venues & partners

NOASS Riga/Latvia

NOASS – Riga/Latvia
is a multi-facetted cultural organisation & institution, organising, among other, the Latvian Videoart Archives, as well as the annual Waterpieces Contemporary and Video Art Festival.
NOASS was not only contributing a selection of young Latvian videoart to CologneOFF 2011 – videoart in a global context, but is hosting also in September 2011 – a presentation of CologneOFF 2011 in the framework of the Waterpieces Festival (8-10 Sptember 2011)

Culture and Arts Project NOASS” is a creative intelligence association that is in the eleventh year of its operating existence and is one of the oldest non-governmental arts and culture organizations in Latvia. NOASS’ goal is to participate in the formation of the Latvian and European cultural environment.
In the main, we support the realization of contemporary arts projects in an urban environment, making art part of the daily lives of residents of Riga and visitors to the city. We nurture the creativity of society and individuals. Furthermore, for several years now we have participated in the planning and programming of the contemporary arts forum, “White Night”, the annual “Riga City Festival” and the “International Museums Night”, as well as realizing a range of individual projects.
Prior to now, we have produced arts events linked to moving images as part of international cultural events like the “French Spring” (2007) and the “German Culture Month” (2008).
One of the most attractive projects we have been involved with is the “Garden of Light” which was created in 2008 with the support of the AB Foundation and Riga City Council and featured the participation of artists from Germany and Latvia. This art project proved to be extremely popular with viewers.
The partnership between NOASS and the New Riga Development Company resulted in the establishment of the Naive Art Museum of Latvia on Andrejsala in the autumn of 2006. This has provided the general public with an introduction to the work of masters of Naïve art in the context of modern art.

“Waterpieces” Contemporary Arts and Video Festival
The “Waterpieces” festival dates back to 2001. It’s an annual festival of video and contemporary art which consists of a competition for video works, as well as screenings of international programs thus providing a comprehensive insight into the latest works of contemporary art linked to the moving image. more >>
http://noass.lv/udensgabali

Noass Video Art Archive
The Latvian Video Art Archive has been created as the only national video art database. It is available for free and covers the entire history of Latvian video art from the late 1980′s through to the present day. The platform for the Latvian Video Art Archive  Database is the videoteque which has been established and built up over a number of years by Culture and Arts Project NOASS. Among the works to be found in the videoteque are:
• Latvian-French video art festival (1989-1995) archive (from the collection of art historian, Laima Slava); • Artists’ video works collated by exhibition; • Artists’ video works submitted individually from personal collections (1985 – 2009); • Selections of works compiled from the competition archives of “Waterpieces” international video and contemporary art festivals (2001- 2008).
To ensure that the collation of information is as complete as possible, materials are also drawn from other Latvian video art festivals (“2ANNAS”, “Ahūns”), diploma works and course works by students from Jānis Rozentāls Art High School, video works by students from the Latvian Art Academy, as well as a collection of those created by Culture Academy students. All of the works submitted have been reviewed by a group of experts. If the works are deemed to be good enough for inclusion in the archive, they are then systematized and archived. go to the archive >>>
http://livepage.apple.com/

Naive art museum of Latvia
The Museum operates during the summer season (from May until October).
Thanks to the partnership between Noass and the New Riga Development Company, the Naive Art Museum of Latvia opened on Andrejsala in the autumn of 2006.
The Naive Art Museum of Latvia has defined its operating goal as being the collection of works of naïve art, as well as their preservation, study and promotion. The Museum’s task is to preserve the cultural and historical heritage of naïve art for future generations and to use it to educate the general public. The Museum devotes particular attention to the identification and preservation of works by contemporary Latvian naïve artists including painters and sculptors and the establishment of core exposition of works at the Museum.
Based on the material that has been collected and researched, the Museum is implementing a wide ranging complex of educational measures. Since 2007, the Museum has focused on promoting works by Latvian naïve artists abroad (Fest Naive 2007, Fest Naive 2010 – Moscow). In 2007, the Museum was awarded the status of a State accredited museum. In February 2009, “Culture and Arts Project NOASS” was accepted into the Ministry of Culture’s Association of Professional Culture Organization which gives us the chance to apply for State grants to ensure public access to the Museum’s collection. more about museum >>
http://noass.lv/museum

Noass and Betanovuss
In 2008, NOASS celebrated the 10th anniversary of its launch. We marked this anniversary with the reconstruction of the BETANOVUSS floating gallery. With support from the construction company, “RE&RE” in 2008 NOASS has continued to establish a non-commercial contemporary culture centre whose centre of activity is based at two river boat platforms, “BETANOVUSS” and “NOASS”.
“BETANOVUSS” is a 197 m2 large floating stage with a 57 m2 amphitheatre where residents of Riga can see “small form” theatre exhibitions and contemporary dance performances and where various art genres freely interact.

A.Residence – Artist – In – Residence
In recent years, NOASS has expanded the locale of its activity to the former Port of Riga territory at Andrejsala. Since 2006, this has been the home of the Latvian Museum of Naïve Art and in the spring of 2009, we started work to create a residency house in this wonderful district which has become the heart of alternative culture in Riga. Andrejsala provides a vibrant environment where various exhibition openings, concerts and happenings take place. It’s a place where one can easily make friends among the local artists.
The residency’s goal is to provide artists with the chance to discover Riga, one of region’s most beautiful cities and its eclectic cultural life, thus inspiring them to create new works in the realm of visual arts, art criticism and literature. We also hope to develop the residency centre as an international meeting place where art professionals will have the chance to get to know one another, exchange ideas and create new joint art projects. Leveraging Riga’s geographical advantages, it is hoped to give artists the chance to discover the other Baltic States and their cultural life (Riga is sandwiched in the middle between Tallinn in Estonia and Vilnius in Lithuania).
• Duration: A week to several months.
• Founded: 2009
• Discipline: Visual Arts , Curating/Research, Media Art, Video art, Photography, Performance arts, Literature, Culture operators.
• Target group: International, National
• Deadline: 2 months before the start of the expected Residency. Applications can be sent all year long.

more about Residencies >>>http://livepage.apple.com/

International Cooperation
Until now, “Culture and Arts Project NOASS” has primarily focussed on supporting contemporary culture environment and experimental projects in Latvia, but for its goal in 2009, it has defined its goal as the integration of Latvian culture into the overall European cultural events cycle.
Since 2007, “Culture and Arts Project NOASS” has operated within the TEH- Trans Europe Halles – European Network of Independent Culture Centres. TEH supports a range of creative initiatives in the European Union and has a membership comprised of 50 culture and arts organizations from 26 countries.
Since 2008, “Culture and Arts Project NOASS” has functioned as a EVS – European Volunteer Services sending and hosting organization, thus promoting the mobility of young people who are interested in cultural and arts events among various public organizations. Also, NOASS is registered in PADOR database which is managed by EuropeAid. PADOR or “Potential Applicants Data Online Registration” is a recent applicant processing system introduced by European Commissions through EuropeAid to understand and maintain extensive information about NGOs requesting funds from it for collaboration projects with worldwide organizations.

Culture and Art’s Project NOASS
11.Novembra krastmala 35, Riga, LV-1050, Latvia
Phone/Fax: + 371 67703240
Home page: www.noass.lv

Torrance Art Museum Los Angeles (USA) – 2014-2016-2018-2020

WOW.18 / USA
artvideoKOELN & The New Museum of Networked Art
are proud to present the complete program series of

The W:OW Project 2017 – We Are One World
@ Torrance Art Museum – Los Angeles/CA
http://www.torranceartmuseum.com/wow-2018/
21 July – 14 December 2018

Statement
by Wilfried Agricola de Cologne
WOW.18 / USA is the 18th and so far most comprehensive manifestation of „The W:OW Project – We Are One World“ and the 1st one in USA @ Torrance Art Museum.
Running between 21 July and 14 December 2018 @ TAM, the screening program series of „The W:OW Art Film & Video Festival“ are presenting the entire artvideo program as it was presented at 10 the venues in 2017 including more than 125 art films & videos by 125 artists from about 30 countries selected by 10 guest curators from Mexico, Greece, Spain, Portugal, Bulgaria, Italy, Israel, Austria & Russia and the German Wilfried Agricola de Cologne as a chief curator and director of „The W:OW Project“ – packed into 20 curated, conceptual programs.
According to its concept of and reflecting the diversity of life, in general, and human existence, in particular, „The W:OW Project“ program would like to present a diversity of artistic and curatorial concepts, as well as a variety of topics affecting human individuals whereever they live on the globe. The project is using the technology of video and the medium of „moving images“ as a contemporary audio-visual language of art, addressed to an open minded audience who is eager to learn new ways of viewing following the new rules of „artvideo“, differently than the mass of static and moving images overwhelming people in daily life permanently like in cinema, television or Internet – giving the individual image or „frame“ back its individuality, and time another relevance and perception.

Screening dates @ Torrance Art Museum
http://www.torranceartmuseum.com/wow-2018

PDF catalogue for download

The curators

Wilfried Agricola de Cologne , Marina Fomenko , Ynin Shillo , Maurizio Marco Tozzi , Erick Tapia , Roland Wegerer , Gioula Papadopulou
Antonio Alvarado , Georgi Krastev , Paulo B. Menezes , Eirini Olympiou

Article
by Brit Bunkley (WOW Project artist from New Zealand visiting Loas Angeles in August 2018)

The Torrance Art Museum is a publically funded gallery in the Kunsthalle style. They have put on some of the best exhibitions in southern California. The Assistant Curator, Benjamin Tippin told me that their current emphasis is on art that defines the edge between digital art, sculpture and video. The director and head curator of the Torrance, Max Presneill has been named one of the “8 Best Art Curators In Los Angeles” by CBS, Los Angeles.
Their current exhibitions are outstanding. “Phantom Lim”, curated by Benjamin Tippin and Max Presnell, is a tasteful group show in the “unmonumental” style that includes the likes of Jessica Stockholder’s A Green Cut and Coleen Sterritt’s Be Narrow, Tall, Stacked, Stuffed, Rolled And Folded. The adjacent exhibition, Nascent Love by Erika Ostrander / Christian Tedeschi continues in a similar vein of sculptural collage.
The W:OW Project – We Are One World“ an art video program of more than 125 videos from nearly 30 countries is being exhibited between 21 July and 14 December 2018. There are 10 curated slots lasting one to two week each. Each slot has one to three programs of curated videos.
We were lucky to see the first 2 programs of “WOW:3: We Will Fail (Art Is Indivisible)” curated by Wilfried Agricola de Cologne. All the works were intriguing; with stand put pieces by Ausin Sainz’s “Liberty”, and Valerio DE BONIS– “I would claw my eyes out”.

Thanks to all participating artists, curators & institutional instances

CulturMonks India

ADAF – Athens Digital Art Festival Athens/Greece

(image up) Athens Digital Arts Festival 2008 @ Technopolis – City of Athens

Athens Digital Arts Festival

Athens Digital Arts Festival (ADAF) is an annual International Festival that takes place every May in Athens with the aim to bring together the digital arts community with a broader audience. The festival was established in 2005, under the title Athens Video Art Festival, as an initiative of the non-profit organization Multitrab Productions. Athens Video Art Festival was founded in 2005 with the intention to offer a platform to video art, installations and live performances. Within the following 10 years, the Festival gradually evolved and included more art forms, such as web art, interactive installations, animation, digital image, performances, applications and workshops, exploring creative aspects of technology and digital culture. In 2012, the Festival introduced the subtitle “International Festival of Digital Arts & New Media” in order to communicate the wide spectrum of its activities and events. As of January 2015, the Festival changed its name into Athens Digital Arts Festival.

Short History

The first edition of Athens Digital Arts Festival took place in April 2005 at the cultural space Thira Technis, in Athens. Although it was newly introduced, the festival received 180 artworks submissions and hosted 137 of them with the aim of supporting innovative artistic expression.

From 2007 to 2011, the main venue of the festival was the cultural space “Technopolis” of the Municipality of Athens where 1,544 artworks from local and international artists were hosted. Through these years the festival presented artworks in its three main categories: video art, installations and live performances, and in the new ones such as web art, animation and digital image, which were introduced in 2009. It also collaborated with other great festivals, such as Transmediale (DE), Cologne OFF (DE), LPM (IT), videoholica (BG), IN-EDIT (ES), onedotzero (UK), art:screen (SE) and more.

In the years 2012 and 2013 the festival expanded its boundaries, presenting its activities in the historic center of Athens with the purpose to map and shape the cultural potential of the district. Under the titles “Visualize Athens” (2012) and “Living Athens” (2013) the festival contributed to the revitalization of the urban artistic dynamics and the aesthetic reformation of the city. This initiative was supported by a significant number of volunteers, Greek Municipalities and international festivals and artists.

In 2014, celebrating its 10-year anniversary, the Festival returned to the cultural space “Technopolis” of Municipality of Athens, as an honor to the venue that had for years hosted the festival’s initiatives. The festival completed ten years of successful organizations, presenting a program that went beyond traditional boundaries between disciplines and media, offering perspectives on creative crossovers between technology and digital arts. Some of the highlights were the live performances “Abandonded cities” by Hauschka and “Late Speculation” by Nonotak as well as the installation “80 prepared dc-motors, cotton balls, cardboard boxes” by Zimoun.

In 2015, the festival renew its name to Athens Digital Arts Festival in order to embrace its continuous development. In this framework, it expanded its spectrum in eight official categories, installations, web art, video art, animation, performances, digital image, workshops and music under the theme “Public Space_s”. Always engaged with the goal to revitalize the center of the city and its artistic dynamic, ADAF 2015 took place in the historic center of Athens having as its main venue “Diplarios School” as well as two main squares of Athens for parallel activities. The festival hosted the works of 150 artists from Greece and abroad, who shared their own narratives with the audience, redefining the notion of public space both in the digital environment and urban space. Some of the artists and international festivals participated in this year’s festival were: !Mediengruppe Bitnik, Karl Heinz Heron (DE), Julian Oliver (NZ), Martin Bricelj Baraga (SI), Martin Reiche (DE), MADATAC (ES), IMPAKT (NL), VIDEONALE (DE), Cologne OFF (DE), videoholica (BG), artvideoKOELN (DE) e.t.c.

Up to now

Over the last eleven years, ADAF has been proudly devoted to the support of innovative and artistic expression, establishing strong bonds with local and international artists and audiences, institutions, art foundations, schools, universities, galleries and museums and a number of 46 collaborating international festivals.

With a solid focus on digital arts, Athens Digital Arts Festival heads on its 12th edition, taking place in May 2016, with the aim to raise public awareness regarding contemporary digital culture and familiarize the wider audience with new media and art, through its various exhibitions and workshops. In addition, it introduces a new category under the title “ADAF Award” and expands its activities into an international territory by co-organizing the Dubai Digital Arts Festival.

More info: http://www.adaf.gr

Now & After – International Videoart Festival Moscow

International Video Art Festival Now&After
focuses on presentation, development and promotion both Russian and international video art, getting together emerging and established artists from around the world to present their works to general audience.

International Video Art Festival “Now & After” started in 2011 as an initiative of artist and curator Marina Fomenko. It is organized and promoted by an independent non-profit cultural organization Media Art Centre “Now&After” and directed by Marina Fomenko.

“Now&After” collaborates with Moscow Museum of Modern Art. For a few weeks at MMoMA’s venue all festival’s videos are shown in an integrated space of a video installation. Addition to the total show, every day a new video of the festival’s program is presented as an independent video installation “Video Now”.

The festival presents its programs both as screenings and exhibitions in Russia and abroad in collaboration with international and domestic partners.

The third edition of “Now & After” will take place in Moscow Museum of Modern Art – April 22 – May 5, 2013
under the motto “Between Image and Personality”.

http://now-after.org
http://www.facebook.com/pages/International-Video-Art-Festival-NowAfter/276626312385038

Videoart Festival Miden (Greece)

Festival Miden: always start from zero!

Festival Miden (miden means “zero” in Greek) is an international video art festival based in Kalamata, GR.

The festival is founded, organized and curated by a team of contemporary Greek artists, who are all linked with Kalamata since childhood. It is an independent organization supported by Kalamata’s Historic Centre Organization, Kalamata’s Youth Center and the Municipality of Kalamata.

Since 2005, the year Festival Miden was presented for the first time in open spaces of Kalamata’s Historic Centre -starting literally from zero!- it has been gradually established as one of the most successful and interesting video art festivals in Greece and abroad and has been a significant point of cultural exchange for Greek, European and international video art.

Festival Miden has been presented annually every July in Kalamata, and also has presented screening programs, exhibitions and collaborations in Athens, Argos, Larissa, Tripoli and Chios in Greece, while collaborating with various art groups, art schools, artspaces, organizations and other festivals in Greece and internationally.

Festival Miden 2011, Historic Centre of Kalamata

Aiming to establish a platform of communication and to create a network with artists and organizations globally, Festival Miden has collaborated with many other video art festivals and initiatives, including CologneOFF & Videochannel (Germany), art:screen (Sweden), 700IS Reindeerland (Iceland), Espacio Enter (Canarias), Fonlad (Portugal), Madatac (Spain), Visualcontainer (Italy), Attraction of the opposites at IFFR (Netherlands), ProjectOrooM (UK), Cronosfera (Italy), FixC (Finland), Fournos Centre for Digital Culture (Greece), VAUfest (Ukraine), Globalscreen (international), Videoplay (Argentina), Red Nomade (Spain), Bluck Duck (UK), Cyberbrothers (Russia), All Art Now (Syria), ATOPIA (Norway), NOVA (Northern countries), Oslo Screen Festival (Norway) and others.

Festival Miden at OpenShow Studio, Athens (2011)

Interactive installation in public space, by Angelos Chronis – Festival Miden 2010

The main purpose of the festival is the free presentation, promotion and development of Greek and international video art and new media art, in times dominated and defined by “image” and “technology”, creating an alternative, peripheral meeting point for emerging and established video and media artists from Greece and all over the world.

Under the motto “Start from zero!” we also invite students, young artists and creators from other backgrounds to participate dynamically in our events. Through a variety of activities and events, Festival Miden hopes to become the pole and the foundation of a new artistic extroversion that will be inspired by the critical observation of everyday life focusing on the role of the individual as the centre of life itself. A central objective of this initiative action is the stimulation of the community to freely develop its artistic dimension independently, away from any type of intervention. In this frame, Festival Miden has also organized lectures and projects / workshops introducing video art & new media to young people.

Festival Miden 2012, Historic Centre of Kalamata

Founding members / main curators:
Gioula Papadopoulou
Giorgos Dimitrakopoulos
Margarita Stavraki
Stavros Kapetis

More info at: www.festivalmiden.gr
e-mail: info@festivalmiden.gr, festivalmiden@gmail.com

Festival Miden 2012, Historic Centre of Kalamata

CeC – Carnival of e-Creativity (India)
CeC 2010 – 5th in a row
(partner of NewMediaFest’2010)

The 5th annual Carnival of e-Creativity (CeC 2010) is looking all on schedule to bring together a fantastic canvas of participation and content from all over India and the world, through February 19-20-21, 2010, at the Sattal Estate, up in the Lower Himalaya of the Indian state of Uttarakhand.

In terms of this being just one tiny little stream in the whole global gamut of activities revolving variously around Creative & Experimental New Media, the genesis of this incident can be traced back to the first CD-gazette of “The Indian Documentary of Electronic Arts”, published in January 2000 (The IDEA #1). But of course, The IDEA itself first went on to become a series of 7 separate CD-gazettes, published sequentially every half-year or so through about 2000-2004.

Shankar Barua on Cec 2007

Individual features in The IDEA were generally stuffed full of original works from carefully researched and selected individuals and organizations, who were painstakingly wheedled into sending in representative collections of their creative works for this on CDs or DVDs, along with texts in the first person to hang everything around. And in turn, all of those original received materials now collectively amount to what some good folks consider to be, “one of the most significant archives of electronic arts of the early 21st Century.”

CDs were the chosen medium for the gazettes themselves too, primarily because individual feature pages were often weighed down with just too much of text, images, audio, video and what not, to be able to run comfortably off the internet of the time. Another reason for taking the route had to do with being able to return some tangible ‘product’ to the featured artists, as at least a souvenir of some sort. And of course, there was also the implication by such means that individual gazettes were thereby eventually sort of archived in hundred of different locations all over the world.

Curtis Bahn on CeC 2008

Nonetheless, the format of the gazettes was kept to plain-HTML from the outset, in the firm belief that the internet would in time pick up enough bandwidth for folks to browse them all online. And sure enough, with that having now happened, The IDEA gazettes are presently all mirrored online at http://retiary.org/idea/

Exhibition-visitors – CeC 2006

Meanwhile, the term ‘e-Creative’ arose along the way from the fact that the entire initiative had an eclectic and ever-widening focus from the beginning, on the back of the fact that the prime-mover, Shankar Barua, was convinced that there was a global creative revolution riding upon the burgeoning empowerment of individuals that was, and still is, being wrought by the ongoing evolution and spread of technologies.

And so, with the basic intent behind it all having always been about somehow encouraging creative experimentation and innovation *of all sorts* in India and other such relatively-innovation-deficient cultures, by manifesting robust and cutting-edge examples of such activity from anywhere and everywhere around the globe, the general focus of the whole enterprise rapidly expanded beyond ‘art’ to include streams of creative human endeavour ranged from engineering through to even folks working to empower people with disabilities.
Also along the way, global appreciation and encouragement began to drive the basic effort towards institutionalisation and consolidation into the real world in some way, which finally led to formation of The Academy of Electronic Arts in January 2005.

Ashhar Farooqui & Amaar Abbas at Cec 2006

And that in turn led to transmogrifying The IDEA into a real-world coming together of picked practitioners from all over India and the world every year, in what was initially known as CeC & CaC (pronounced ‘Sekansak’, and expanded as “The Carnival of e-Creativity & Change-agents Conclave”), beginning with the first such incident in January 2006. The ‘CaC’ part of the name was however dropped after the first three years, so as to henceforth remain an exclusive property of just those who effected the full birthing of the incident by their participation in any of the first three iterations.

And, that of course includes India International Centre (IIC), for seeing through those first three iterations as Partner and Host, in New Delhi.

Dhanya Pilo & Mangesh Daundiyal on CeC 2009

And so, CeC 2010 will actually be the first iteration of the incident to come through after passing over all of the uncertainties on all sides that naturally attended upon the 2009 iteration, in regard to why such an entity would want to move out of the heart of a teeming global metropolis all the way up to the edge of some little mountain town,… in India.

Amazingly enough, CeC 2009 was perhaps the best loved by participants amongst all of the iterations so far. Which means it is quite unlikely that the incident will return to IIC in Delhi anytime within the foreseeable future, even though the move out was prompted essentially just because IIC was entering into a 2-year program of demolition and reconstruction on-campus that obliged them to cut down on larger programs—other than a couple of their own—till they are done with that.

Brane Zorman & Igor Stromajer on CeC 2006

And so, keeping very much in line with its given mandate to evolve continuously into the future, in active symbioses with a broadly variegated, widely inclusive, and always expanding global focus and constituency, CeC 2010 is fully back on track, and brimful of good stuff.

But, proceeding as though with a mind of its own, as always, there will be rather a lot more of electroacoustics and electronic music than any time before.

Kenneth Newby & Martin Gotfrit on CeC 2007

At the same time though, CeC 2010 will hallmark 10 years of the incredible curatorial and networking work of Wilfried Agricola de Cologne, in regard to global Short-Creative-Videoworks and New Media; which has for several years also included a closely supportive ongoing association with CeC too.

And, that in turn dovetails very sweetly into the exactly corresponding period of the work—in somewhat the same territory, but in a very different way, beginning with The IDEA—of Shankar Barua, who now directs CeC, as Managing Trustee of The Academy of Electronic Arts.

Roger Sinha dances on CeC 2009

The basic format of the incident will of course remains about the same as before, with Presentations, Performances, Screenings and Exhibit, of participants and content from around India and the world.

As usual however, fuller details will be released only very shortly before the actual incident itself, because there is always the chance of many a slip between cup and lip in such raving creative madness.

Nonetheless, readers of this piece who might like to know a little bit more about it all can do so by browsing through pages of the earlier iterations (2006-2009), which are linked to from the barebones 2010 page at: http://theaea.org/cec_cac/cec10/index.htm

There’s also a 23min. video-documentary on the 2007 iteration that was nationally telecast across India several times that summer, at: http://video.google.com/videoplay?docid=6940481249221874487

Experimental extasy – CeC 2008

But of course, the ongoing saga of The Carnival of e-Creativity is not about what it is, but about what it can be, and what it should be, to everyone’s benefit into the future.

~x~
Shankar Barua
November 20, 2009

VideoBabel International Festival
Video Art + Experimental Audiovisual Creation
www.festivalvideobabel.org

The VideoBabel Festival is a project with an international reach, founded in 2009 by Jorge Mora Fernández (Spain), and based in the city of Cusco, Peru. It is a project focused upon the democratization, dissemination and promotion of audiovisual and digital culture in Peru and other regions of the world. More than 500 audiovisual works from different countries have participated in the three annual events held since 2010. In 2012 the festival attracted the participation of 252 videos. A total of 9 cash prizes were awarded by an international jury to Peruvian and foreign film makers in different categories.

Since 2011 the organization and coordination of the festival has been entrusted to the non-profit “Charlie Quispe & Co” Cultural Association, based in Cusco. The presentations, talks and workshops are held in the facilities of the Saint Dominic Priory – Qorikancha, which is currently the leading and most active cultural center in the city of Cusco, and which has provided its unconditional support for the festival since its inception.

Beginning with the 2013 event, the festival will be focused upon innovative expressive languages and include video art and experimental audiovisual production. While the competition is open to all those who wish to take part and is oriented towards artists in Peru and Latin America, a collaboration and exchange program is being developed with events and organizations that share our objectives in different regions around the world. The main goal of this program is, on the one hand, to provide a broader international platform for the diffusion of Peruvian and Latin American audiovisual production, and, on the other hand, to showcase in Peru the latest achievements and experiments to emerge from other parts of the world.

VideoBabel International Festival
Video Art + Experimental Audiovisual Creation
www.festivalvideobabel.org
Museo del Convento de Santo Domingo – Qorikancha Cuzco/Peru

video feature
Clermont-Ferrand

Today. the article would like to honour one of still relevant festivals in the field of art & moving images – Videoformes – International Festival of Video and New Media Clermont-Ferrand/France and the typical event dates in March each year. This year, it is the 9th time in sequence since 2001, that Wilfried is participating in Videoformes, surely a personal record – presenting in total 12 individual projects.

2001, 16-21 March – A Virtual Memorial
2002, 19-23 March – Identity of Colour, Never Wake Up
2003, 18-22 March – Violence Online Festival
2005, 15-19 March – En [code]ed, 138 Seconds of Peace
2006, 14-18 March – Message from Behind A Wall
2007, 13-17 March – House of Tomorrow
2008, 12-15 March – Bareback- serial DIScharge
2009, 11-14 March – CologneOFF – Women Directors Cut- Videoart from Ukraine
2010, 10-28 March – Silent Cry

By looking at the biography, it becomes obvious, that the year 2010 is representing a kind of caesura, the end of a certain era, the era that Wilfried is submitting his individual art works to open calls for participating in festivals or exhibitions.

Like no other event, besides probaly FILE -Electronic Language Festival Sao Paulo, Videoformes is standing for that past era – marked by Wilfried emancipation as an artist after his re-birth in 2000, because already in 2001 Wilfried was submitting and accepted for participating in Videoformes with “A Virtual Memorial”. Wilfried’s project about “memory” was looking differently than today, because it’s basis was a kind of diary releasing at first daily, later weekly and monthly “articles” on topics relevant to human existence, including smaller individual artworks created in “Flash by Macromedia”. Today, this diary is unfortunately out of date, because most of linked sources are dead links, but the empty shell can be still accessed as a kind historical document.
In 2009, there was a certain highlight, because Wilfried was involved as a curator of CologneOFF – presenting two selections – the 1st one entitled – Women Directors Cut 13:13:13 and Videoart from Ukraine curated by Yarina Butkovska.

After 2010, it won’t be like that that Wilfried will be breaking the contacts, but it will be new path he has to follow – working seriously on his own videos and at the same time getting captured completely by engaging in videoart as a curator will be not possible any longer, and at that time, he will decide to follow the path of experimenting as a curator.

Being honest, as a privat person, Wilfried had very hard times beginning already in March 2008, when Micha, his partner died in a plane crash and his mother got a stroke at the same day, later in 2008 while visiting Venezuela in October 2008, he was physically attacked on the street by criminals which were Wilfried nearly killing and only a few months later on 1 April 2009, another attack was Wilfried again nearly killing in Casablanca/Morocco, and returned to Cologne the traumatizations on different levels were so profound, that Wilfried was set into an artifial coma in order to reactivate his self-healing powers, and afterwards he had to decide how to continue. Curating was requiring another kind of creativity and this was promissing to be a bigger challenge.
So, after his decision, therefore some people felt probably offended when he was not submitting any longer, and became a festival director himself.

Wilfried was attending Videoformes just once in 2003. Clermont-Ferrand – a nice and proper clean city is located in the middle of nowhere in the centre of France, the festival activities are bringing external life to the provincial town. While the festival program running during the day time was excellent, Wilfried was looking in the evening for a place to meet other festival participants, but the three bars which were said to be meeting places remained empty and during the days Wilfried was spending in the city, he never met any foreign or local participant. Completely frustrated, that after the screening obviously the festival and the city were dead, on the day when Wilfried wanted to leave Clermont-Ferrand he was entering the breakfast room which was crowded with people he had never seen before, and by starting communicating he found out out that all the people sitting in the breakfast room were festival participants and nobody knew that the other was attending, as well. Not only Wilfried was really angry.

They all had been attending the festival actually for nothing, because a main goal of such a festival is – to meet people. So, this experience made Wilfried very sceptical to attend festivals again, at all, and later, when he will be acting as a mediator himself, he will try to do it differently.

IC0 Cultural Association presents

[CologneOFF partner festival 2009]
Fonlad at MIDAC

The art of the XXI century is headed sharply to a digital form where the support is no longer the object: in the wide world before us through the thousands of computer networks that link us all over the world, the Internet becomes not only as a important mean of artistic disseminating but also a creative one.

Bitquid, Jeroen Holthius

It appears as a hidden world to the sight (the digital world requires to be perceived a computer screen), another world (virtual and not real) is difficult to see beyond the bright pixels that separate it from our reality. To know this world, to realize their creative potential, we must interact with it.

Invisible Cities, Tatiana Santos

Intending to bring this world to the general public, through exposure on the Internet and in physical spaces, the IC0 Cultural Association presents the fifth FONLAD festival.
The Online Festival of Digital Arts is an event focused on the Internet in the format of a publication / web gallery of art projects of photography, digital painting, web art, animation and video. Since its first edition, the festival is complemented by exhibitions of international scope: Madrid (1st edition), Coimbra (2nd edition), Montemor-o-Velho (3rd edition + collection), Madeira’s Biennale -Funchal (4th edition + collection),
Belforte del Chienti , Italy (collection) and finally in Guarda (5th edition).
During these 5 years this festival was attended about 170 artists, including some names of international relevance, such as Annie Abrahams, Agricola de Cologne, Caterina Davinio and Jody Zellen.

FONLAD is curated by José Vieira

Landscape murder, Jorge Simões

FONLAD #05_09 ‐ Digital Landscapes
14 Nov. 2009 ‐ 3 Jan. 2010
Exhibition curated by José Vieira in
TMG Gallery, Guarda ‐ Portugal
http://www.tmg.com.pt

Timetable: Tuesday to Friday: 16h00 to 19h00 and 20h30 to 23h00 Saturday: 14h00 to 19h00 and 20h30 to 23h00 Sunday: 14h00 to 19h00

OTHER ACTIVITIES

ART AND DIGITAL AUTHORSHIP by JOSÉ VIEIRA
Conference and book presentation
TMG Coffee Concert, 14 November, 16h00

COLOGNE OFF / VÍDEO CHANNEL
Video projections curated by Agicola de Cologne
TMG Coffee Concert, 24 and 25 November, 21h30

Fonlad ’09 artists
Agricola de Cologne (Germany, web art / video), Alfonso Caputo (Italy, digital painting), Antonio Azenha (Portugal, photography), Arthur Tuoto (Brazil, video), Benvinda Araujo (Portugal, photography), Boskizzi (Italy, photography), Cecilia Urioste (Brazil, photography), Cesar Peralta (Brazil, digital painting), Chirstin Bolewski (Germany, video), Christopher Cassidy (United States, video), Clint Enns (Canada, video), David Burns (United States, video), Ebert Brothers (Germany, video), Gideon Barnet (United States, web art), Henry Gwiazda (United States, video), Irad Lee (Germany, web art / video), Joana Soberano (Portugal, video), Jeroen Holthius (Holand, photography), Joe Reinsel (United States, video), Jose Carlos Nascimento (Portugal, photography), Jorge Simões (Portugal, photography), José Higino (Portugal, digital painting), José Pedro Reis (Portugal, photography), Julian Koncsak (United States, web art), Katie Bush (United States, digital painting), Maciej Miskievics (Ireland, video), Marco Bonvini (Italy, photography), Miriam Duarte (Brazil, web art), Pato (Portugal, digital painting), Patrick Millard (United States, photography), Paulo Corte Real (Portugal, digital painting), Phill Stearns (United States, video), Rui F. Antunes (Portugal, web art), Samuel Monnier (Switzerland, digital painting), Tatiana Santos (Portugal, photography).

Patience within the antechamber, Patrick Millard

Informations:
FONLAD
http://www.fonlad.net
IC ZERO:
iczeros@gmail.org
info@fonlad.net

video feature
Traverse Video Festival Toulouse

Les Abbatoirs – Museum of Contemporary Art Toulouse

This article would like to honour another French collaboration.
The month March is annually reserved for video art in France. Besides Videoformes Festival in Clermont-Ferrand, it is Traverse Video Festival Toulouse which is celebrating the uprising Spring each year with a new festival edition. Wilfried will collaborate with the festival in Toulouse four times – 2008, 2009, 2010 and 2011, and later in 2019 another time, by including the directrice of Traverse Video Festival, Simone Dompeyr,e as a curator in the W:OW Project.

Today on 11 March, the 2008 festival starts ( until 30 March) , later on 15 March Wilfried will have a solo feature at Les Abbatoirs – Museum of Contemporary Art Toulouse/France including 6 videos
Bareback – serial DIScharge / House of Tomorrow / Rivals and Friends / Urban.early sunday morning_raw: / One Day on Mars / Inability of Being Nude – entitled:

Le moment d’Agricola de Cologne, à l’Auditorium du Musée des Abattoirs.

Wilfried visited Toulouse once in the 80ties of 20th century, he loved the “red” of the “red city”, which Toulouse is called due to the red brick stone architecture, but unfortunately he did not attend the video festival, thus also not his solo feature. Actually, Wilfried was invited to attend several festivals taking place between March and May 2008, but he decided to attend the Naoussa Film Festival in May 2008.

2008, 11-30 March – 15 March Les Abbatoirs – solo feature

2009, 11-28 March – VideoChannel – solo Unnur Andrea Einarsdottir

2010, 12 March – EnCodeEd
2011, 24 March – Orfeo Negro – Centre Culturel Bellegarde

In 2018, Simone Dompeyre will follow Wilfried’s invitation for contributing to The W:OW Project a video program including French artists. It was agreed to feature each of both contributed video selections in one of the W:OW events in 2019, thanks to Marina Fomenko, the 1st one “Mémoire” will be presented on Now & After Video Art Festival Moscow 2019 and, thanks to Ezra Wube, the 2nd one, entitled “I am Someone Else” on 3rd Addis Video Art Festival Addis Ababa/Ethiopia

Simone Dompeyre
Multidisciplinary university education with diplomas and competitions in Philosophy – PhD Thesis in Modern Letters – Capes Aggregation in History of art with endorsements.
Professor of film analysis and semiology of the image; Lecturer for the first Net-based teaching, the first to be done with Chat: Aesthetic and Audiovisual and Aesthetics and Multimedia.
Jury of university exams and competitions. Jury of Scenario and comic strip. Jury of Film, short film, feature films, video art, intermediality.Participation in various symposia, round tables on stage direction, on experimental art at national and international festivals. Speaker in many festivals with workshop on experimental cinema. Organiser of meetings and audiovisual artistic events.
Founder of Traverse Vidéo in 1997 of which she is the president and art curator for about fifteen places, several cities and interventions here and elsewhere.

Mémoire (Memory)
curated by Simone Dompeyre (director/curator of Traverse Video Festival Toulouse/France)

Sylvie Denet (France) – Train Un, 2012, 03:30
Marie Minot (France) – Tropical Amnesia, 2016, 05:03
Erwan Soumhi (France) – Le Bateau de Thésée, 2012, 02:28
Nathalie Joffre (France) – He told me that his garden, 2012, 09:30
Gérard Cairaschi (France)- Magia, 2006, 06:36

Je est un autre / I Am Someone Else – curated by Simone Dompeyre

– Agnès Quillet, Paysage, 2008, 00:59)
– Jonas Schloesing, Je ne suis personne (05:55)
– Johanna Vaude, Inner Stranger, 2012, 05:00)
– Sigfried Bréger, Catleyas, 2014, 07:01
– Les Sœurs H, La Vie de Fraulein Erzebeth est une sorte de chaos organisé, 2012, 12:01 )