work aimed at the development and popularization of the Russian contemporary art and its integration in the global art context. At present NCCA is a network institution with its branches in major cultural centres of Russia, such as St. Petersburg, Nizhnii Novgorod, Yekaterinburg, Kaliningrad, Vladikavkaz and Tomsk.

ABOUT MMOMA

Moscow Museum of Modern Art (MMOMA) is the first state museum in Russia that concentrates its activities exclusively on the art of the 20th and 21st centuries. Since its inauguration, the Museum has expanded its strategies and achieved a high level of public acknowledgement. Today the Museum is an energetic institution that plays an important part on the Moscow art scene.

The Museum was unveiled on December 15, 1999, with the generous support of the Moscow City Government, Moscow City Department of Culture. Its founding director was Zurab Tsereteli, President of the Russian Academy of Arts. His private collection of more than 2.000 works by important 20th century masters was the core of the Museum’s permanent display. Later on, the Museum’s keepings were enriched considerably, and now this is one of the largest and most impressive collections of modern and contemporary Russian art, which continues to grow through acquisitions and donations.

Today the Museum has five venues in the historic centre of Moscow. The main building is situated in Petrovka Street, in the former 18th-century mansion house of merchant Gubin, designed by the renowned neoclassical architect Matvey Kazakov. Apart from that, the Museum has three splendid exhibition venues: a vast five-storey building in Ermolaevsky Lane, a spacious gallery in Tverskoy Boulevard, the beautiful building of the State Museum of Modern Art of the Russian Academy of Arts, and Zurab Tsereteli Studio Museum.


 
 

THE TIME FOR DREAMS SCREENING
(photos by Marina Belikova)

12/06/2014
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Theo Eshetu Millerntor Gallery #4

 
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MOMENTUM in Cooperation with Viva Con Agua de Sankt Pauli
Are Proud To Present:

 

MOMENTUM_InsideOut

FEATURING

Theo Eshetu

AT

Millerntor Gallery #4

29 – 31 May 2014

 

 

 

Ethiopian artist Theo Eshetu lives and works in Rome and Berlin. His works have been shown at the Venice Film Festival, the London Film Festival, the New York African Film Festival, the 2nd Video Biennial in Fukui, Japan, and many more. His films have won numerous awards, for example at the Berlin Video Festival, the International African Film Festival in Milan or the Festival dei Due Mondi in Spoleto. Eshetu has exhibited at the ICA, London, the Stedelijk Museum, Amsterdam, the National Gallery of Canada, the Martin Gropius Bau, Berlin and the National Gallery of Cape Town, South Africa among others. In 2011 his works were shown at the Sharjah Biennial and the Venice Biennale. In 2012 Theo Eshetu was a guest of the DAAD Artists-in-Berlin Program.

In January 2014, The Return of the Axum Obelisk, (2009), was shown as a 15-screen video installation at Berlin’s DAAD Galerie, after having first been presented at BOZAR, Brussels. Shown here in its single-channel version, the film chronicles the repatriation of a monumental war trophy from Rome to Ethiopia and the religious ceremonies that surrounded its resurrection. Eshetu shows the return of the “Roman” Axum Obelisk to Ethiopia more than 70 years after Mussolini had it shipped to Italy as spoils of war. Building on his own film documentation of this extraordinary incident of restitution, Eshetu has created an elaborate work whose compositional complexity honors the historical complexity of its subject. Unlike most monuments that are built to consolidate and commemoration a given event, the exceptional characteristic of the Axum obelisk has been its unique capacity to change significance with the course of history.

This screening marks the first step in a future collaborative initiative between MOMENTUM and Viva Con Agua in Ethiopia which will engage local artists an enable them to create new works to benefit their communities and to be shown internationally.

Besides the air we breathe, water is the most fundamental source of life. Water creates life, water is life. Water means healthy living, happy living. For Viva con Agua de Sankt Pauli this is the primary motivation for the funding and implementation of water projects around the world in order to enable people to access clean water.

 

Millerntor Event Logo

 

The MILLERNTOR GALLERY #4 occupies the football stadium of the FC St. Pauli in Hamburg. For three days, the stadium transforms into a public art project that provides an arena for creative engagement, intercultural dialogue and an exchange with the urban collective. The main objective of this hybrid event is in support of international NGO Viva con Agua, whose aim is to raise funds in order to support clean drinking water and sanitation initiatives, as well as to raise awareness of the lack of available clean drinking water in many countries of the global South.

The MILLERNTOR GALLERY #4 is a unique project that combines art and social commitment. Starting as a 4-day vernissage, it then turns into the first permanent social art gallery in a football stadium: The stadium of the FC St. Pauli.

 

Using Art and Culture to Help Those In Need of Water Worldwide.

► 100 ARTISTS ► 40 ACTS ► 1 FOOTBALL STADIUM

A CHARITY ART AUCTION, A SYMPOSIUM of SCIENCES, AN EXHIBITION of CONTEMPORARY & URBAN ART,
LIVE MUSIC, FOOTBALL, PERFORMANCES, WORKSHOPS, TALKS, PRESENTATIONS & FILMS.

 

“Art cannot change the world, but it can contribute to changing the consciousness and drives of the men and women who could change the world.”
Herbert Marcuse.

 

CREATIVE ENGAGEMENT: Featuring interactive installations such as, “The Little Sun & Light Graffiti” by Olafur Eliasson and Frederik Ottesens, “Inside Out” by JR, “Operndorf Afrika” by Schlingensief, “RLF”by Friedrich von Borries, MOMENTUM_InsideOut with The Return of the Axum Obelisk by Theo Eshetu,”Time & Life Lampedusa” by Melissa Steckbauer and “Instruments of punctuation” by Yazmany Arboleda.

ART AUCTION: A charity art auction will be hosted by. Dr. Katharina Countess of Sayn-Wittgenstein, Senior Director of Sotheby’s Hamburg for Viva con Agua. The artworks auctioned include works from artists such as: Sigmar Polke, Udo Lindenberg, Bruno Bruni, Hardy KrŸger Jr., Low Bros, Christopher Winter, Holger Jacobs, Melissa Steckbauer, Annette Meinecke-Nagy, Zezao and 40 other pieces by established artists.

WORKSHOPS, TALKS, FILMS, PRESENTATIONS, PERFORMANCES & SYMPOSIUM will take place throughout the event, allowing an interactive dialogue between participants, artists and visitors. The symposium will bring together a panel of speakers considering the following question: How can creative commitment improve our world? Panelists include: Adrienne Goehler (publisher and curator), Friedrich von Borries (architect and curator), Onejiru (musician), Aino Laberenz (stage and costume designer) moderated by Daniel Gad (cultural scientist).

GROUP SHOW: Featuring artworks by local and international artists: Jim Avignon, Adameva, Alex Diamond, Andrea Wan and Rylsee, Antony Valerian, Anders Brinch, Billy, Buff Diss, Christopher Winter, Comenius Roethlisberger, Curiot, Daan Botlek, Flo Weber, 1010, Base 23, Doppeldenk, Elmar Lause, Mateo aka Monum, Zipper, No Art Collective, Darko Caramello, Kalyani Hemphill, Rike Ernst, Loomit, Hardy KrŸger Jr., Henning Heide, Heiko MŸller, Heinning Reith, Henning Kles, Holzweg, Jo Fischer, Johannes Mundinger, John Bršmstrup, Jon Drypnz, Julia Benz, Karl Gšrlich, LIMOW, Linus, Los Piratoz, Low Bros, Lutz Rainer MŸller, Max Johow AVMJ, Maximilian Schmidbauer, Mittenimwald, Nelio, Nils Kasiske, Ole Utikal, Paul Onditi, Marco Pellanda, Paul Gregor, Queen Kong, Rambazamba, Roids, Ashley Frangie, Greg Adamsky, Martina Wšrz, Natalie Bothur, Thiemo Bšgner, Saddo, Stefanie Schmid Rincon, Sven Mayer, Thomas Koch, Pablo Sozyone, Roids, Till Gerhard, Yescka, Zezao, Stizz, Lachsomat, and more…

MUSIC: Live Performances by Eljot Quent, DJ Beykin, Grimel, Ivy Quainoo, Konvoy, LaLoc & RenneR, Leoniden, Liedfett, Marla Blumenblatt, Marvin Brooks, Matteo Capreoli, Nellson, Onejiru, Knackeboul, Chocolococolo, Schwule MŠdchen Soundsystem (Fettes Brot), Shereena, SŽbo, The Hellectric, Vierkanttretlager, Adameva, DJ Ben Kenobi, DJ Clingony, DJ Harry Delgas, DJ Saint One, DJ Vito, DJ Marc Deal, DJ Zooclique.

In 2013, the MILLERNTOR GALLERY #3 took place in a 2500 square meter space and hosted 8000 visitors. This year, the event near;y doubles in size. The participating artists receive 30 percent of the proceeds through the art sales, while the remaining proceeds of the MILLERNTOR GALLERY benefits the water and educational projects of Viva con Agua de Sankt Pauli e.V. The association has made it their business to alleaviate the worldwide problem of water and sanitary supplies. 780 million people have no free access to clean drinking water, and 2,5 billion people have no access to humane sanitary supply.

To Learn More CLICK HERE.

29/05/2014
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Pandamonium InsideOut

 
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PANDAMONIUM_InsideOut:

 

FENG BINGYI – Undertow (2012)

LU YANG – The Beast (2012)

QIU ANXIONG – Flying South (2006-09)

YANG FUDONG – City Light (2000)

ZHANG DING – Buddha Jumps Over the Wall (2012)

 
 

INTERPIXEL InsideOut:

 

MARIANNE CSÁKY − Delete (2010)

MARCELL ESTERHÁZY − h.l.m. v2.0 (2005)

TAMÁS KOMORÓCZKY − Absolute-absurd (2012)

ANDRÁS RAVASZ − Ball (2005)

JÁNOS SUGÁR − Typewriter of the Illiterate (2001)

DÁVID SZAUDER − Acceptance (2012)

TAMÁS ZÁDOR − Gangsta’Tripin’ (2005)

 

CLICK HERE TO READ THE DOSSIER FOR INTERPIXEL

 
 

With such a strong focus in Berlin at the moment on contemporary art from China, the aim of this panel is to bring together the curators of the concurrent exhibitions – PANDAMONIUM, and Die 8 der Wege 八种可能路径 The 8 of Paths – together with artists, writers and art historians, for an open discussion of what’s happening now in the art scene in China and why bring it to Berlin. The Panel is followed by a Performance, by Jia, ‘Untitled’, at 7:00 pm and a screening on the Facade of the .CHB from 8:30.


 

ARTISTS & WORKS

 

FENG BINGIY

Feng Bingyi (b. 1991) is a young rising star in the Chinese art scene. Having studied under Yang Fudong at the China Academy of Fine Arts, she follows in his footsteps with her focus on cinematic traditions, while working with installation, photography, documentary, and animation. She is exhibited in China alongside superstars of contemporary art, but has never been shown in Berlin. Feng Bingyi is one of the artists undertaking the PANDAMONIUM Artist Residency in Berlin.


The Undertow, 2012

In this black and white split-screen video, the earthiness from the movement of mud as bare feet tamper at it and of the texture of a horse’s pelt as it breathes, contrasts with the digitized sound-samples that are laid over the thick blacks and greys of the imagery. In Feng’s reposed, poetic style, The Undertow creates a liminal, ambiguous space, which the viewer is impelled to fill in.

LU YANG

Lu Yang (b. 1984) holds undergraduate and master’s degrees from the New Media Department of the China Academy of Fine Arts, having studied under Zhang Peili. Using 3D animation, video projections, detailed schematics, medical diagrams, supporting text, and music, she has created a brand of BioArt that explores the darker implications of modern science and technology to comment on issues of control in modern society.

The Beast: Tribute to Neon Genesis Evengelion (2012)

Lu Yang’s focus on issues of control leads her to delve into the conundrum whereby human beings cannot escape their physiological realities, yet they use their bodies to create external devices that enable them to break free from their limitations, while at the same time being subject to the controlled of their physical form or illnesses. The Beast is based on the infamous Japanese Manga, Neon Genesis Evangelion. With costumes by Givenchy and music by the New York-based composer and performance artist Du Yun.


QIU ANXIONG

Qiu Anxiong (b. 1972) also co-mingles the classical and contemporary in his animated films, using the traditional Chinese ink-and-wash style to transpose contemporary social and environmental issues onto traditional Chinese landscapes. Qiu Anxiong is a friend of and neighbor of Yang Fudong and had exhibited internationally, having studied for 6 years at the Kunsthochschule in Kassel. He will be one of the artists undertaking the PANDAMONIUM Residency and will be producing new work for this show.

Flying South, 2006

After working predominantly in oil painting during his studies in Kassel and having later turned to landscape painting in the tradition of the old Chinese masters, Qiu’s return to Shanghai in 2004 marked a shift in interest towards video art. In Flying South (2006), humanity struggles to create its own artificial systems of self-control, proving absurdly counterproductile. Using allegorical imagery to explore the impact of environmental degradation and social change, Qiu offers an exquisitely crafted contemplation on the past, the present, and the relationship between the two.

YANG FUDONG

Yang Fudong (b. 1971) is one of China’s best known artists working in film and photography. Having graduated in painting from the China Academy of Fine Arts, since the early 1990s, Yang Fudong has been working with 35mm film, transferred to digital media. Famous for works such series of works as Seven Intellectuals In A Bamboo Forest at the 52nd Venice Biennale, Yang Fudong has exhibited widely internationally. PANDAMONIUM presents the gallery premier of his most recent work.

City Light, 2000

Yang regularly makes use of traditional film genres and City Light is no exception. In a style that references detective- and slapstick-movies, a young, well-dressed office clerk and his doppelgänger move in unison along the street and around the office. Like pre-programmed robots they fit perfectly into their apparently ideally organised environment. The day is entirely dominated by work, but the evening provides space for dreams and creative thinking, causing a schizophrenic situation to arise. In their heroic conduct the two gentlemen sometimes develop into two gangsters who engage in a form of shadowboxing.


ZHANG DING

Zhang Ding (b. 1980) is a rising star of Chinese multimedia art. Having studied under Zhang Peili, Zhang Ding works with large-scale mixed-media installations, incorporating video and interactive components. Zhang explores ethnic tensions, the plight of migrant workers, and the marginal urban culture that lurk in the recesses of Chinese society. He has exhibited internationally at major institutions, but never before in Berlin.

Buddha Jumps Over the Wall, 2012

The culinary dish called Buddha Jumps over the Wall – a variety of shark fin soup – is regarded as a Chinese delicacy and so much so that it is said to even entice the vegetarian monks from their temples to partake in the meat-based dish, hence its name. In allusion to this dish, Zhang’s video features a group of animal plaster-sculptures that are individually shot at and finally exploded altogether, to shatter into pieces. Accompanied by a magnificent and solemn symphony and filmed by means of a high-speed camera lens that captures every detail, we see bloodlike liquid and shards of debris flying everywhere in a shocking and cruel, though undeniably aesthetic manner.


12/02/2014
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Best of Times Sky Screen

 
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Poster Istanbul_Small
 

The Best of Times, The Worst of Times Revisited:

Selected Videos From The 1st Kyiv Biennale

Curated by David Elliott

 

Lutz Becker, THE SCREAM • John Bock, MONSIEUR ET MONSIEUR •
Gülsün Karamustafa, INSOMNIAMBULE • Tracey Moffatt, DOOMED • Map Office, OVEN OF STRAW
Miao Xiaochun, RESTART • Yang Fudong, YEJIANG / THE NIGHTMAN COMETH

 
Kiev logo
 

IN COLLABORATION WITH SALT

11 – 15 September, from dusk until dawn
SKY SCREEN Istanbul at SALT Beyoğlu
İstiklal Caddesi 136, Beyoğlu 34430 İstanbul, Turkey
Coinciding with the Opening of the Istanbul Biennale

 

SALT is a not-for-profit institution located in Istanbul and Ankara, Turkey. Opened in April 2011, SALT hosts exhibitions, conferences and public programs; engages in interdisciplinary research projects; and sustains SALT Research, a library and archive of recent art, architecture, design, urbanism, and social and economic histories to make them available for research and public use. SALT’s mission is to explore critical and timely issues in visual and material culture, and cultivate innovative programs for research and experimental thinking.

 

AND
 

IN COLLABORATION WITH .CHB

21 – 22 September, 20:00 – 24:00
SKY SCREEN Berlin at Collegium Hungaricum
Dorotheenstr. 12, 10117 Berlin
During Berlin Art Week

The .CHB is an innovative cultural institution located in Berlin and an active partner in the cultural landscape of Berlin and Germany. It explores a wide range of topics, shedding its own perspectives on current issues, ideas and concepts. Collegium Hungaricum Berlin is part of the Balassi Institute for the promotion of Hungarian Culture.

 
 

MOMENTUM is pleased to announce the showing of a special programme of video works originally screened at the 1st Kiev Biennale last year. The works will be on view from 6 September – 27 October 2013 at MOMENTUM Berlin and then on our SKY SCREEN initiative for video art in public space in Istanbul and Berlin! Curated by the Artistic Director of the Biennale, David Elliott, the programme features new works by John Bock, Yang Fudong, Gulsun Karamustafa, Lutz Becker, Tracey Moffatt, Map Office, and Miao Xiaochun. MOMENTUM is excited to bring these works to audiences in Berlin, Istanbul and beyond.

Echoing the first words of A Tale of Two Cities (1859), Charles Dickens’ famous novel set at the time of the French Revolution, this exhibition jumps forward to the present to consider how contemporary art and aesthetics use the past to express the future. The ideals of Human Rights developed during the 18th Century European Enlightenment found their first political expression in the American and French Revolutions. Yet, in spite of fine intentions at the outset, Human Rights have been constricted as each revolution has contained at its core the worst as well as the best of human thought and action. This exhibition reflects on utopian dreams of freedom, equality, and security that are very much at the heart of our lives today, as well as on their opposite: terror, inequity and war. It is the destructive forces of both man and nature that seem to make a more ideal life impossible. Showing simultaneously across three locations in Berlin and Istanbul, revisiting this selection of works is a timely response to the current situation in Turkey, where ideals of democracy and freedom have been brought into renewed focus.

The artists Yang Fudong and Miao Xiaochun who are part of this programme are currently representing the People’s Republic of China in the 55th Venice Biennale.
 

 
 

ARTISTS AND WORKS

 

Lutz Becker, THE SCREAM, 2012

Born in 1941 in Berlin, Germany lives and works in London, UK. Lutz Becker is an artist, filmmaker, curator and film-historian. He studied at the Slade School of Fine Art, London, where he graduated under Thorold Dickinson and became a distinguished director of political and art documentaries. A practicing painter, he is also a curator of exhibitions. He collaborated with the Hayward Gallery on The Romantic Spirit in German Art (1994), Art and Power (1995), and Tate Modern on Century City (2001). As of 2003, Becker has been working for the Mexican Picture Partnership ltd.’s reconstruction project of Sergei M. Eisenstein’s film ¡Que viva Mexico! ‒ Da zdravstvuyet Meksika!.

‘The video installation The Scream is an homage to the Ukrainian filmmaker and poet Aleksandr Dovzhenko (1894-1956). It is a reflection on Dovzhenko as a poet who told his stories in the form of the classical eclogue, in which pastoral simplicity stands in contrast with modernist self-consciousness. Even in his more overtly political films Dovzhenko’s perspective remained subjective, attached to the old art of story telling, its allegorical elements, symbols and types. The installation, originally presented on three screens, is shown here as a single-channel version especially created for this exhibition. The work is a montage of segments from Dovzhenko’s films, based on dramatic interactions and accidental synchronicities of images and scenes, the play of affinities and contrast, textures, details, and the monumentalisation of the human face’.

John Bock, MONSIEUR ET MONSIEUR, 2011

Born in 1965 in Gribbohm, Germany lives and works in Berlin, Germany. John Bock makes lectures, films, and installations that combine and crosspollinate practices of language, theatre, and sculpture in an absurd and complex fashion. He is known for producing surreal, disturbing, and sometimes violent universes in which he manipulates fantasmagorical machines constructed out of waste and found objects. Bock actively collapses the borders of performance, video, and installation art. Raised in a rural area of Germany (a background that he has drawn upon for his films involving tractors and rabbits), Bock came to prominence in the 6th Berlin Bienniale (1998), the 48th Venice Biennale (1999), and Documenta 11 in Kassel (2002). He was initially known for his unpredictable, sprawling live performances in which he brings together uncanny costumes, jury-rigged sets made from tables, cupboards, and simple machinery, and his own wildly discursive lecturing style. Clad in bright and excessive cloth appendages and covered in sickly materials, Bock interacts with handmade assemblages and inanimate objects that reference a range of social, scientific and philosophical structures. Following the less florid practice of Joseph Beuys, the settings and objects remain in the exhibition space as installations in the aftermath of his lectures. Moving from early documentation videos of performances, Bock has recently begun to work on more complex videos and films that play with the structures and genres of cinema. He uses spectacular settings and costumes, rapid-fire editing, and a mix of sound and popular music to stage narratives that reference such broad fields as 1990s Hollywood cliché, 1970s Glam Rock and nineteenthcentury dandyism. He does not appear personally in Monsieur et Monsieur, 2011, the film shown here, but instead plays the role of director of this bizarre, kafkaesque nightmare.


Yang Fudong, YEJIANG / THE NIGHTMAN COMETH, 2011

Born in 1971 in Beijing, China lives and works in Shanghai, China. Yang Fudong’s films, photographs and video installations are born out of an interest in the power of the moving image to explore subjectivity, experience and thought. He draws stylistically on different periods in the history of Chinese cinema to create open ended existential narratives that interweave quotidian ritual with dream and fantasy states. Yang trained as a painter in the China Academy of Fine Arts in Hangzhou. In the 1990s, he started to work in the medium of film and video. He is known for his cinematography and mastery of cinematic style, using 35mm film to produce powerful and poetic works about the human condition with its malaise and fantasies of everyday life. He possesses a sensitivity to the traditions of Chinese art, cinema and the place of the intellectual (the literati). Each of his films is philosophical and open-ended, engaging questions around both history and contemporary life, mostly depicting the lives of young people from his own generation, albeit with historical resonances that sometimes span many centuries. Through vignettes staged with classical precision, yang’s works propose a poetics of place and a critique of time that is determined through the interaction of individuals rather than by political doctrine.

The single screen work shown here, unfolds in the realm of historical fantasy. An ancient warrior is seen wounded and forlorn after battle, in conflict about his path in life. Three ghost-like characters appear as emblems of feelings and thoughts that surface and clash within the warrior’s heart and mind as he has to decide whether to disappear or continue fighting. Yang has preferred to describe this film as ‘neo-realistic’ rather than historical or allegorical: Neo-realism” is a history theatre where current and contemporary social conditions come to play. Who exists realistically, the warrior baron in his period costume or the ghost in a modern outfit? When the ancient battlefield scene and other historical events appear and reappear, where do they belong, in the past, the present or the night-falling future?…. There is hope nonetheless. The body is full of desire whereas the soul is more precious. His spirit is what backs him up in life. How should we live our lives now? How do we identify ourselves with neorealistic historical events and continue to search for spiritual meanings? What do we really want?” [DE]

Gülsün Karamustafa, INSOMNIAMBULE, 2011

Born in 1946 in Ankara, Turkey lives and works in Istanbul, Turkey. Working in diverse media throughout her four-decade-long career, Karamustafa has investigated ideas of mobility, including displacement, immigration, expatriation, exile, and relocation.

Insomniambule follows the nightly journeys of two characters, Somnambule and Insomniac. While one gives clues that she is suffering from nightly sleepwalks, the other stands in contrast as a symbol of constant consciousness. Though they seem to depict the heterogeneity of being awake and asleep, at their core, the two states exhibit distinct similarities. Both are fighting against the state of sleep ‒ Insomniac deliberately rejecting sleep and trying to keep consciously awake while Somnambule struggles against deep slumber from within an already induced state of sleep. From either side, both characters must find a way to adapt themselves to normal life. The characters pass through the doors of memory and recollection, subconsciously playing several games that lead them through both personal and social past and present. The two characters, represented by the women who constantly follow one another, accentuate the uncanny sensation and weird relationship of being split into two. Therefore Insomniac and Somnambule can easily join together to form the word Insomniambule, which symbolizes them both. It also creates a platform for understanding the connection between artistic creativity and the twin conditions of insomnia and somnambulance.

Running concurrently with MOMENTUM’s video program, Gülsün Karamustafa has a major retrospective of her work at SALT, our partner for SKY SCREEN in Istanbul. The solo show, A PROMISED EXHIBITION, runs from 10 September 2013 – 5 January 2014.


Tracey Moffatt, DOOMED, 2007

Born in 1960 in Brisbane, Australia, lives and works in Australia and USA. Tracey Moffatt is one of Australia’s leading contemporary artists as well as being an artist of international significance. She has had numerous solo exhibitions in major museums around the world. Working in photography, film and video, Moffatt first gained significant critical acclaim when her short film Night Cries was selected for official competition at the 1990 Cannes Film Festival.

Tracey Moffatt’s video collage, Doomed, features depictions of doom and destruction ‒ war, violence and terror ‒ as they appear in popular cinema. In collaboration with Gary Hillberg, with whom she made Other (2009), Love (2003), Artist (2000) and Lip (1999), Doomed uses cut-and paste editing techniques in a highly entertaining and black-humorous take on the bleak side of our current psychological landscape. Moffatt’s film looks at both entirely fictional and reconstructed disastrous events. Each scene carries a particular cargo of references. They occupy their own unique symbolism and filmic territory ‒ the poignant, sublime and epic, the tragic, the B-grade and downright trashy. The accumulation of scenes, however, within Moffatt’s own essaying, creates a narrative whole comprised of parts. Not only does Moffatt play within the ‘disaster’ genre, re-presenting representations, she revels in it. Moffatt points at how the viewer is involved in filmic narratives through an emotional hook, by the promise of imminent disaster, an important narrative device. Moffatt’s film itself is crafted with an introduction, body and finale ‒ in a presentation of the form of filmic entertainment, as well as of ‘art as entertainment’.

Map Office, OVEN OF STRAW, 2012

MAP OFFICE is a multidisciplinary platform devised by Laurent Gutierrez (b. 1966, Casablanca, Morocco) and Valérie Portefaix (b. 1969, Saint-Étienne, France). This duo of artists/architects has been based in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression including drawing, photography, video, installations, performance, and literary and theoretical texts. Both are teaching at the School of Design, The Hong Kong Polytechnic University.

Ukraine is traditionally the barn of Europe and one of its most important agricultural producers. Against a background of food crisis and financial speculation on agriculture, we would like to use wheat as a point of entry for thinking about the impact of speculation on the land. The Oven of Straw was originally a video installation, and is shown here as a film weaving together narrative fragments linked by their relation to wheat. The installation was a small construction inviting the visitors to enter a confined space in the shape of an oven made of straw. The structure of the oven echoes the structure of a bank with its thick wall and small entrance suggesting the opposite effects of potential danger and safety. The interior is designed like a small cinema, where visitors are presented a short film. Mixing archival material from various films, Oven of Straw explores the role of wheat as a valued system of exchange.


Miao Xiaochun, RESTART, 2008-2010

Born in 1964 in Wuxi, Jiangsu, China lives and works in Beijing, China. Miao Xiaochun graduated from the Central Academy of Fine Arts (CAFA), Beijing, China and the Kunsthochschule Kassel, Germany. He is presently a professor at CAFA and one of the leading digital artists in China. While studying in Europe he familiarised himself with western art history and motifs from famous classic paintings are often animated in his videos. Miao Xiaochun is considered one of the most representative and influential artists In the domain of China’s new media art. He started in 90s his creative explorations on the interface between the real and the virtual. His extensive body of work includes photography, painting and 3D computer animation which are parallel to each other. He works in contemporary photography based on the “multiple view point” perspective to pioneer connections between history and the modern world. Miao Xiaochun successfully uses 3D technology to create upon a 2D image a virtual 3D scene, to transform a still canvas into moving images, concurrently changing the traditional way of viewing paintings and giving a completely new interpretation and significance to a masterpiece of art, especially with the striking use of his idiosyncratic imagination about history and the future. His works add an important example to contemporary negotiations with art history, and open up new potential for art as he experiments with new possibilities, taking a step forward into new potential spheres.

The apocalyptic 3D video Restart begins with an animation of Pieter Breughel’s The Triumph of Death (c. 1562). Here one famous Western masterpiece morphs into another and classical civilisation crumbles into modern chaos. As the video continues, images of the present begin to take hold, some reflecting China’s recent economic growth and technological prowess. yet no triumphalism is intended in what after all is a continuing cycle. In Xiaochun’s works the naked homogeneity of seemingly oriental CG figures based on the artist’s body, dead or alive, represent everyman ‒ his joys and horrors as well as the endless struggles between life, love and death.

David Elliott

Davıd Elliott is an English born curator and writer. From 1976 to 1996 he was Director of the Museum of Modern Art in Oxford, England, Director of Moderna Museet [The National Museum of Modern and Contemporary Art] in Stockholm, Sweden (1996-2001), founding Director of the Mori Art Museum in Tokyo (2001-2006), the first Director of the Istanbul Museum of Modern Art [Istanbul Modern] (2007), Artistic Director of the 17th Biennale of Sydney (2008 – 2010) and Artistic Director of the 1st Kiev International Biennale of Contemporary Art (2011-12), Rudolf Arnheim Guest Professor in Art History at the Humboldt University, Berlin (2008) and Visiting Professor in Museum Studies at the Chinese University in Hong Kong (2008/11/13). From 1998 until 2004 he was President of CIMAM (the International Committee of ICOM for Museums of Modern Art). He is Hon President of the Board of Triangle Art Network/Gasworks in London and on the Asia Advisory Board of the Guggenheim Museum in New York.

THE BEST OF TIMES, THE WORST OF TIMES REBIRTH AND APOCALYPSE IN CONTEMPORARY ART

The Best of Times, The Worst of Times reflects on seemingly utopian dreams of freedom, equality, and security, as well as on their opposites: terror, inequity, poverty and war, that are very much at the heart of our lives today. It is this destructive impulse – some may say necessity – within both man and nature that seems to make a more ideal or stable life impossible. Yet the Kantian idea of artistic autonomy is one of the significant survivors of this age of revolutions. Without it art would always be the servant of some greater power and contemporary criticism would end up as little more than a small, rudderless, leaky boat at the mercy of a boundless, all-consuming tide.



 
 

This same program will be shown at the MOMENTUM Gallery

6th September – 27th October

Opening 6 September 2013 19 Uhr

MOMENTUM, Kunstquartier Bethanien, Mariannenplatz 2, 10997 Berlin

 
 
THE BEST OF TIMES, THE WORST OF TIMES AT SALT, IMAGE GALLERY:

 

THE BEST OF TIMES, THE WORST OF TIMES AT .CHB, IMAGE GALLERY:

12/07/2013
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Mass and Mess

 
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Our partner locations: Collegium Hungaricum Berlin (left) / Polmozbyt, pl. Orła Białego – TRAFO (right)

 

MASS AND MESS

 

Curated by David Szauder

 

Featuring:

David Mozny, Eva Magyarosi, Dyorgy Kovasznai, Istvan Horkay, Bart Hess, Adam Magyar

 

Vernissage:
14 APRIL 2013

Collegium Hungaricum, Museum Island, Berlin
Uslu Airlines, Rosenthalerplatz, Berlin
TRAFO | Baltic Contemporary at Odra Zoo, Polmozbyt, pl. Orła Białego – 10, Szczecin, Poland

 

Program:
14 APRIL – 30 MAY 2013

 

Panel Discussion:

On How to Collect and Display Video Art

With Prof. Dr. Wulf Herzogenrath (Director Fine Arts, Akademie der Künste), Candice Breitz (Artist, Professor, Braunschweig University), Christian Jankowski (Artist, Professor, Akademie der Bildende Künste, Stuttgart), Ivo Wessel (Collector, Founder, Videoart at Midnight), Sylvain Levy (Collector, Founder, dslcollection), Elizabeth Markevitch (Founder, CEO, Ikono TV), moderated by Thomas Eller (curator/artist/writer)

PLACE: Collegium Hungaricum, Dorotheenstr. 12, 10117 Berlin

DATE: 28 APRIL 2013 AT 4:00PM

More info here about the panel discussion –

 


 

MOMENTUM is proud to announce our collaboration with the Collegium Hungaricum (Berlin) and TRAFO (the new Kunsthalle in Szczecin, Poland) to mark our first international SKY SCREEN program.

MOMENTUM’s first internationally hosted SKY SCREEN program takes to the streets on April 14th, screening in 3 locations simultaneously. SKY SCREEN turns its hosts into an ever-changing canvas for contemporary art, bringing video art out of darkened galleries and onto the streets for everyone to see.

In Berlin, SKY SCREEN will be at our usual location overlooking Rosenthaler Platz, as well as on the media-facade of the Collegium Hungaricum on Museum Island. In Szczecin, SKY SCREEN overlooks the National Art School in an artist-run project space. This SKY SCREEN program is curated by David Szauder, focusing on Hungarian animation and media art, and will open in conjunction with the first TRAFO exhibition in Szczecin and with Gallery Weekend in Berlin.

Video art is still a daunting media for most collectors and art lovers. MOMENTUM and CHB will open up a discussion on the topic of why collecting video art is still intimidating, and why the commercial value of time-based media has not measured up to its institutional prominence. Aiming to address how video can be effectively collected and shown in a diversity of groundbreaking ways, MOMENTUM invites a panel of prominent international collectors, curators, and gallerists. MOMENTUM is a non-profit global platform for time-based art, with headquarters in Berlin. Through our program of Exhibitions, Kunst Salons, and Public Video Art Initiatives, we are dedicated to providing a platform for exceptional artists working with time-based practices. This discussion is accompanying our Sky Screen program for Video Art in Public Spaces, concurrently screening at MOMENTUM, CHB, and TRAFO Szczecin.



 

MASS AND MESS features work by:

 

David MoznyRahova
2009, 7:39 min

Eva MagyarosiInvisible Drawings
2012, 13:20 min


György KovásznaiMonolog
1963, 13 min

Istvan Horkay – Covert Action
2013, 4:41 min


Bart HessGrow on You
2010, 1:14 min

Adam MagyarTokyo Stainless
2010, 8 min



 

Curated by David Szauder

MASS AND MESS is to be considered as a reflection on politics, history and society through a kind of selfexamination. The starting point is the video of David Mozny (Rahova), a really well structured and symbolical deconstruction of our architectural environment: the mass is falling into pieces creating new units, individual pieces. The next is of Eva Magyarosi’s work, attempting to arrange these pieces as a reflection of the inner world of the artist, a gesture to face her grandfather’s past, but the arrangement itself is generated by the history. György Kovásznai’s piece is somewhere between the outer play, the history and the inner play of the individual, being a cynical handling of the story of the 20th century. István Horkay’s Covert action, set up especially for skyscreen program, however, is a simple gesture to put “everything on the table” as they are given by the past. By his humour a positive taste of the past is offered. Horkay’s video can be considered as the acme of the “mass” as from that point the examination is a virtual return back to the inner world, represented by Bart Hess’s video. His blue sticks are not removable, as they are temporary or constant grooving in his skin. Bart Hess’s video is also a return to the human body, or to the state of mass. The last piece is more like a vision of the society form outside by Ádám Magyar representing everyday people in everyday situations. Faces, complexions, visages: segments of our society. (David Szauder)

David Szauder was born in 1976 in Hungary and attended Eötvös Lorand University, Budapest and studied Intermedia at the Hungarian University of Fine Arts, Budapest in 2004. Szauder received a scholarship to the TAIK School of Arts, Design and Architecture – Aalto Univeristy, Helsinki, where he focused on environmental studies and media design. Szauder then moved to Berlin and works for the Collegium Hungaricum as a media artist and curator. In 2012, Szauder founded a cultural association – Culture Democracy CUD e.V.

 

__________________________

 

Also showing in Szczecin

 

SKYSCREEN

 

Curated by Rachel Rits-Volloch

AES+F, Jiang Zhi, Cao Fei, Sumugan Sivanesan, MAP Office

Time:
8:00 PM until midnight, weekdays
8:00 PM – 2:00 AM. weekends
 

ALSO ON DISPLAY IN

COLLEGIUM HUNGARICUM BERLIN

ON THE SUNDAY OF GALLERY WEEKEND, APRIL 28th

 

MORE INFO ON THE ARTIST AND WORKS HERE >

 

AES+F
King of the Forest, KFNY

2003, Video, 11:01 min

AES+F
King of the Forest, Le Roi des Aulnes

2001, Video, 9:07 min


Jiang Zhi
Post Pause

2004, Video, 10 mins
Courtesy of the dslcollection

Cao Fei
Rabid Dogs

2002, Video, 8 min
Courtesy of the dslcollection


Sumugan Sivanesan
A Children’s Book of War

2010, Video animation with an accompanying text

MAP Office
Runscape

2010, Video, 24:18 min



 

__________________________

 

The Collegium Hungaricum, founded in 1924, is a prominent multidisciplinary cultural institution dedicated to the exploration of art, science, technology and lifestyle in Berlin. The mission of the CHB is to actively stimulate discourse pertaining to current issues, ideas and concepts, in order to further enrich the dialogue surrounding the European cultural experience while simultaneously disseminating Hungarian culture through various events.

The institute has been operating since the Second World War and is regarded as leading a wide array of programming including concerts, literary events, book fairs, photo exhibitions, film screenings, festivals, art exhibitions, technical installations, symposiums, workshops, panel discussions while also hosting an in house public library with over 9000 individual pieces of varying media. The Neubau CHB is a five floor cubist building designed by Schweger Architects in 2007 with a focus on harmonizing trends in Hungarian and German modern design. The structure acts as a highly flexible media facade of which the possibilities for artistic interaction remain limitless.

The Collegium Hungaricum is a part of the Balassi Institute for the promotion of Hungarian culture and also acts as host to the Moholy-Nagy Galerie.
 

uslu Airlines

uslu airlines is a Berlin based luxury cosmetics brand created by Türkish makeup artist Feride Uslu and German entrepreneurial master mind Jan Mihm in 2003. Uslu Airlines offers over products in 180 locations in over 170 countries and has hosted MOMENTUM’s SKY SCREEN at their HQ in Rosenthalerplatz, Berlin since April, 2012.

TRAFO/Baltic Contemporary

Baltic Contemporary is a newly founded centre for Contemporary Art, located in Szczecin, with the mission to link Szczecin with cultural institutions in the Baltic region and beyond, while hosting its own programme of contemporary art. TRAFO is the Kunsthalle associated with this initiative, which will open in August 2013.

TRAFO – Trafostacja Sztuki – is the new center for contemporary art in Szczecin.

TRAFO sets a new creative space of unrestrained activity and interdisciplinary experimentation.

TRAFO, using its cross-border location within the Baltic Sea region and the immediate vicinity to Berlin, becomes a transregional, international exhibition space.

TRAFO is a unique “display window,” through which it communicates its artistic appearance with the world, and through which the world can co-create the artistic appearance of Szczecin.

TRAFO supports the development of contemporary art on many different levels by organizing not only exhibition activities, but also art education, publishing, international collaboration and artistic exchange under Artist-in-Residence program.

TRAFO will provide visitors with a brand new, exceptional exhibition space in the now restored historic building in ul. Świętego Ducha in Szczecin.


20/03/2013
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Streaming Museum Program 2

 
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THE STREAMING MUSEUM PRESENTS:

WE WRITE TO YOU FROM THE DISTANT FUTURE

 

30 November – 1 January 2013

 

MOMENTUM’s SKY SCREEN is proud to host 2 video programs curated by New York City’s STREAMING MUSEUM
The Streaming Museum – In Cyberspace And Public Space On 7 Continents

 
The Streaming Museum has presented over 30 video exhibitions since its launch on January 29, 2008 that have been viewed by millions of people on public screens in over 55 cities and Antarctica. Produced and broadcast in New York City, Streaming Museum generates its dynamic, innovative content of international fine arts, culture and visionary innovations in collaboration with prominent and emerging visual and performing artists and curators. The museum also presents exhibitions and events at partnering cultural centers and international arts festivals. The selection presented on SKY SCREEN features 2 Streaming Museum video programs including 7 artists from around the globe.

 
WE WRITE TO YOU FROM THE DISTANT FUTURE
MICHAEL NAJJAR – Bionic Angel (2006)
MITCHELL JOACHIM/TERREFORM ONE – Jetpack Packing (2010); Blimp Bumper Bus (2008); Fab Tree Hab Village (2009); Rapid Re(F)Use (2008); Green Brain: A Smart Park For A New City (2006)
EDUARDO KAC – Lagoglyphs (2009)
ETOY – Mission Eternity (2005 – 2016)
ANDREA ACKERMAN – Rose Breathing (2003)
JOHN SIMON, JR. – HD Traffic (2009)
 

ARTIST AND WORKS

 

Streaming Museum’s fall 2010 exhibition featured at Zero One San Jose Biennial, Tina b. Prague Contemporary Art Festival, the Big Screen Project NYC, and throughout its global network of screens in public spaces.

We Write This To You From the Distant Future is a multi-media exhibition of work by visionary creators in the arts and sciences that focuses on a future world imagined and possible to build.

 

The exhibition title is a line spoken by the narrator in Immobilité (2009), a 75-minute feature length art film shot with a mobile phone video camera by Mark Amerika, with music score by Chad Mossholder. A remix collection from Immobilité opens the exhibition evoking questions – how will a technologically advanced world effect what it is to be human and what is the world with advanced technology to become?

 

In Michael Najjar’s Bionic Angel (2006) series (courtesy, bitforms gallery, NYC), creatures in the throes of transformation are a metaphor for inevitable genetic self-creation and possible immortality of the human body.

Mitchell Joachim/Terreform ONE, imagines human adaptation to global climate shifts and designs for transportation, habitat and sustainable living in the urban environment in Jetpack Packing, (2010); Blimp Bumper Bus, (2008), Fab Tree Hab Village, (2009), Rapid Re(F)Use, (2008); Green Brain: A Smart Park For A New City, (2006). View these images here.

Eduardo Kac animates a poetic code/language in Lagoglyphs (2009) that defies interpretation but derives meaning from his bio artwork, Alba (2000), a genetically engineered bunny.

Etoy’s Mission Eternity (2005 – 2016) is a digital cult of the dead for the information society that crosses the boundaries of the afterlife, and challenges the way human civilization deals with memory (conservation/loss), time (future/present/past) and death.

Rose Breathing (2003), an undulating cross-species rose, creates a Zen-like meditation as it rhythmically opens and closes in time-altered human-like respiration. Artist and scientist Andrea Ackerman has created at the intersection of technology, nature, aesthetics and ethics, a work that prophetically signals the inevitable integration of technology and nature.

HD Traffic (2009) by John F. Simon, Jr., is a software artwork inspired by the compositional style of Piet Mondrian, with particular inspiration from Broadway Boogie Woogie and Simon’s love of jazz improvisation. HD Traffic can react dynamically to real-time information streams taken from the Internet, and reflect the pulse of human movement that is embodied in the flow of traffic and other data.

“Skin has become inadequate in interfacing with reality. Technology has become the body’s new membrane of existence.” (Nam June Paik)


26/12/2012
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Streaming Museum Program 1

 
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THE STREAMING MUSEUM
 

1 – 30 November 2012

MOMENTUM’s SKY SCREEN is proud to host 2 video programs curated by New York City’s STREAMING MUSEUM
The Streaming Museum – In Cyberspace And Public Space On 7 Continents

The Streaming Museum has presented over 30 video exhibitions since its launch on January 29, 2008 that have been viewed by millions of people on public screens in over 55 cities and Antarctica. Produced and broadcast in New York City, Streaming Museum generates its dynamic, innovative content of international fine arts, culture and visionary innovations in collaboration with prominent and emerging visual and performing artists and curators. The museum also presents exhibitions and events at partnering cultural centers and international arts festivals. The selection presented on SKY SCREEN features 2 Streaming Museum video programs including 7 artists from around the globe.

CYBORG ALARM, curated by TANYA TOFT
KAROLINA SOBECKA – Capacity to Act in a World (2011)
MICHAEL GREATHOUSE – In Dreams (2009)
SOPHIE KAHN – 04302011 (2011)
JAMES CASE-LEAL – Republic of Heaven (2010)
JASON BERNAGOZZI – The Presence of Something in its Absence (2008)
CARABALLO-FARMAN – Venerations (Applause) (2009)

KAIROS
EMANUEL DIMAS DE MELO PIMENTA – Kairos (2011)
 
These works can also be seen at MOMENTUM | Berlin from 8 November – 2 December 2012.
 

CYBORG ALARM
 

 
 
CYBORG ALARM: When Technology, Imagination and Body Collide; features artwork by 2011 NYFA Fellows and Finalists and is curated by Tanya Toft. CYBORG ALARM will be on view at Big Screen Plaza through July 2012 and will tour to international locations such as Momentum Worldwide, Berlin.

The exhibition address the timely topic of being human in a world in which digital technology and the body are colliding and giving us new experiences, ideas and capabilities for inventing and imagining our physical and virtual identities. The artworks explore the digital persona as it transcends the human body in representational situations of the contemporary world where norms and behavior are reformulated.

The exhibition is inspired by Marshall McLuhan’s description of how art acts as “an early alarm system” and anticipates future social and technological developments. This prompts us to reflect whether what we see in today’s art might anticipate a new reality for future generations. Has the idea of the cyborg, a fictional technologically dependent organism popularized in the 1960’s, gained new relevance as digital technologies continue to enhance our human capabilities and affect our behavior and imagination?

The artworks featured in CYBORG ALARM exemplify how art can translate these issues across time, space and cultures. Telling a story through images of the human dimension in the digital world, they could be considered “contemporary hieroglyphs.” They include:

Karolina Sobecka’s Capacity to Act in a World (2011) investigates the limits and meaning of human agency. It explores behavior within an interdependent matrix of elements, sets of norms and constructed histories. The piece exposes our capabilities for navigating and understanding the world in our overtly mediated environments.

In Dreams (2009) by Michael Greathouse is inspired by film noir and b/w Hollywood horror films and produced exclusively with composited computer animation. It depicts continual repetition of a single moment of a human portrait floating in animated waters. In Dreams addresses identity in terms of continuity and journeys through an anachronistic world with endless dimensions.

04302011 (2011) by Sophie Kahn is a collection of laser portraits of New Yorkers inspired by rotating 3-D models of people on large public screens in sci-fi movie scenes. The portraits appear incomplete and fragmented as a result of disruptions caused by the models’ movement and breathing during the scanning process, suggesting a metaphor of instability in our digitally mediated identities.


James Case-Leal’s Republic of Heaven (2010) presents a lyrical interpretation of the world in which we live. The piece illustrates a spiritual departure from the material world into “the next world” – that is fantastic and perhaps ideal – one which might be possible in the digital realm. It reflects human aspirations and a sense of endlessness, perhaps mirroring the experience in the world’s endless chain of Internet links.

Jason Bernagozzi’s The Presence of Something in its Absence (2008) illustrates a perceptual experience in a digital world. In this poetic universe, there is a sense of ‘getting lost in code’ or virtual worlds; perhaps a search for identity, perception and rhythm, covered in great expectations for the future.

Venerations (Applause) (2009) by caraballo-farman questions the dictates of logic and free will. Why does an audience produce shared emotional states and erupt in collective applause, bound beyond reason? This ritual mirrors situations of collective behavior in a manipulative, commercial, and participatory culture, which is becoming increasingly complex and opaque.


Karolina Sobecka, Michael Greathouse, Sophie Kahn, James Case-Leal, and the artist team caraballo-farman, are 2011 Artists’ Fellowship recipient of the New York Foundation for the Arts (NYFA). Jason Bernagozzi is a 2011 Artists’ Fellowship finalist.

This presentation is cosponsored by Artists & Audiences Exchange, a public program Administered by NYFA with leadership support from the New York State Council on the Arts (NYSCA).

 
 
 

Emanuel Pimenta – KAIROS

 
 

EMANUEL DIMAS DE MELO PIMENTA, Kairos: an architectural design for a building in Earth’s orbit, 2011

This video and sound artwork was created in memory of John Cage, René Berger, Joseph Beuys, Hans Joachim Koellreutter, Richard Buckminster Fuller, Marshall McLuhan and John Archibald Wheeler – seven magical doors to a new universe. The sound art is composed of extraterrestrial sounds and was presented in concert SETI in 2002.

“Human must rise above the Earth – to the top of the atmosphere and beyond – for only thus will he fully understand the world in which he lives” – Socrates (469-399 BC)

“Following Nature’s own design principles, human may be able to produce most-economic designs while at the same time solving formerly insoluble design problems” – Richard Buckminster Fuller

Kairos is an orbital building, a privileged observatory of Earth, open to civil society, recalling the ancient Sumerian concept of ‘deep time’, projecting a complex of human values in a large-scale spectrum. KAIROS is a conceptual work that merges architecture design and art project in a same corpus – a crossing point between aesthetics, function and technology. Being an architectural design, it presents structural developments in terms of function and technological challenges. As a visual artwork, it crosses all fields of environments and functions, projecting unexpected images that are, at the same time, abstract and figurative, linear and non-linear. As an artwork it questions and criticizes the concept of contemporary art and culture in general. In few words, Kairos is a design for an orbital building.

Kairos launches on September 10, 2011, at Holotopia Academy, Amalfi Coast, where Ulysses met the Sirens in Homer’s Odyssey. The work will become part of a permanent collection of the ancient 17th century tower that has been transformed into a contemporary art museum by the scientist and art lover, Alberto del Genio, Founder of the Holotopia Academy which is devoted to music, art and philosophy. On October 27 Kairos will be exhibited at the Robotarium technology/art center in Lisbon, Portugal, curated by its founder/director and robotic artist, Leonel Moura. In November the book Kairos: A Bird Orbiting Planet Earth will be released. It includes details of the project, and a history of space satellites, laboratories and stations.


04/11/2012
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Running the Cities

 
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RUNNING THE CITIES

13 SEPTEMBER – 31 OCTOBER 2012

 
 

ZUZANNA JANINPas de Deux (2001), The Fight (2001)

MAP OFFICERunscape Hong Kong (2010)

MARISA MAZATraining Sculpture #1-4 (2008)

 
 

The current SKY SCREEN program coincides both with Berlin Art Week and the Berlin Marathon. Art Week brings the city alive in a mad rush from opening to opening, everyone running from gallery to museum to art fair, while the Marathon brings the city out to the streets to watch bodies in motion, in admiration of the endurance of the human body. In tribute to both these events, we curate a program of video art focusing on the body going beyond the limits of the everyday, pushing beyond its normal boundaries to transform athletics into a lyrical dance of motion. The body moves in space and time, it transforms its surroundings and is transformed by them.
 
 

 

ZUZANNA JANIN
Pas de Deux, 2001
Fight (ILOVEYOUTOO), 2001

ARTIST BIO/CV

 

Boxing involves direct physical confrontation – no complications, no excuses, no words. Mano a mano, here and now – boxing is combat in the abstract, stripped down to its bare essentials. This sublime distillate of combat is neutral and graciously embraces every projection. In The Champion boxing was a metaphor of the ruthless drive to succeed where each knocked-down opponent brings the hero closer to his goal : a glance into the dark side of the American Dream. Its flip-side was Rocky – by slugging away at slabs of meat in a slaughterhouse freezer its hero showed how determination, blood sweat and tears, and self-confidence can move mountains. As heavyweight Jake LaMotta in Raging Bull, Robert de Niro exposed the weakness latent within strength – if life is a struggle it always ends in defeat, because time is mercilessly working against the fighters. When the American Dadaist Arthur Cravan challenged the professional boxing champion of the time to an uneven contest, he was actually throwing down the gauntlet before the bloodless art of salons. Joseph Beuys also stepped into the ring, at documenta V in Kassel, donning gloves on behalf of direct democracy – using his fists to prove that socially committed art was not an aesthetic concept but a real-life struggle taken up by artists wanting to change the world….

In Zuzanna’s work, a woman and a man, the artist and professional boxer, are pitted against each other in identical white costumes and red training gloves. Their identical uniforms seem to suggest that both are on the same team. Zuzanna, a featherweight it would appear, is cast against a professional heavyweight boxer. The actual disproportion of strength does not matter: we are operating in arbitrary media space. A boxing champion is a TV celebrity, a semi-fictional character for most of us. Zuzanna likewise assumes the stance of a media heroine. Xena the Warrior Princess, Buffy the Vampire Slayer, Lara Croft – pistol-packing daredevil, Trinity – Matrix martial-arts mistress, cybercop Motoko and other Grrrls have gotten us used to the idea that women in the pop culture know how to stand up for themselves. Size and weight are irrelevant – everyone’s a fighter here….

(Excerpts from text by Stach Szabłowski. Read complete text: click here.)


 

MAP OFFICE
Runscape Hong Kong, 2010

ARTIST BIO/CV

 
The City is growing Inside of us…
Runscape is a poetic act of resistance
Runscape is a politic act of defiance
of the urban authority
with its surveillance and restrictions on movement.
(Excerpt from film narration.)

RUNSCAPE (2010) is a film that depicts several young male figures sprinting through public spaces of Hong Kong, almost invariably via the visual mode of the long shot, while a narrator describes this action through the rhetoric of post-structuralist urban theory. This narration makes repeated reference to a range of texts from the psychogeographical dérive of urbanism in Guy Debord and the Situationists to the biopolitical machines of Gilles Deleuze and the literary styles of Jean-Luc Nancy. The runners both follow existing paths and establish new ones, moving in straight lines through crowds and across rooftops while also using exterior walls as springboards for less-likely forms of motion. This is, however, far from parkour; it is a much more purposeful action that claims a certain territory or at least trajectory described within the narration through the image of the body as a “bullet that needs no gun.” A soundtrack contributed by Hong Kong rock band A Roller Control complements this aesthetic violence, guiding the eye and ear of the viewer across this novel interpretation of the definition and uses of public space. In this action, invisible facades are constructed across a grid that spans the area between the codified signs of polished facades, an open-ended and performative notion of being-in-transit. (Robin Peckham)

For additional text by Melissa Lam: click here.


 

MARISA MAZA
Training Sculpture #1-4, 2008

ARTIST BIO/CV

 

Training Sculpture consists of four separate videos (two minutes each) that deal with the relationship between space and the body, in the context of sports. The first two videos, (gymnastics and diving), demonstrate how the space of a training hall is defined by the movements of the athletes’ bodies: Space is treated here as being static, like a “visual sculpture”. In videos (tennis & basketball), in contrast, the distance between the observer and the athletes’ bodies becomes dissolved: The camera is focusing closely on the athletes’ bodies that are moving in an out of the picture, the importance and presence of the surrounding space are lost. Soundtracks are composed by jayrope, Berlin, with original sound from Marisa Maza.


04/11/2012
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First Exhibition Sky Screen

 
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FIRST EXHIBITION FROM SKY SCREEN

 

25 APRIL – 30 JUNE 2012

 

AES+F – KFNY
Jiang Zhi – Post Pause – courtesy of the dslcollection
AES+F – Le Roi des Aulnes
Tracey Moffatt – Other
Cao Fei – Rabid Dog – courtesy of the dslcollection
Hye Rim Lee – Obsession: Love Forever
Sumugan Sivanesan – Children’s Book of War

 

The inaugural SKY SCREEN program touches down in Moscow with AES+F, launches you down under with Tracey Moffatt and Sumugan Sivanesan, flies you through Korea and New York with Hye Rim Lee, and unleashes the best of contemporary Chinese art with Cao Fei and Jiang Zhi from the DSL Collection.

 
 


 

AES+F
King of the Forest, KFNY

2003, Video, 11:01 min

King of the Forest, Le Roi des Aulnes
2001, Video, 9:07 min

 

The King of the Forest – is a mythological creature of medieval Europe. He kidnaps beautiful children and keeps them in his palace. The subject of that myth was used by many writers, such as J-W. Goethe and Michele Tournier, for instance. The circle of projects «The King of the Forest» – is series of performances in different countries (Russia, Egypt, USA, etc.) …The mass media image of humankind became younger and younger last decade. The teens from Calvin Klein’s advertising, models, and pop stars, who starts the carriers from childhood, young heroes of tennis – all the media world at the beginning of the new millennium is unusually young and sometimes extremely young. The project of AES+F group concerns the theme of contemporary children’s corporations, modified by the human civilization of the 3rd millennium using new, just technological methods. The other aspect of our interest – the body in architecture and nature. But the body with smaller scale and other proportions in most monumental architectural space.

The first project of the circle – «Le Roi des Aulnes» (a novel by Michael Tournier) was shot in the palace of Catherine the Second in Tsarskoye Selo (St.-Petersburg). It concerns the theme of the corporate identity of professional children from the ballet sport and the media industry. For the first performance, we chose more than a hundred pupils of the special ballet and sports schools and some children from model agencies from St.-Petersburg, all of them from 3,5 to 11 years old. We did not ask the children for special poses, but they behaved themselves in front of the camera as well as experienced media stars from cover stories. The third part of the cycle – «King of the Forest: New York» was done in New York in 2003. There were around one hundred kids from Ford Models, who posed on «Military Island» on Times Square – one of the most significant places in the United States (or even in the world) in sense of mass media.

 

Jiang Zhi
Post Pause

2004, Video, 10 mins
Courtesy of the dslcollection

 

“Paused moments of city life in Shenzhen. Faces and faces of twisted bodies humanity line up the streets and bridges of the city mark the cost of desires and consumerism in our contemporary culture. A Kafkaesque dreamscape of labyrinths and maze.”

…”In Shenzhen, the rapidly evolving city where I currently live, there is perhaps the highest proportion of dreamers in the whole country. Many came penniless and destitute, having brought with them only the determination to savagely scrape together a fast buck in a few short years. As the Deng Xiaoping saying goes: “The most virtuous ethic is the virtue to pursue development.” At any moment, the dreamers are ready to bring their dreams to fruition, and apparently willing to do so for any price.”… “In the city streets, I might encounter many strange and wonderful things. Those people we see are like actors on a stage. Those sets and scenes look no different from a directed play in progress. It was only much later that I become conscious of the fact that this is the reality in its true form. That one individual with that group of people over there, with the motions they are acting out, are all controlled by a hand. This may originate from organizational leaders behind the scene, their bosses, their husbands, mistresses, or perhaps it might be the factory, the company, or even these people themselves… However, I am only directing a small segment in this short film. I would like to suggest this is a response to the issues brought forth by the characters. In those embarrassing realities yet to receive people’s attention there is also the fantasy world that we are so insistently infatuated with – only when I can examine these two worlds in parallel may the prying curiosity in me be satisfied.”

Jiang Zhi was born in Yuanjiang, Hunan in 1971. Graduated from the China Academy of Fine Art in 1995, now he is living and working in Shenzhen and Beijing, China. Jiang Zhi’s works concern contemporary social reality in China. His works have an insight into human civilization and China society, bringing the public introspection in an amusing form.



 

Tracey Moffatt and Gary Hilberg video collaboration
Other

2009, Video, 7 min
Momentum Special Edition, Edition of V

 

OTHER is a fast paced montage of film clips depicting attraction between races. Marlon Brando looks at Tahitian girls and Samantha from Sex and the City ogles an African American football player in the men’s locker room. Seven minutes of gazing and touching and exploding volcanoes. Very funny, very hot.

Tracey Moffatt is amongst Australia’s leading artists, returning there recently after having been based in NY for many years. Her practice encompasses photography, film, and video, with works that that address gender, race, social issues through artifice and humor.

 

Cao Fei
Rabid Dogs

2002, Video, 8 min
Courtesy of the dslcollection

 

“We love whips; we need to bite; we dare not bark. We work tamely, faithfully, and patiently like dogs. We can be summoned or dismissed at the bidding of our master and understand his intentions clearly at once. We are surely a miserable pack of dogs and we are willing to act as beasts that are locked in the trap of modernization. When will we be daring enough to bite our master, to take off the masks, to strip off the furs and be a real pack of rabid dogs?”

Cao Fei (1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Her recent project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010),Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d’Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). And Cao Fei is the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ).


 

Hye Rim Lee
Obsession / Love Forever
Eight individual High Definition 3D Animation Pieces with Sound, Looped DVD
(Shown above in a standard definition, single-channel viewing copy), 2007, Looped
One edition of each, out of an edition of five

 

Hye Rim Lee is a Korean born artist who now lives and works in New York, Auckland, and Seoul. In the title of the project, Obsession is named after a perfume by Calvin Klein, and love and forever are common words/themes for perfumes. Touching on the humorous or surreal, the works have significantly steered clear of clichés of the psychological definition of obsession; rather they explore the theme with a mixture of seriousness and delicacy.

The project aspires to come to terms with our contemporary vision of beauty by examining the crossover between the fashion industry’s construction of norms and the contemporary myth created in computer gaming and cyberculture. In the age of computers, online games, and the internet, digitalization, and computerization have changed our environment, our viewing habits, modes of perception, and fashion in contemporary pop culture. Digital technology and scientific progress have tried to create the absolute perfect vocabulary of beauty. The project seeks to investigate ideas about the relationship between beauty, perfection, and technological progress.

 

Sumugan Sivanesan
A Children’s Book of War

2010, Video animation with an accompanying text

 

Sumugan Sivanesan is an anti-disciplinary artist. Often working collaboratively, his practice is concerned with histories of anti-colonialism and transcultural exchange.

A Children’s Book of War discusses legacies of colonial violence in contemporary Australia within the context of the current War on Terror, the law and contesting sovereignties.


19/06/2012

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PAST PROGRAMS FROM SKY SCREEN / InsideOut

 


WATER(PROOF)
At Federation Square

1 – 30 September 2019

Stefano Cagol

9 December 2015



 


Atara by Amir Fattal

1 – 2 May 2015

FRAGMENTS OF EMPIRES InsideOut

8 – 9 November 2014



 


A TIME FOR DREAMS

19 – 21 September 2014

TREVOR LLOYD MORGAN

17 June – 17 July 2014



 


PANDAMONIUM InsideOut

1 – 4 May 2014

INTERSECTION

10 – 16 February 2014



 


MASS AND MESS

14 April – 30 May 2013



 


RUNNING THE CITIES

13 September – 31 October 2012

FIRST EXHIBITION from Sky Screen

25 April – 30 June 2012


14/06/2012
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14/06/2012
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About MOMENTUM InsideOut



 
 
ABOUT MOMENTUM InsideOut
 

MOMENTUM_InsideOut is MOMENTUM’s initiative for Video Art in Public Space. Traditionally shown in the darkened rooms of galleries and museums, video art is now bursting out into public space through the acceleration of digital technologies. MOMENTUM turns the museum and gallery inside out by bringing international museum quality video art to the streets, thereby making it widely accessible to new audiences and building curiosity and public interest in contemporary art.

MOMENTUM_InsideOut works in partnership with visionary institutions in Berlin and abroad. In cooperation with our partners the CHB – Collegium Hungaricum Berlin, MOMENTUM programs an ongoing series of screenings on Berlin’s Museum Island. And thanks to cooperations with international institutions such as SALT Istanbul, Odra Zoo Szczecin, Chronus Art Center Shanghai, and Viva Con Agua, MOMENTUM_InsideOut has taken place in Turkey, Poland, China, and more locations to come.

MOMENTUM is a non-profit global platform for time-based art, with headquarters in Berlin at the Bethanien Art Center. Through MOMENTUM’s program of Exhibitions, Education, Public Video Art Initiatives, Residencies, and Collection, we are dedicated to providing a platform for exceptional international artists working with time-based practices. The term ‘time-based’ art means very different things today than when it was first coined over forty years ago. MOMENTUM’s mission is to continuously reassess the growing diversity and relevance of time-based practices, always seeking innovative answers to the question, ‘what is time-based art’? Positioned as a global platform with a vast international network, MOMENTUM serves as a bridge joining professional art communities, irrespective of institutional and national borders. The key ideas driving MOMENTUM are: Collaboration, Exchange, Education, Innovation, and Inspiration.