NOW&AFTER18

The theme is AUTONOMOUS REALITY, 18+

The eighth edition of the Now&After International Video Art Festival will be held at the ARTPLAY Design Center from 7 to 16 February 2018.

Opening 7 February at 7 pm (UTC+3)
ARTPLAY Design Center
Nizhnyaya Syromyatnicheskaya st., 10/7

Reality is an intuitively understood component of our life. It is a philosophical category, a scientific constant, and something that everyone can define in his own way. Reality refers to everything that arises in time and then disappears, and usually its existence does not need any proof.

Autonomy implies independence and acting according to one's own internal motives, and in the age of globalization it acquires special significance.

We invited the artists to go in search of an autonomous reality, the one that is not controlled from the outside and develops according to its own laws, independent and self-sufficient, self-governing and detached.

They have discovered it in the system of scientific approach to the development of knowledge of the world, and in the phantom field of illusions and words, in the digital world that tempts virtual reality, and in the hidden from extraneous universe of memory, in the illusory world of cinema and in laws of economic development, in space and in the inner circle of family.

In addition to the Festival's main program, that will be demonstrated for ten days as a multi-channel video installation at the Small Hall of the Artplay Center, Now&After'18 will present an extensive special program: lectures and discussions, meetings with artists and curators, excursions and performances. The festival visitors will see the video art programs of festivals from France, Poland, Argentina, Germany and Taiwan.

Now&After'18 special guests are: Tomasz Wendland from Poland, Director of Mediations Biennale, Gabriel Soucheyre, Director of Videoformes Digital Arts Festival, France, and Marisol Bellusci, curator of VideoBardo International Videopoetry Festival (Argentina).

Special project of the Now&After'18 International Video Art Festival – an exhibition of digital art from Taiwan Data Mania will be shown at the CCI Fabrika from February 28 to March 29.

Now&After'18 is organized by  Media Art Center Now&After
Now&After'18 co-organizer – the Design Center Artplay
Festival Director and Curator – Marina Fomenko

NOW&AFTER`18 CATALOGUE

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Winners

1st prize:

Suzie Léger, Katarina Csanyiova, Apropos of Logic, Austria, 2016, 6:20

2nd prize:

Anna Studinovskaya, ADR/ARD, Russia, 2016, 6:12

3d prize:

Sunil Pandey, The Eternal Journey, Nepal, 2016, 14:51

 

Honorary Jury Mention:

Orit Adar Bechar, Ramid, Israel, 2015, 8:50

Donya Hajizadeh, Black Man, Iran, 2015, 2:09

Pedro Matias, ... to my plastic brothers ..., The Netherlands, 2017, 10:28

Participants

COMPETITION PROGRAM

1. Orit Adar Bechar, Ramid, Israel, 2015, 8:50

A video projection that was filmed in a site called “Ramid”. The film documents actual events that take place at the site – trucks arriving, loading grain and departing, pigeons feeding on the remains of the grain. The architecture of the site is reminiscent of classical building, with giant pillars, the natural light shining down from above creating a theatrical and unnatural effect on the coming and going. Into this reality, I inserted staged events with characters wondering within the space of the site, appearing to follow a set of unknown orders, rules and procedures. In spite of the facts that Ramid is an open aired municipal site, the atmosphere in the video is closed and oppressive. The footage is edited to convey a feeling of urgency and impending disaster. “Ramid” was influenced by Samuel Beckett’s short story “The Lost Ones”.

2. Elena Artemenko, The Pull, Russia, 2017, 8:25

Video performance, where the collective body makes an attempt to overcome gravity and come up using an internal effort, without support, against all Newton's laws.

3. Mladen Bundalo, Hyperinflation, Belgium, 2017, 8:36

A video essay on hyperinflation, that happened to the Yugoslav dinar in 1993/94. Passing through banknotes design, science and personal memories, we make an irrational journey to one of the worst hyperinflation in human history.

4. Brit Bunkley, Godzone, New Zealand, 2017, 5:33

"Godzone" is a colloquial term for New Zealand – shorthand for "God's Own Country". It was first used in NZ as the title of a poem about New Zealand written by Thomas Bracken in 1890. In this video, industrial architecture (quaint, but ominous in their decay) vie with striking NZ landscape rendered in virtual 3D. Actual footage is combined with the 3D alternate reality of flyovers of Solaris-like islands such as a factory ruin that segues into a clip of a NZ park built during the work programs of the Great Depression - a unique landscape rich in both Ponga fern trees and redwoods, part Jurassic Park and part northern California.

5. Servet Cihangiroğlu, Immigration, Turkey, 2016, 5:20

The stones in the video were collected from a road. Keystones made of concrete... Immigration has been destructive for every epoch and every person. Immigration for artist is now an ordinary life form, because immigration is continuous...

6. Natasha Dahnberg, Caro Vero Infirma, Sweden, 2017, 13:00

I have always been interested in the transformations to which the human body is exposed during a lifetime. I want to find out what affects these metamorphoses and how it does so. My last work, Caro vera infirma (The Flesh is Weak), which premieres at the exhibition Metamorphoses, is dedicated to death, or more so, the search of where life goes. I use various resources and techniques for my work. Depending on the idea I may choose a drawing, a painting, an object, a video or even a performance. That’s how the work on Caro vera infirma (The Flesh is Weak) was stricken by a metamorphosis and the artwork Nerves came to life.

7. Vincent Deyveaux, Sarabande, Russia, 2016, 3:45

The cameraman meets another cameraman who is filming a religious ceremony.

8. Bryony Dunne, Bring Them Back Alive, Ireland/Egypt, 2016, 7:39

Bring Them Back Alive explores the advancement of the colonial project with the opening of the Suez Canal in 1869 — wherein flora, fauna and human beings were uprooted and transferred across multiple continents — and highlights a sinister, even surreal, pattern of domination. Found footage and photographs of botanical and zoological gardens, natural history museums and world fairs are intricately woven with the artist’s own photographic series on Egypt’s 125-year-old Giza Zoo, in addition to her forthcoming film about the world’s last male Northern White Rhinoceros.

9. Evgeny Granilschikov, At Dawn Our Dreams Become Brighter, Russia, 2017, 7:30

At Dawn Our Dreams Become Brighter is a collage film, where video poetry, documentary and staged scenes are mixed together to create multi-layered associations related to personal and national history. In the focus of this video work there is an everyday reality as it is. This film is about time, politics and love.

10. Donya Hajizadeh, Black Man, Iran, 2015, 2:09

The dark universe, from behind the recurrence of black ideas, I won’t keep silent.

11. Felice Hapetzeder, July 19, Sweden, 2015, 7:43

On the day this work was filmed and not far away, four children were killed. On a different beach facing the same ocean. The performer digs a trench, as he did during the wars of his years in the army, as his father, the concentration camp survivor did before him.

12. Tetsushi Higashino, Tetsushi Higashino's Okunoto Museum of Oral Traditions, Japan, 2017, 9:36

A story of a locals' oral tradition was replayed with the localite who told the story which was adapted through an interview with the curator of the exhibition. The artist swapped the role between the interviewer (curator) and the interviewee (artist) and the local oral tradition became a reality.

13. Nastya Kuzmina, Malik Search Engine, Russia, 2017, 19:23

Modern man is not confined to a particular spot, he is open to lots of opportunities, he is a product of multiculturalism. Man is homeless, because he is available anywhere he is. He drifts in space without landmarks, which brings him closer to the ancient nomad. Malik Search engine is a complex, multilayer character created from papier mache. In the namesake video installation it acts as a symbol of the old paper media – a romantic symbol of refusal to dissolve in the world of modern digital communications, and at the same time as the image of the artist himself, who expresses himself by disconnecting from the generally accepted sociocultural algorithms, thus condemning himself to the status of the fringe.

14. Suzie Léger, Katarina Csanyiova, Apropos of Logic, Austria, 2016, 6:20

In a soccer stadium in Vienna, 13 female artists perform Franz Kaltenbeck’s art manifesto "The criteria of the avant-garde" as an opera piece. This iconic text, written in 1977, lays out the principles of the avant-garde movement, which it emblematizes. The performers make the manifesto their own, and applying its content to a soccer game, deconstruct its meaning. Through rhythmic and melodic transformations, the text acquires new implications – it becomes an avant-garde artwork on its own. In essence, Apropos Of Logic is a playful and provocative meditation on language and its systems of enunciation: it demystifies academic writing and makes it accessible to all by turning it into a cathartic performance.

15. Tullio Manca, The Wait, Italy, 2017, 3:15

The acceptance of the death provides the possibility to see life differently. The time is perceived differently, it does not scare anymore and it is possible to see through it. In this movie, we observe a woman who is observing and waiting. For us it is impossible to comprehend what she is looking for and what she is thinking about. She seems different from others. She is looking for answers that transcend the sensible reality.

16. Shahar Marcus, Homecoming Artist (Dresden), Israel, 2016, 4:26

In the video “Homecoming Artist” the artist Shahar Marcus driving with two young models at the back seat at the heart of the city of Dresden in Germany. During the ride the people of the town are being asked do they know or heard about the artist. None of the people know and most of them don’t care about art at all. Nevertheless while riding slowly around the city Marcus is waving to the people and the people are waving him back as if he is a known celebrity or a local politian who is doing his campaign election right now. The drive implicates the gap between the art scene and the common citizen in small towns.

17. Ioulia Marouda, Anirudhan Iyengar, Hesham Hattab, Neural Kubrick, Greece, 2017, 8:18

Stanley Kubrick in 1968 speculated on the arrival of human-level Artificial Intelligence in "2001 A Space Odyssey". Some 16 years past his prediction, we examine the state of the art in Machine Learning, using the latest in Deep Neural Network techniques to reinterpret and redirect Kubrick’s own films. The outlook of the project is an artist-machine collaboration. The limitations of the machine are achieved by the artist and the limitations of the artist are achieved by the algorithm. Three machine learning algorithms take respective roles in the AI film crew: Art Director, Film Editor and Director of Photography for three machinic interpretations of Stanley Kubrick's films: The Shining, 2001 A Space Odyssey and A Clockwork Orange.

18. Pedro Matias, … to my plastic brothers …, The Netherlands, 2017, 10:28

"…to my plastic brothers…" aimed to present personal theory around the current capitalistic mentality and its repercussions in contemporary bodies, sexuality and our surroundings. The ‘spectacle’ of pop-culture created a boom of successful, referential, and to the eyes of some, perfect envied bodies. These perfect bodies become the idol of millions, but aren’t we aiming the virtual rather than the real? Under a sleeping pill, our bodies became silicone and fat; they live in a plastic dystopian reality. This work is about objectification, an ode to all the plastic brothers that now start to awake.

19. Lyoudmila Milanova, Steffi Lindner, Agens, Germany, 2017, 21:30

The video work "Agens" deals with the nature of ephemeral substances and its immanent processes and approaches the contrast between the materiality of fleetingness and the human need for control. In "Agens", clouds and fog come and go, however only featured in interiors. Everyday scenes of the ephemeral - such as smoke from a cigarette, steam coming from a kettle or a dishwasher - gradually turn into peculiar cloud and fog phenomena. The narrative structure is based on the development process of a cloud in the sky. The running time of the video matches about the life span of a cumulus cloud.

20. Lisa Morozova, Bad News, Russia, 2017, 4:33

There are more and more things around us that I feel ashamed for, and there is less and less possibility to tell about it. Every day bad news rain down on us from the screen. The artist's feelings after reading the newspapers with countless reports of people's tragedies bring her to self-punishment, to the attempt of hurting herself in a classic, "school" way. Unable to overcome the media shock, she voluntarily puts herself in the corner standing with her knees on the peas, thus transforming the grief of others into her own trauma.

21. Vivian Ostrovsky, DizzyMess, USA, 2017, 7:43

Dizziness, in the sense that it inspires artists and filmmakers to move beyond their known borders. Or how a state of altered perception, instability, and confusion can be a catalyst for exploring new surroundings. Let go of the ground and attain giddiness or perhaps even foolishness?

22. Sunil Pandey, The Eternal Journey, Nepal, 2016, 14:51

This film chronicles Ananta Yatra (the eternal journey) of an old woman who meets sudden demise in the 2015 Nepal Earthquake. Hindu mythology requires her to hold a calf while crossing the Baitarni River for her salvation. The film is Director Pandey's eulogy to his beloved grandmother.

23. Hiroya Sakurai, The Stream VII, Japan, 2016, 6:00

In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. The theme of this work is the liveliness of the water as it follows the man-made course.

24. Rajee Samarasinghe, If I Were Any Further Away I’d Be Closer to Home, USA, 2016, 14:30

A silent poem reflecting on the place of my mother’s birth and her first traces on earth. A generational portrait of South Asian “makers” becomes a perceptual voyage into memory, experience, and touch.

25. Kamen Stoyanov, Impossible, Austria, 2015, 11:53

A rubber boat is moving in the sea living white traces, which dissolve afterwards into smaller waves. One realizes slowly the sense behind the not linear movements. The boat tries to write again and again letter after letter, the word “Impossible”. It is several days trial to make the impossible possible.

26. Anna Studinovskaya, ADR/ARD, Russia, 2016, 6:12

Video installation examines the situation when longevity tests are being applied not only to objects of daily consumption, but to the very concept of human being. In the posthuman era, there are no individuals, only the semihumans that are being mutually attracted and repelled: the "sparse" remains of the arch fossil. Carriers of wetware, deduced in medical labs, appear as the first automaton - τὐ αότόματον, stating that the necessary condition of future harmony is the commutation of the human and the object.

27. Jorge Suárez-Quiñones Rivas, The Eternal Virgin, Spain, 2017, 15:12

The understanding of domestic, cyclic time-space in Ozu Yasjirō’s cinema takes material form in Hara Setsuko, “The Eternal Virgin”, woman-actress-character-myth constantly alone in the frame. A cinematographic, experimental approach through the practice of found footage to Ozu Yasujirō’s understanding of the relationship between space and time —and also figure and background, omote (the public face) and ura (the private face), representation and presentation, fiction and documentary…— explored by the artist in terms of mis-en-scène and composition in framing, materialized in this specific work by the sole presence of Hara Setsuko and her cyclic, lonely day-to-day parcours inside Japanese domestic architecture.

28. Effi & Amir, Mnemonic Gymnastics, Belgium, 2015, 16:00

A tour through the bunker's corridors and spaces, guided by an anonymous man who is reciting a text, based on latin textbooks, dedicated to the method of memorizing words and notions using the technic of "places and images" (loci et images). He demonstrates the method by creating mental images and placing them in the spaces. The guide's authority as well as authorship, as the one who creates the images -and the memory-, are constantly being sabotaged, damaged or put into question by the very images, who rebel against their creator, while they also undermine those (authority and authorship) of the artists.

 

NON-COMPETITION PROGRAM

1. «Roi» Group, Weeds, Russia, 2017, 6:36

This video represents a dream, a meditation, a realization of an idea that came in a dream. Dreaming is another reality, and that's what makes it similar to art. Dream reality exists according to its own laws, and it is so familiar to people and at the same time so under-explored. In that reality things often differ from what we are used to, actions are absurd, meaningless or have new meanings. In the focus of this video there is an absurd action – mowing weeds in a field with axes. The hypnotizing picture of a rhythmic work and women's beauty is deceptive: women work hard in the field covered with cold morning dew. What is happening? Everyone is free to answer in his own way. Someone will see women, making their own way and destiny. Others will note a desperate and tenacious action, bound to failure, as weeds are ineradicable, and it would remind them the way a lot of people live their lives. And somebody else would notice the majesty and beauty of the morning field and the way it asserts its leading role in this action. Having their work done, women disappear out of sight.

2. Gianluca Abbate, Virginia Eleuteri Serpieri, New World, Italy, 2018, 7:50

Year 2017, a city, a square, a day, the first of May, Labour Day, a music festival, guys dancing and singing together, eating pizza, hamburger, oca-ola and alcohol, red flags and religious statues hovering in the sky, smartphones lighting up around. At this point everything seems like to fall into a colorful maelstrom of emotional experience. Is it the end of the world? Or is it the beginning of a New World?

3. Vladimir Abikh, Communication, Russia, 2015, 2:19

The work is a video documentation of the experiment of communicating between two smartphones through the mutual translation of the word "communication" from Russian into English and vice versa. There is no edit or any other author's interference in the work.

4. Alexandre Alagôa, Vortex, Portugal, 2017, 9:05

A corridor of an apartment is transformed into a claustrophobic and vertiginous vortex that swallows and imprisons you in the infinite fall through the mise en abyme: it’s a pure enclosure inside the image world, it’s the Descent into the Maelstrom.

5. Mahmoud Alibadi, Thank You Dear Olafur Eliasson, I Am Not Just Brown Anymore!, Denmark, 2016, 3:01

I have made this performance and video to celebrate the universality of humanity, drawing inspiration from Olafur Eliasson’s artwork “Your rainbow panorama” at the ARoS Museum, Denmark. The idea behind my work is that all people who meet in Eliasson’s rainbow will have the same skin colour resemblance while they are present there. This way the physical colour of your skin will no longer represent an identity.

6. Rodrigo Azaola, 83 1, Australia, 2017, 2:13

83 1 draws attention to the widespread use of torture as tool of institutional abuse and death simulacra, a repetitive reminder of an Orwellian dystopia. The video refers to the ordeal of Abu Zubaydah, detained since 2002 in black sites and currently in Guantanamo without being officially charged with any crimes. In 2012, for a span of one month Zubaydah was water-boarded 83 times. At least twice a day, he was coerced into water inhalation as to fill his mouth, nose, sinuses, pharynx, larynx, and trachea without allowing total suffocation or death. Through the repetition of a simple action – carrying a water bucket around the former Mexico’s Palace of Inquisition built in the 16th century – 83 1 is a reminder of the institutionalization of torture in different parts of the world.

7. Ramia Beladel, Waiting for Godot while waiting for himself, Morocco, 2016, 14:34

Coming from a long journey, I have treated the topic of "waiting", using different medium: photography, performance, video, essay and perfume. For the collaboration with DOM la cupola del pilastro, I wanted to gather all the elements that I have worked with in order to create a proposition for an artwork that will echo with the theater aspect. The performance took its context as starting point which is the environment that I was surrounded by, first the theater and then the school to learn Italian for foreigner women, most of whom happened to be Moroccan and were settled in Italy for a long period, but still couldn't speak Italian.

8. Alisa Berger, Solo for One: Identity Klimax, Germany, 2017, 9:00

Klimax was a performance evening at Babette Bar, dealing with identity and tensions of exclusion or inclusion. During the performance the audience was listening to Alisa Berger reading a text about identity in three languages, Russian, German and English. The performers were guided by identity-mantras on their headphones. The performers could not hear the narration that the audience was hearing (Berger's text), while the audience was excluded from what the performers were listening to. In the video of the performance another exclusion-inclusion moment is happening: the viewer can hear all the different identity-mantras that the performers were guided by, but not what the audience was listening to during the performance, the text in three languages of Alisa.

9. Arnaud Brihay, Archers, France, 2017, 2:07

Just one more allegory of a kind of real life...

10. Cláudia Cárdenas, Rafael Schlichting (Strangloscope), Medal of Honor, Brasil, 2017, 9:45

Medal of honor is a video found footage of 16mm material that edits a series of military medal of honor sequences in order to provoke, through the repetition of the gesture, a movement of critical escapism to the displayed element. What is received as honor is shame, is the result of the destruction of hundreds of thousands of lives in all the countries involved, as well as diverting trillions of dollars from the destiny they should have, providing our communities, maintaining schools, hospitals, libraries and other Investment in life.

11. Narcisa Hirsch, Ruben Guzman, Robert Cahen, Kosmos, Argentina, 2017, 10:00

Kosmos, is a three-hand composition by Narcisa Hirsch, Robert Cahen and Ruben Guzman. Kosmos proposes a voyage through time and space and the astonishment and curiosity for our world.

12. Roman Mokrov, Sunday Morning, Russia, 2017, 4:09

 

13. Kayla Parker, On Location, UK, 2017, 12:19

A hybrid form of landscape cinema, which observes a year’s cycle of seasonal changes in a countryside hollow way that forms the stream bed for several springs in a remote area of rural mid-Devon, England. The film captures the meteorological phenomena and the natural world in the sunken lane over a twelve-month period, using experimental filming techniques, such as pinhole cinematography and lenses created with water from a spring that feeds into the track, and field recordings made at the site that capture the sonic architecture of the space.

14. Stuart Pound, Boogie Stomp Pink, UK, 2017, 3:34

A Boogie dance performed by William & Maeva was downloaded from the internet and vertical sections taken from each frame arranged into 24 panels to show pattern and movement across each second.

15. Wu Siou Ming, Ecology Notes, Taiwan, 2017, 7:42

"Ecology Notes" is a one channel video essay, a result of field investigation, putting forward an ecological reading view of contemporary society. Ming took a series of photographs and processed the pictures into a kind of sketch style, and inserted the text about ecology between the images. The pictures reflect the status of the city where the artist lives, and the texts are like a note for studying the city.

16. Susanne Wiegner, Contemplation Is Watching, Germany, 2016, 6:18

A yellow street lamp is the initial point for a journey through the realm of imagination. The film is based on a poem by Robert Lax and on his typical vertical typeface, that he used to force the reader to slowness and contemplation. The film gives also some hints to Lax's biography. He lived and worked in New York City where he experienced a moment outside of time and space under a street lamp, which he described in his "21 pages".

Jury

Welcome Now&After’18 Jury for the Competition Program

MARISOL BELLUSCI, Argentina.
Curator and producer of VideoBardo International Videopoetry Festival; artist and member of the Cultural Art Research Center and Universidad Nacional de las Artes.

IRINA GORLOVA, Russia.
Art expert, curator, head of the Contemporary Art Department of the State Tretyakov gallery. Has curated numerous projects in Russia, France, Latvia, Poland, the Netherlands, the Czech Republic, Great Britain, Austria and others.

GABRIEL SOUCHEYRE, France.
Director of VIDEOFORMES, International Videoart and Digital Arts Festival in Clermont-Ferrand since 1986, and the VIDEOFORMES Digital Archive; editor of Turbulences Video (video art and Digital Culture quarterly magazine); curator for the Galerie de l'art du temps. Participated in many national and international events as curator or jury member. Teacher at 'Université Clermont Auvergne', Clermont-Ferrand. Producer, vlogger and videomaker.

TOMASZ WENDLAND, Poland.
PhD. hab., artist, curator, professor in Academy of Arts in Szczecin, Poland. Since 2007 - director of Mediations Biennale, Poznań; since 2005 - director MONA (Museum of the Newest Art), Poznań; since 2012 - director of an international project Hotel de Inmigrantes. Curated exhibitions in Belgium, Indonesia, Japan, China, Korea, Germany, Uruguay, USA, Great Britain, Italy, Hungary, Turkey and Poland.

Special Program

Mediations Biennale

Poland

www.mediations.pl/biennale

Curated by Tomasz Wendland

Mediations Biennale, Poznań, started in 2007, as a result of annual Inner Spaces Festival organized since 1993. It is a very long story of transformations of contemporary art, its content and variety of art languages and expressions. In my small presentation I would like to show both: video art engaged in different social and personal themes, as well as different forms of expressions referred to a moving image. I present both works by some very well known artists, and by the students as well.

Artists: Lien Chen Wang, Regeneration Movement, Taiwan, installation, 2011 (Second hand CD-ROM drive, Aluminum structure, IC chips) / David Mozny, Rahova, Czech Republic, 2012, 6:00 / Shinji Ohmaki, Liminal Air Space-Time, Japan, 2015 (Cloth, blower installation) / Dariusz Kowalski, Elements, Poland, 8:00 / Julian Rosefeldt, Deep Gold, Germany, 2014, 18:00 / Li Xiaofei, Argentum, China, 2016, 13:15 / Hanna Olejnik, Performance for Camera, Poland, 2013, 9:32 / Istvan Balogh, Current Status, 1. Declaration, Switzerland, 2012, 17:33 / Istvan Balogh, Current Status, 2. Portrait, Switzerland, 2012, 4:40 / Jaan Toomik, Armulaud – Communion, Estonia, 2007, 11:22 / Aviya Wyse & Yaeli Gabriely / Nicolas Provost, Papillon d'amour, Belgia, 2003, 4:00 / Selda Asal, Searching for a Peaceful Sky, Turkey, 2016, 9:10 / Jacek Zachodny, Go to Europe, Poland, 2016, 7:16  / José A. Toirac, Opus, Cuba, 2005, 4:50 / Grzegorz Drozd, Opera Seria, Poland, 12:41, 2014 / Wang Qingsong, 123456 Chops, China, 2008, 4:00 / Ran Slavin, Everything Is Urgent, Israel, 2009, 4:22 / Arek Marcinkowski, Fluctus, Poland​, 6:26

Transmission International Video Art Festival

Karlsruhe-Warsaw-Kassel

www.transmission-festival.eu

Head Curator: Nina Adelajda Olczak

We Are All in this Together – A Road Map Through a Post-Truth Art World

Does art have anything to contribute to the post-truth, post-democracy world? In the era of post-truth politics, alternative facts and fake news campaigns undermining our democracies we asked experimental filmmakers and video artists to take a stand in the overwhelming ethical ambiguity of our time. II International Video Art Festival Transmission Karlsruhe-Warsaw-Kassel themed “We Are All in this Together – A Road Map Through a Post-Truth Art World” took place in Karlsruhe (DE), Warsaw (PL) and Kassel (DE) in July 2017. In Kassel the video art program was presented under umbrella of Documenta14.

Artists: Alexander Isaenko, Memorial, Ukraine, 2016, 12:24 / Katina Bitsicas, Words Can Never Hurt Me, USA, 2016, 1:26 / Santi Ruiz, Enter the Manosphere - Misogyny?, Spain, 2017, 3:22 / Ka-lun Leung, A Normal Norms, Hong Kong, 2016, 09:58 / Jana Shostak, I love You!, Poland, 2016, 2:26 / Zuzanna Banasińska, How to Meditate with Nature, Poland, 2017, 10:30 / Diogo da Cruz, WORDCOIN, Portugal, 2016, 9:17 / Nathaniel Sullivan, Before the Nation Went Bankrupt: Letter to Bill Winters, Canada, 2017, 5:03 / Marta Wódz, The balance of power, Poland, 2017, 2:16 / Nelmarie du Preez, To Activate, South Africa, 2016, 7:01

VideoBardo International Videopoetry Festival

Argentina

www.videopoesia.com

Curators: Javier Robledo, Marisol Bellusci

Eyes are asteroids symmetrically floating along the limits of the brain’s galaxy. Planets that call for a geographical landscape populated by poetry like flora and fauna in which mankind takes in air as a blessing. Ears are funnel-type bidirectional labyrinths in the human cavity. Niches where Minotaur requires Ariadne to sing, voice and winds of resonance blow and remain silent, where all the possible and unimagined live. A legitimating screen, a current projection that creates massive reality, cultural transformation by artistic relay, a conscious process of enriching based on audiovisual poetry.
Javier Alejandro Robledo anagram in Spanish of: "the young bard of red lyre" .

Artists: María Merkulova, From nowhere with love, Russia, 2016, 7:00 / Daniel Poveda, Window, Colombia, 2014, 3:16 / Marisol Bellusci, Should know, Argentina, 2015, 1:00 / Saenz Mauricio, Of islands and unicorns, México, 2015, 7:13 / Luis Saray, Titivillus and the virgins, Colombia, 2016, 1:00 / Javier Robledo, P-O-E-T-R-Y, Argentina, 2010, 5:12 / Gruppo Sinestetico, Homage to Joseph Beuys, Italia, 2011, 5:38 / Jurgen Hagler, Raucher Remo, Home, Austria, 2015, 4:00 / Ottar Ormstad, Moon, Norway, 2015, 4:36 / Clemence Barret, Ignis fatuus aka the fallacious promise, France, 2:21 / David Lopez Restepo, En Dios confiamos, Colombia, 2016, 2:34 / Melisa Aller, Superbia, Argentina, 2015, 3:00 / Javier Seco, Fucking Poetry, Spain, 2010, 1:26 / Ausín Sáinz, Land, Spain, 2015, 3:53

VIDEOFORMES
International Video and Digital Arts Festival

France

www.videoformes.com

Curated by Gabriel Soucheyre

Art Life matters!
Another end of the world is possible.
Today, our world is being covered by another world, the digital world. There are fields of research that should be heard if not explored, those that are imagined by digital artists. These artists materialize possible worlds and reveal hidden aspects of the promises made. Nowadays, poetry is what makes it possible to forgive the algorithms their misguided ways and their errors. Art anchors the past, the present and the future in this fleeing world. This selection of video art works reflects some of the questionings we face, images of dreamed or forgotten worlds, power of images and memories.

Artists: Bob Kohn & François Gaulon, Projections, France, 2016, 6:26 / Hugo Arcier, Nostalgia for nature, France, 2013, 8:59 / Alessandro Amaducci, Post Rebis , Italy, 2016, 3:39 / Boris Labbé, Orogenesis, France, 2016, 7:52 / Sebastien Boffet, Solid, France, 2016, 2:28 / Alain Escalle, Final Gathering, France, 2016, 24:41

The W:OW Art Film & Video Festival

Germany

wow.engad.org

THE W:OW PROJECT, respectively THE W:OW ART FILM & VIDEO FESTIVAL initiated by artvideoKOELN & The New Museum, of Networked Art – directed by Wilfried Agricola de Cologne - is representing such a sample world on a small scale, in which artists, curators and worldwide networking partners and, not to forget, the audience are acting in mutual respect, demonstrating the diversity of artistic and curatorial concepts.

WOW animateC

Curated by Wilfried Agricola de Cologne

Artists: Henry Gwiazda, Knowledge, USA, 2017, 3:05 / Cody Healey-Conelly, Glitch Noir - Datasifter Prelude, USA, 2015, 2:41 / APOTROPIA,The Kiss, Italy, 2016, 1:19 / Christina Lykoka, Death Of A Blackbird, Greece, 2017, 6:26 / Maurizio Sanhueza, Parasite, Peru, 2016, 6:23 / Harold Charre, Requiem, France, 2017, 9:18

WOW Finland

Curated by Videokanavas Tampere

Artists: Linda Jasmin Mayer, Dove Fermarsi? (Where to Stop?), Finland, 2017, 6:45 / Liisa Ahola & Veera Salmio, Dictator, Finland , 2017, 3:10 / Anna Knappe, Camp Europe, Finland, 2017, 6:45 / Taina Valkonen, Forest Poem, Finland, 2017, 1:13 / Veera Nelimarkka, Medical Record, Finland, 2017, 3:55 / Sabotanic Garden, Uuno Turhabuto/King of Dance vol.2, Finland, 2007, 8:16

In Secret Spaces

Curated by Marina Fomenko

In the secret places hidden from other people's eyes, one black-black night people learn to walk on the wire. In the white-white world, everybody endlessly move to where they are led. On an unknown station the wanderers keep entering the train, heading to the homeland of a long-dead, but not forgotten tyrant. Stuck in the past forever, couples dance, showing up on the found footage texture.

Artists: Marisol Bellusci, Luis Saray, de.cadence, Argentina, 2017, 2:58 / Arnaud Brihay, Archers, France, 2017, 2:07 / Alexandra Mitlyanskaya, Visiting Stalin, Russia, 2017, 3:35 / Marina Fomenko, Modus Operandi / Lessons of Equilibrium, Russia, 2018, 2:02

Special project of International Video Art Festival Now&After’18

DATA MANIA

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Exhibition of Taiwanese Digital Art
28.02- 29.03.2018, CCI Fabrika

Organizers: Osmosis Audiovisual Media Festival, Media Art Centre Now&After
Partners: ASC (The ART SHELTER AND CINEMA), CCI Fabrika

Curated by Wang Wen‐Chi

The project attempts to remove the viewer from full on media exposure, so as to ask questions about contemporary time and space, perception, memory, and eternity through a reflexive discourse in digital environments via hybrid texts. Through their work, the artists ask us to analyse our intimacy with the organic world, our feelings about the world around us, and the moment that we are experiencing.

Artists: Pei-Shih Tu, Abstraction and Pixilation of “Gennady Golovkin vs Marco Antonio Rubio 18 10 2014”, 2016 (two-channels animated video) / Tsan-Cheng Wu, Still Life, 2018 (mixed media) / Chih-Ming Fan, In the Fog - The Abandoned City, 2016, 7:34 (two-channels video installation) / Hsien-Yu Cheng, isISis, 2017, 5:00 (single-channel video) / I-Yeh Wu, Dollar-Post, 2011-2013 (website, documents) / I-Yeh Wu, Wave, 2016, 4:40 (single-channel video installation)

Screening program
Digital Break: New Perspectives on Taiwanese Moving Image

Artists: Chen Yin-Ju & James T. Hong, End Transmission, 2010, 15:40 / Lin Shih- Chieh, A Short History of Decay, 2014, 5:45 / Niu Jun-Qiang, When I'm Getting Older With You, 2009, 5:10 / Hsu Che-Yu, Microphone Test: A Letter to Huang Guo-Jun, 2015, 25:18 / Wu Tzu-an, Stargazing, 2017, 4:44 / Wu Chi-Yu, Refraction, 2015, 9:46


Gallery

Copyright (c) Now&After. International Video Art Festival in Moscow
Director/curator Marina Fomenko. All rights reserved.

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