Seing is believing and believing is a key to ideal being.
The videos presented are art taken out of the context of stills and videos relying less on narratives.
These videos deal with concepts, emotions, thought, reflections that make life worth living loving and hating(and last but not least debating!)
Come and partake of the fruits of these craftsmen/women in the realm of videoart!
Brought to you by YEAH and EYEDRUM
p.s. here’s more information on the participants and a flyer as well
We are profoundly interested in representation problems and in the organization of space and time structures.
We are researching through video on the possible transformations of the classic narrative structure and on the multiple ways of telling stories. Our research finds inspiration into science, art, figurative painting and avant-garde literature.
Our images and excerpts are always shown into an intellectual context that the audience must discover. The context differs in each of our work, on the basis of different organization principles of the work of art. The world of expression assumes a precise form in our work. We start from an idea, a rare and high idea that evolves into something fantastic. Fantastic does not necessarily mean folkloric, but a sophisticated intellectual adventure with philosophical and metaphysical ambitions. The worlds represented in our stories have nothing to do with everyday life. They are like alternative worlds with their own rules, rigid and mysterious at the same time. This is the reason why the symbols that we prefer are images reflected in a mirror game. Our game is a mind game, our narration never gives the impression of the pure intellectual divertissement; instead, each work is a conceptual effort, a “high” vision of the world different from the world that we know, in order to amplify as much as possible our intellectual capabilities.
Stepanian is a multimedia, cross-disciplinary, and video artist. She is the creator and curator of Manipulated Image video screenings based in the US. The 2010 screenings of her own videos include Orebro International Videoart Festival in Sweden (October); 4th Gaza International Videoart Festival
(Gaza – Jerusalem – Ramallah – Rafah – Jabalia – Bethlehem – June)… One Shot /8th International Short film Festival at the Armenian Center for Contemporary Experimental Art (Yerevan, Armenia – May)… CeC 2010, The 5th annual Carnival of e-Creativity in the Himalayan Indian state of Uttarakhand (February)… from the selections of CologneOFF V based in Germany; Fonlad 2010 Festival in Portugal (June); Teatro Museo Nacional de Bellas Artes, Arte Cubano in Havana, Cuba (March); “SHE_STORY” in Zadar, Croatia (March); OUTcasting Season 12 based in Cardiff, UK (May). In 2009 her videos were screened at the Abington Art Center near Philadelphia (video from the 1990’s); Harold Golen Gallery in Miami, USA; Kunstfilmtag 09 in Düsseldorf; YOVEO International Video Festival in New York City. Her webart was recently presented on HZ Online Journal and Digital Fringe Online Festival based in Australia. Her videos have also been presented at Leeds International Film Festival (UK); Center for Contemporary Art (Santa Fe, USA); Rencontres Internationales Paris/Berlin (2002-3): cinéma l’Arlequin (Paris) and Podewil (Berlin); Art In General and Dixon Place (New York City).
A. Bill Miller received his MFA in 2008 from the University of Wisconsin Milwaukee. He currently teaches digital art related courses at Penn State Altoona and has taught digital media, drawing, and internet courses at Milwaukee Institute of Art & Design and University of Wisconsin Milwaukee. He works between drawing, animation, video, installation, and the internet while focusing on grids and gridform. His works have been screened or shown nationally and internationally including new media festivals in Oakland, Pittsburgh, Providence; Sao Paulo Brazil, Budapest Hungary, and Yekatenaburg Russia.
Fritz Gnad (aka feezenfreezen) is a Motion Graphics Designer and Digital Artist based in Barcelona and Cologne. Feezenfreezen.de is his platform to present his commercial and personal audiovisual work.
His academic background consists of Media Sciences, Audiovisual Communication and Political Sciences at Ruhr University Bochum, University of Costa Rica, and University Pompeu Fabra, Barcelona, graduating in 2006. The thesis, a discourse analysis of the history of Internet, reflects his ongoing theoretical interest in digital culture.
He loves video art, short movies and installations, and some of his videos have been screened at festivals around the world.
Since 2007 he engages as a freelancer and has done projects for clients like Jack Daniel’s, Volkswagen, Abertis, Lanjarón, among others, working with production studios, advertising agencies and design studios in Spain.
In 2009 he co-founded the creative collective Tigrelab and Blitz Studio.
2010 he moved to Cologne, Germany.
Depiction of the physical structure does not compromise the integrity of its subject matter and vice versa.
My video are exploration of cinema’s uniqueness in dealing with the movement of time and space.
On the other hand, I like to explore various subjects on personal space and memory,
and meditate on landscape to elevate my visual sensitivity to a stage of hyper awareness.
My ultimate goal is to find the balance of form and content in my video and show explicitly their relationship.
Black and Jones(US)
Barry Jones is a digital video and sound artist with far ranging interests in music, the history of film, and new technologies. He earned his BFA in photography at Austin Peay State University, and his MFA in 3d studies at the University of South Carolina.
He is nationally and internationally known for his video installations, and has exhibited works at SPACElab in Cleveland, Ohio, at the Arlington Arts Center in Arlington, Virginia, and in Istanbul, Turkey, Sao Paulo, Brazil, and Madrid, Spain.
On a more local level, he was recently featured at the Brooks Museum in Memphis, and he has two digital works in the permanent art base collection of the New Museum of Contemporary Art’s new media branch, Rhizome.
“You cut up the past to find the future.”
We seek to create new works from both existing and original audio- visual information.
We are part of a long line of collage theorists extending from Hana Höch to DJ Shadow, from John Cage to Brian Eno.
Using the techniques of digital sound and video editing – both in the studio and in live performances – our work explores the history of cinema, the culture of the Internet, the richness of language, the pervasiveness of music and all the ways in which media intersect and interact to create new languages expressive of our time.
“Ya’ll can’t copyright no beats!”
In our current work we explore the power of the pop album, using its format as the template for our own ‘pop set.’
*1980 Tobias Rosenberger studied “Applied Theatre Studies” in Giessen / Germany and works at the crossroads of theatre, new media art and installation. Besides various performances (Festival Junger Talente, Frankfurter Positionen, Körber Studio Junge Regie) he realized i.a. installations for the German + French Embassy in Sana’a / Yemen, the Goethe Institut in Barcelona and Franken Architekten. He was three times participant of Luminale Frankfurt (2006, 2008, 2010) and exhibited widely, including Lyon (Les Subsistences), Copenhagen (re-new-DigitalArtsFestival), Liverpool (Moves10), Katowice (Galeria Rondo Sztuki), Mexico-City (solo in Galería A/B del CENART), Osnabrück (European Media Art Festival, Kunsthalle Dominikanerkirche), and Esslingen/Neckar (solo in Villa Merkel). Rosenberger has been awarded grants from Goethe Institut and Werkleitz (1. Mexico-scholarship for German New Media artists, Centro Multimedia del Centro Nacional de las Artes), the City of Esslingen (Esslinger Bahnwärter Visual Arts) and Foundation Künstlerdorf Schöppingen. He has held residencies at European Mobile Lab for Interactive Media Art (e- MobiLArt, 2008/2009) and at Pépinières européennes pour jeunes artistes, map-extension 2009- 2010 programme (Festival Okuparte, Huesca/Spain).
Wilfred Agricola de Cologne(Germany)
Agricola de Cologne
is a multidisciplinary media artist and founder & director of [NewMediaArtProjectNetwork]:||cologne – http://www.nmartproject.net/
As the director of his video films , he is mostly also their producer, editor, composer of music and other film specific functions.
As an artist, he had more than 100 solo exhibitions in cooperation with for than 70 museums throughout Europe, USA and South America, as a curator he organised between 1989 and 1994 several cultural projects in Europe and curates since 2000 the numerous New Media projects of [NewMediaArtProjectNetwork]:||cologne.
He is co-organiser and curator of several media festivals and exhibitions, and is participating with his media art since 2000 in more than 400 media exhibitions and festivals around the globe (ISEA 2008 Singapore, Athens Videoart Festival 2008,2007, 2006, Moskow International Film Festival 2006, ZKM Karlsruhe/G 2005, Biennale of Video & New Media Santiago/Chile 2005, Biennale de Montreal 2004, Biennale of Electronic Art Perth/Australia 2004, Biennale of New Media Art Merida /Mexico 2003, Venice Biennale 2003, FILE Sao Paulo 2001-2006, Ars Electronica 2001-2006, Videoformes 2001-2008, Art on the Net 2001, 2002, Mediaterra Athens 2002, ISEA 2002 Nagoya/Japan, SENEF Seoul 2004 & 200, 2007 etc) , details see on:
The search engine Google has the most Agricola de Cologne postings
AGRICOLA de Cologne
“Agricola de Cologne” is an artist brand, as well as a brand for his art, and as such “Agricola de Cologne” as a manifestation as an artist is purely virtual. The first name “Wilfried” was added only for users and partners to deal more properly with the virtual and physical status.
Read more about the brand “Agricola de Cologne”
Born 1950 in Black Forest (Southern Germany), the artist started his carreer as an artist directly after his studies as “Wilfried AGRICOLA”
He died as such on 31.12.1998 as the result of a terrorist attack
reborn on 01.01.2000 as the brand “Agricola de Cologne”
living and working as a free lance artist
since 1984 in Cologne (Germany)
“Some philosophers believe that art is only a reflection of the truth. I am determined to create the Reflection to let people look up to the sky and recognise the presence of the Sun.”
For Wiracha, art is meditation. Art cannot be comprehended by seeing, but by the process of knowing which allows full comprehension of art in accordance to the individual experience, leading us to an utmost abstract understanding.
Having spent eight years of his childhood as a Buddhist monk, he has been thoroughly acquainted with the most ancient Buddhist philosophy of Theravada, which was deeply rooted in South East Asia. Wiracha’s works usually embrace insightful Buddhist philosophy and its spiritual values through pop culture.
His practice includes Performance Art, Video Art, Installation Art and Sculpture. He expresses his art as simple objects and everyday-life activities, full of satirical humour and controversial aspects about race, politics and religion.
Wiracha Daochai is an art worker who lives and works in London. He was born in Bangkok, Thailand where he had worked as a writer, a lyric composer and a creative and content provider. Wiracha will be completing MA Performance Making at Department of Drama, Goldsmiths, University of London in 2010.
Brenda Battad is an artist and writer working predominantly in video, animation, sound, performance, and poetry. She was born Brenda Melissa Tesoro Battad in Rizal, the Philippines, and grew up in Singapore. She currently resides in Pittsburgh, Pennsylvania, where she received a BFA with a concentration in Electronic/Time-Based Media at Carnegie Mellon University’s School of Art. Her video and animation works are largely driven by tone and metaphorical video-audio relationships. They are results of endless technical experimentation, through which Battad seeks to communicate layers of meaning drawn from image, sound, and their abstraction.
osvaldo cibils 1961 visual and sound creator artist since soooo many errors. born in Montevideo, Uruguay. he lives in Rovereto, Italy
Richard O’ Sullivan(UK)
Richard O’Sullivan is an artist in new media. He graduated from the M.F.A. program in Film Production/ Direction at U.C.L.A Film School in Los Angeles (University of California at L.A.), and from the University of Warwick. His videos explore the meanings of place, and have focused on the contradictions of the Californian landscape. Other works have explored visual perception and video technology. The artist has also produced documentaries, which follow personal narratives. Work in this area includes the feature-length Cradle, the production of which was undertaken with the mentorship of Marina Goldovskaya.
Michał Brzeziński, born in 1975, artist, theoretician, curator in Contemporary Art
Center Łaźnia in Gdansk, author of Galeria NT. Graduate of film studies at the Media
and Audiovisual Culture Department at the University of Łodź. MA thesis entitled
Sub-ject, Body, Identity. A Contribution to Cybercultural Anthropology completed in
2003. Specialising in visual media, including TV, DVD and the Internet. An organizer
of video training workshops and author of a TV program devoted to video. His work
combines the tradition of video art and experimental cinema and is a reflection on
the phenomenon of identity in the world of new media.
His work was presented in Łódź Biennale 2006, Szczecin Festiwal Inspiracje 2008,
Poznań: Biennale of Photography 2009, Józef Robakowski’s Programme Polish Found
Footage 1957−2004, at Rzeźnia Miejska during the Second Art Fair in Poznań 2004,
Lublin Art Gallery, Space-twotentwo Gallery in London as well as a part of Galeria
Wymiany collection: New Video Energies at the Art Centre of Poznań and DVD —
video energies at the Manhattan Gallery in Łódź.
Furthermore, his video was screened as part of Krzysztof Jurecki’s lectures held at Centre
for Contemporary Arts “Łaźnia” in Gdańsk, “Kont” Art Gallery in Lublin, “Wozownia”
Art Gallery in Toruń, Centre for Contemporary Arts “Zamek Ujazdowski” in Warsaw,
to name a few.
A one-man screening of his work Peer Gynt took place at A. Rubinstein’s Concert Hall in
Łódź. Other solo screenings were held at the Arsenal Art Gallery in Białystok, “Bunkier
Sztuki” Art Gallery in Cracow and Art Museum in Łódź.
Awarded the Ministry for Culture and the National Heritage Scholarship in 2008.
The current work explores processes that deal with the ordering and juxtaposition of images, text, lists and spoken phrases in order to generate narratives made through acts of association and combination.
space – navigation – the ordering of relationships, spatial, the relocation of events, emotion, sensation – where is this in relation to that?
time – memory – the ordering of experience, temporal, the recollection of events, emotion, sensation – when was that in relation to this?
This is the first ever presentation of Grenze in the US!
GRENZE / Lectures of the Capital by Karl Marx //
In GRENZE, the principal question thus goes on the movement, the circulation of capital and its transformations. It places progressively series of metamorphic movements. It articulates with it. It gives it a visual translation. Our look, our waiting, time respond together to this construction of an infernal mecanism which holds everything. It opens a range of questions as how today’s capital catches ours lives, our subjectivities.
“there “Your capacity” to be put in images “words found a form and a space which enable him to appear in all its power. I imagine that a multitude of singular forms are possible starting from the elements thus assembled. I do not know if thus Eisenstein would have put out of film the Capital, but you undoubtedly found a manner strong and tempting to carry out its dream ” Jacques Rancière, professor of philosophy.
Our generation’s experience : Capitalism won’t die of natural death (Author unknown).
One of the meanings of the German word grenze is the limit as a border separating two areas, which by definition can be crossed.
GRENZE is a series of visual readings based on Capital by Karl Marx (part 1).
GRENZE opens up a series of reflections around capital as Marx analysed it, in an attempt to better understand it in its present form.
GRENZE is a vision of the metamorphoses of the capitalist system. It is a visual translation of « Capital ». It progressively unfolds a chain of metamorphic movements. Faced with the construction of an infernal and destructive mechanism, we respond with our look, our waiting, time.
(The detail labourer and his implements).
For almost ten years now, I have chosen to work from fragments, and to take samples from philosophical discourses. I commit my thoughts to drawn notes which later evolve into video works, paintings or installations. I have tried to approach the concepts and discourses using my own tools, as a visual artist, director, actor, trying to give them a visual translation. I have experimented with this particular type of research earlier, on the occasion of seminars by Jacques Rancière on the aesthetic of the art, by Giorgio Agamben « What is philosophy? », by social scientist Toni Negri « immaterial work, the translation of work into life and of life into work ». I attended these seminars at the Collège international de philosophie in Paris. These various experiences brought me to realise drawn readings of Capital.
“What If?” is a project designed and curaed by media artist, Gene Gort and composer/sound artist, Ken Steen of NewMediaNewMusicNewEngland. The project uses 60 video clips and 60 sound compositions that are 60 seconds in duration each and pairs them randomly using a Cageian model of indeterminacy with 3600 potential variations.
The project has three potential iterations: a video screening event, an installation/kiosk for gallery presentation and a website. For the screening event, to engage in the random activity, audience members select one number each from a video- and audio-designated list as they enter the venue. These numbers will determine the evening’s program of 60 works resulting in a 60-minute screening. For the gallery installation, a computer with media projection and stereo sound will be loaded with all the files and the viewer will select random pairings or specific pairings as they choose. The website will have a random generator scripted into the site and visitors can randomize the pairings or determine the pairings specifically as well.
“What If?” is an outgrowth of “60×60” from VoxNovus in New York City a project directed by Robert Voisey. “60×60” is a yearly call for 60-second sound compositions selected to create a 60-minute fixed media program of sound works that travels to venues in the US and is published as an annual CD compilation. Our take on this project was to add video to the mix and the random functionality and focus on producers residing in New England. To date the “60×60” project has also worked with experimental and underground film makers, choreographers, experimental photographers, and video improvisers. (http://www.voxnovus.com/60×60)
Participants in “What If?” are from the six New England states and range from young producers to seasoned professionals to graduate and undergraduate students.
bebe beard james bohn david borawski alvin case bob chaplin charles day lief ellis john friedlander gene gort parker hu jeanne jo sheridan kelley kevjn kelly tim lawless eva lee mike maleszyk will matthews / todd rose lauren mccarthy jay miles julie miller barbara percoco earl procko steve rand andrew reardon joshua rosenstock dean rosenthal sarah rushford joe saphire mark savoia rylan shook ken steen wilson stiner alan taylor derek taylor joel vanderkamp jane wang jason aicardi gints aldins sam barnett mike birnbaum china blue james bohn istvan b’racz scott brickman justin brierley halsey burgund robert carl thomas ciufo jon crane brian dixon judy franklin christy georg mark goodell jon hong alphonse izzo juraj kojs daniel lis daniel and jonathan lis shawn marquis andrew mitchel kerry o’grady eunseok park max pearl nick rice dean rosenthal jessica rudman matt sargent demetrius spaneas aleks sternfeld-dunn wilson stiner jonathan vingiano jane wang frank e. warren
Spawned in 1999, Projexorcism was begun when Ed Cooper acquired two Bell & Howell 2592 auto-shred projectors and 200 educational films. By 2003 Projexorcism had defined a unique flavor of experimental hyperactive expanded cinema & has since been pushing the boundaries of weirdness. Currently Projexorcism is using a quad 16mm projector array suspended from a lighting pole – the projectors are synchronized with a 4- channel sound-actuated variable speed lighting controller. The projected images are split, inverted and bent using silver reflective CD-R’s and Fresnel lenses. In May 2005 the Catawba Council for the Arts awarded Projexorcism an Innovative Project Grant to add a Film-to-Video Regurgitation Array to their quad 16mm setup. Unbound from the linearity of film, the 16mm setup is now augmented with real-time video capture, manipulation & projection devices.
artist/group SERGIO MALTAGLIATI / PIETRO GROSSI
programmer and media
SERGIO MALTAGLIATI (born 1960 in Pescia, Italy) is a Italian Internet-based artist, composer, and visual-digital artist. Sergio Maltagliati an artist from Florence Italy; studied music at the Conservatory “Luigi Cherubini” in Florence, then he began to paint. Thus creating a new method of writing music where the score becomes a visual composition. The relation between the sound and color creates a living feeling that art is not dead. It does not stop at the artist’s last attempt at the canvas, but goes beyond to the viewer. It is the relationship between artist and viewer, one is no different than the other. Now the viewer can take the step that the artist may dare not to across.
(1917-2002) was a
pioneer of computer
composition and tape
music, who first
electronic techniques in the early sixties.
PIETRO GROSSI Minimalist before the Minimalists, pioneer of Computer Music, visual artist and hacker ahead of the time. This was Pietro Grossi, a larger-than-life Italian and composer who questioned the concept of musical authorship the idea of personal artistic expression: “A piece is not only a ‘work’ (of art), but also one of the many ‘works’ one can freely transform: everything is temporary, everything can change at any time. “Ideas are not personal anymore, they are opened to every solution, everybody could use them”. This experience of electronic art comes from Grossi’s desire to express himself in the field of graphics too, following the same principles used for his computer music creations. This kind of art allows the artist to work at home, thanks to a personal computer, and his house becomes like a gallery at home.
The HomeArt (term coined by himself) project is particularly relevant: it consists of completely automated visual processes, based on simple computer programs, where he gives space to randomness in the context of a single compositive idea, developed into many different graphic variations, and it was presented for the first time at the Venice Biennial Exhibition, “New Atlantis: The Continent of Electronic Music in 1986.
year of production
In the middle of the Eighties, he has started a series of researches concerning computer graphics. The “Homeart” (term coined by himself) project is particularly relevant: it consists of completely automated visual processes, based on simple computer programs, where he gives space to randomness in the context of a single compositive idea, developed into many different graphic variations. Grossi has developed the concept of “HomeArt” using Qbasic graphics. The simple instructions of each program can be modified to create various processes within a single artistic idea/composition. Grossi’s concept of art also offers a broad chromatic range that can be either used directly or modified. His later works involved automated algorithmic composition, which he extended beyond the realms of music into the visual arts. Sergio Maltagliati has innovated upon the original programs, adapting the programming code and adding an inspired audio track as varied as the symbols and colours, involving a multiplicity of musical variations.
Stepping on the Light
Stepping on the Light is part of a series of works exploring the creative potentials of extremely portable digital devices. This work was shot with the camcorder feature of a credit-card sized digital camera, and explores two extremes of video display scales, that of pocket video and large scale projection. The protagonist of this video is modeled on the notion of an avatar in a virtual space, only this avatar is wandering “real space” (downtown Chicago) in a semi-virtual environment (video footage). The duality of the layered image aims to illustrate this split-subjectivity of real and represented walker/avatar navigating in a not-quite-aimless fashion through the Cartesian grids of the urban matrix, a grid-space also redolent of game environments. Traditionally, Cartesian coordinates have aimed at Control, Predictability, and Accuracy in the modeling and manipulation of space. The approach of the protagonist in Stepping on the Light is to highlight the embodied and pleasurable aspects of navigation. The noise in the imagery, an effect of the technology of portable image capture, is reproduced in the soundtrack, which marries noise and video game soundscapes.