WOW Jubilee 2020 – III

Halle Zollstock

is an exhibition hall in the Cologne quater “Zollstock”, originally a kind of workers suburb, a kind of place for the underpriviledged, Zollstock became meanwhile a quater for young families due to the reasonable rent prices, so the structures change also due to some artists run initiatives like Halle Zollstock. It is also the home of some artists studios. Letitia Gaba, one of the Cologne based artists who partcipate since 2000 in Agricola de Cologne projects, is part of a group of female artists who organizes now and then exhibitions and events at Halle Zollstock, and WOW Jubilee III Köln – is such an event just for one day, thanks to her! Improvised due to its open structures, WOW Jubilee III Köln would like to be a kind of meeting in order to thank the local artists for participating in Agricola de Cologne’s projects since 2000, it is a kind of open reception during the opening hours 14-18h on Sunday, 1 March 2020.

WOW Jubilee III Köln

curated by Wilfried Agricola de Cologne

The 7 Memorials for Humanity
represent a media art context created by Wilfried Agricola de Cologne, the Cologne based media artist & curator, realized during the years 2000-2020 – including works of digital art – video, sonic art, netart, digital photography by 2500 artists from 70 countries.

This event would like to honour participating artists from the region of Rhineland and the twin-cities of Cologne – Tel-Aviv and Bethlehem – for the collaboration during the past 20 years – by screening/projecting a selection from the video collection, featuring
Letitia Gaba, Johanna Reich, Beate Gördes, Irena Paskali, Peter Wolf, Myriam Thyes, Enoh Lienemann, Kai Welf Hoyme, Shahar Marcus, Masha Yosefpolsky, Doron Polak, Dova Cahan, Boaz Kaizman, Peter Rosenthal, Marcus Seibert, Tammy Mike Laufer, Samar Ghattas, Faten Nasdas, Larissa Sansour and more.

Program – Sunday, 01 March 2020

14.00h Start
14.00h-18.00h screening/projection of – videos/films
16.00h Author reading by – Wilfried Agricola de Cologne
18.00h End

Halle Zollstock – Gottesweg 79 – 50969 Köln – https://www.halle-zollstock.com

01 March 2020

Kai Welf Hoyme, Irena Paskali, Wilfried Agricola de Cologne, Enoh Lienemann

projection of the video program featuring Rhineland based artists

video installation of programs featuring a selection from “The 7 Memorials for Humanity”

Hall Zollstock – outside/inside

see also full documentation on

http://retro.newmediafest.org/01-march-2020/

The 7 Memorials for Humanity
http://7mfh.a-virtual-memorial.org

The Refugee Memorial
http://refugee.engad.org

There are currently more than 60 millions of refugees on the globe, people who left their home country in order to escape war, persecution and murder, but also poverty and the lack of any perspectives.
The Refugee Film Collection including videos by 100 artists, initiated by Wilfried Agricola de Cologne, the Cologne based media artist and curator, is focussing on the human dimension, since the refugees are human individuals who are forced to leave their home countries in order to get shelter, protection and perspectives for survival elsewhere. Do or did they find the “promissed land” – temporarily or for sure?
Artists and video makers from all over the world spotlight this human dimension and the diversity of reasons and motivations to become a refugee. The collection will be presented individually – in total and in parts – in the context of the major exhibition project.

NewMediaFest2020 selection

Inês von Bonhorst (Portugal) – “Impetus”, 2013, 7.29
Cristobal Catalan (Spain) – Res Nullius, 2014, 3:46
Manuel Granados (Spain) – Dancing Man, 2015, 1′ 07″
Farid Hamedi (Rohina) (Iran) – The Smoke and the Dream, 2015, 13:24
Haleh Jamali (UK) – Crossing the Line, 2016, 5:40

selection

Anna Knappe (Norway) – Three Ways to Escape – Mohajer, I (Amir), 2012, 07:08
Miss Muffett aka Lisa Seidenberg (USA) – Flight, 2015, 3:51
Oksana Chepelyk (Ukraine) – «Face to Face», 2014, 10:00
Virginia Eleuteri Serpieri (Italy) – THE SUN BENEATH THE SEA, 2016, 2:00
Lucija Konda Labas (Croatia) – We are the dogs – Wir sind Hunde, 2016, 1:11
Elena Knox (Australia) – Radical Hospitality, 2014, 6:16

The 7 Memorials for humanity
http://7mfh.a-virtual-memorial.org

The d/i/light Memorial

http://dilight.a-virtual-memorial.org
100 artists from 30 countries commemorate the Holocaust showing face against Intolerance, Racism & Anti-Semitism. As an artistic tribute to the victims of Holocaust, this media art initiative is realized in an open concept at the same time online and offline. The conceptual center is representing “SFC _ Shoah Film Collection” – a worldwide unique media art and peace initiative addressed to young generations of artists and film makers to deal with the topic of SHOAH (Holocaust) and collective trauma caused by totalitarianism by using new technologies and contemporary approaches in art.

NewMediaFest 2020 Selection

at Halle Zollstock on 1 March 2020

Boaz Kaizman, Peter Rosenthal, Marcus Seibert (Germany) – Tiger Leap, 2017/2018, 27:00
project details

Istvan Horkay (Hungary) – Tenebrae, 2012, 6:00
Vanane Borian (Israel) – 1915-“, 2015, 2.33
Dova Cahan II (Israel) – My aunt Mina and her son Shmuel never came back from Auschwitz”. 2015, 9.18
Ela Goldman (Israel) – What Has Been Will Be Again, What Has Been Done Will Be Done Again, 2013, 3:49mishri
Agricola de Cologne (Germany) – Memory Game, 2010, 8:00

Dana Levy (IL) – Time with Franz, 2005, 10:00
Miri Nishri (IL) – Troubled Water, 2007, 12:00vimeoshelley jordon
Tammy Mike Laufer (IL) – Memory of the Holocaust is not dead!, 2009, 7:05

Doron Polak & Uri Dushy (IL) – RED (1-3), 2008, 30:00

Holger Kiess (Germany) – Purane Korakori – old steps, 2007, 33:18

Yonatan Weinstein (IL) – My Grandma – Frau Masha, 2006, 57:00

Rolanda Teicher Yekutiel (Israel)- The Last Numbers, 2006, 20:00
Elana Schwadron Minkow (IL) – Those I Never Knew, 2012, 10:00

Myriam Thyes (Switzerland) – Sophie Taeuber-Arp’s Vanishing Lines, 2015, 10:10
Shelley Jordon (USA) – Anita’s Journey, 2011, 8:28
Daveed Shwartz (IL) – I saw a Mountain, 2009, 5:00
Deborah Sfez (Israel) – A Journey to the Land of Memory, 2017, 5:30
Hadas Tapouchi (IL) – Moel Yad, 2009, 6:00

Video Statement

Shelley Jordon

SFCIP – Shoah Film Collection Interview Project

interviews by
Vanane Borian – http://sfcip.engad.org/?page_id=157
Myriam Thyes – http://sfcip.engad.org/?page_id=171
Ela Goldman – http://sfcip.engad.org/?page_id=80
Dova Cahan – http://sfcip.engad.org/?page_id=38
Shelley Jordon – http://sfcip.engad.org/?page_id=17

The Cambodia Memorial

http://cambodia.engad.org
Founded in 2012 by Wilfried Agricola de Cologne, the Cologne based media artist and curator, The Cambodia 1975-1979 Memorial – is commemorating the genocide executed by the Khmer Rouge in Cambodia.
The film collection “Cambodia 1975-1979” -consisting primarily of documentaries – is dealing with the Cambodian genocide 1975-1979. It is a collaboration between artvideoKOELN international, MetaHOUSE – German-Cambodian Cultural Centre Phnom Penh and DMF @ Royal University of Phnom Penh.
The collection includes videos by young Cambodian film makers educated at the filmschool @ MetaHouse Phnom Penh and Depart6ment of Film and Media @ the Royal university. All videos try to re-establish an own individual and collective identity by reflecting the genocide all Cambodian families are still suffering from.

NewMediaFest 2020 selection

Molyka Bin (Cambodia) It burned Me, 2011, 13:18
DCM – Royal University of Cambodia – Looking Back, 2007, 50:00
Sopheak Sao (Cambodia) – Sopheak Sao (Cambodia) – Two Girls Against The Rain, 2012, 11:00

The iTERROR Memorial

http://iterror.a-virtual-memorial.org
As a collaborative media art project, The iTERROR Memorial would like to be a place for commemorating the victims of Terror and threats related to terror, and consequently the victims of war, particularly all contemporary wars on Earth which all represent war and terror of potentates against the own people.
The commemorative project has been initiated on occasion of the islamist terror attack in Paris, 13 November 2015, standing in a long row of previous islamist attacks starting in the early ’80ies of 20th century and it was not the first and it will be not the last place targeted by islamist terror.

NewMediaFest2020 selection

Roland Fuhrmann (Germany) – WAR SCARRED BERLIN, 2015, 4:32 min
Karl F. Stewart (Germany) – I Don’t Need Their Voices, 2014, 00.05.30
Ausin Sainz (Spain) – 3 2, 1 Liberty, 2015, 4:44
Francesca Fini (Italy) – SOAPOPERA, 2015, 10:47

Video statement

Roland Fuhrmann

Ausin Sainz

The Hiroshima/Fukushima Memorial

http://hiroshima.engad.org
On occasion of the 70th return of the Hiroshima bombing and the5th return ofthe nucleardesaster of Fukushima – the Hiroshima // Fulushima Memorial – had been launched.
6 August 2015 – 70 Years Hiroshima – and a never ending collective trauma. That we did not learn from history showed the nuclear desaster of Fukushima on 11 March 2011.
Artists show face the uncoltrollable nuclear power and its desastrous effects on human existance and, appeal even more to theworldfor Peace and the renouncement of violence for resolving international conflicts. Hiroshima and Fukushima are representing symbols that it is not yet too late to rethink and stop and give mankind and humanity a chance to survive.

NewMediaFest2020 selection

Jean Gabriel Periot (France) – Nijuman no borei , 2008, 7.30
Jeroen Cluckers (Belgium) – Oneiria, 2014, 3’52”
Brandon Bauer (USA) – AN602: Tsar Bomba, 2014, 03:21
Nico Winz (France) – Fukushima Beach
Mengyu Chen ( USA) – Simulacra, 2013, 2:20
Maria Korporal (Netherlands) – Underwater Desert, 2015, 2:35
Mark Kadota USA) – “Persistence of Emotion”, 2015, 9:55

Video statement

Mark Kadota

The Wake Up Memorial
Wake-Up climate Change!
http://wake-up.engad.org/wake-up-climate-change/
The Wake Up! Memorial is adding a new commemorative site focussed on preserving the natural environment on Earth for future generations.
Artists working with audio-visual media were invited to submit works in order to sensitize the open-minded viewer.
As a term or catchword, “Climate Change” is ambivalent – it describes a process, development or state which can be reversible, as well as irreversible – reversible, this includes for an individual the option to take personally influence on one’s environment and prevent actively “the climate change” as an irreversible process or state – irreversible, it is too late to take any influence, and “climate change” means nothing else than the “Last Days” (of humanity, of the natural environment, the world as we know, etc). One has to accept the inevitable destiny. In its widest sense, “climate” can be understood as “environment”.

Selection 4

Susanne Wiegner (Germany) – Melting Fields, 2018, 8:16
Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Boris Marinin (Israel) – Greenhouse, 2019, 3:19

selection 5

Alan Sondheim (USA) – American Life, 2018, 6:03
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Irena Paskali (Macedonia) – 2202m, 2018, 2:36
Renata Padovan (Brazil) – The Scale of Desaster, 2013, 9:41
Uri Kloss (Israel) – Word, 2017, 1:29

Selection 6

Ronnie Sluik (NL) – ronnie s attempts green animist genderfriendly artistic research, 2019, 1:43
Lino Strangis (Italy) – DREAMLIKE OF A PRESENT FUTURE, 2019, 4’49”
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Dee Hood (USA) – Game of Chance, 2019, 2.02
Jean-Michel Rolland (France) – Waste, 2018, 4:08

Video statements

Ronnie Sluik

Dee Hood

Letitia Gaba – Broken Worlds

Letitia-GaBA-Broken-Worldsgraphic-2014

Shahar Marcus

Shahar Marcus (b. 1971) is an Israeli based artist who primary works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations- incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ‘experiments’ took place: lying on the operating table, set on fire, dressed in a ‘bread suit’ and more.
Food is also a major theme in Marcus’s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting.

Shahar Marcus (Israel) – Homecoming Artist, 2008, 4:37
Shahar Marcus (Israel) – Freeze, 2008, 4:44
Shahar Marcus (Israel) – Leap of Faith, 2010, 3:02
Shahar Marcus (Isarael) – 1,2,3 Herring, 2011, 2.27
Shahar Marcus (Israel) – The curator, 2011, 4:2S

Shahar Marcus (Israel ) – Seeds, 2012, 5:03

Shahar Marcus (Israel – Golda, 2013, 5:14
Shahar Marcus (Israel) – The Packing House, 2014, 07:21
Shahar Marcus (Israel) – King of Falafel, 2016, 8:03
Shahar Marcus (Israel) – El Rujim, 2019, 9:14

Shahar Marcus’ early video-performances feature himself along with other artists, with whom he had collaborated in the past. However, in his recent works, Marcus appears by himself, while embodying different roles and characters. ‘The man with the suit’ is a personage that was born from an intuitive desire to create a ‘clean-cut’ version of an artist, juxtaposed to the common visual stereotype of the artist as a laborer. Drawing influence from Magritte’s familiar figure- the headless suit, a symbol of Petite bourgeoisie, Marcus embodies this man with a suit as an artist who is in charge, a director.
His most recent works deal with local political issues, by approaching iconic Israeli landmarks with a critical and humorous point of view. Thus, Marcus reflects on his own heritage, environment and the creation of local historical narratives. His works are influenced by the visual language of cinematography along with familiar themes and tributes to art – history and artists, such as Ives Klein, Paul McCarthy, Peter Greenway and Jackson Pollack.
Shahar Marcus is an active artist for over a decade and has exhibited at various art- institutions, both in Israel and around the world, including: The Tate Modern ,The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art , Charlottenburg, Copenhagen- Kunsthalle , Moscow Biennale, Poznan Biannale, Moscow Museum of Modern Art The Hermitage in Saint Petersburg and at other art- venues in Polland, Italy, Germany, Georgia, Japan, the USA and Turkey. Many of his works are a part of various important collections, such as The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art as well as art- intuitions in Poland and Italy.

Irena Paskali (Macedonia) – 2202m, 2018, 2:36
Kai Welf Hoyme (D) – Nocturn, 2012, 3:58
Karl F. Stewart (Germany) – I Don’t Need Their Voices, 2014, 00.05.30
Enoh Lienemann (Germany) – In My Head, 2015, 6`34 min
Kristina Kanders (Germany) – Human Rights, 2011, 4:20
Myriam Thyes (Switzerland) – Global Vulva, 2009, 6:20
Beate Gördes (Germany) – Been a war child / Kriegskind gewesen, 2014, 3:22
Johanna Reich (Germany) – A State of Crystal, 2010, 3’19
Robert Olawuyi (Hungary) – Freedom is.., 2014, 4:14
Wilfried Agricola de Cologne (Germany) – Silent Cry, 2008, 3:40

NewMediaFest 2020 selection

Jasmine Kainy (Israel) – Comes from Outside, 2011, 3:35
Tagit Klimor (Israel)- Fcity, 2011, 4:50
Yoav Peled (Israel) – My Own Private Israel, 2012, 4:15 min
Eitan Vitkon (Israel) – Convergeance, 2011, 1:17
Miri Nishri (Israel – Who is Miri Nishri, 2008, 9:40
Tammy Mike Laufer (Israel) – Visions of Another War, 2009, 2:15
Shahar Marcus (Israel) – Still Burning, 2010, 3:02
Masha Yosefpolsky (Israel) – Noli Me Tangere, 2008, 6:20
Guli Silberstein (UK/Israel) – Disturbdance, 2012, 3:25
Yuval Yairi & Zohar Kawaharada (Israel) – Land, 2013, 4:36
Ran Slavin (Israel) – Facial Witness, 2006, 2:00

Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Uri Kloss (Israel) – Word, 2017, 1:29
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Lital Dotan & Eyal Perry (Israel) – Embracement, 10:00, 2004
Doron Golan (Israel) – Try Yah Love, 2006, 4:46
Elyasaf Kowner (Israel) – Around the Fire, 2004, 10:00

Mushon – sellfportrait as Israel, 2006

Beyond All Borders
artists – Larissa Sansour, Samar Ghattas, Faten Nasdas

Larissa Sansour

List of videos
Bethlehem Bandolero, 2005, 3:39
Happy Days, 2006, 3:00
Run Lara Run, 2008, 2:23
Soup Over Bethlehem, 2006, 9:30

Larissa Sansour – selfportrait, 2006

Samar Ghattas – Selfportrait, 2006

Faten Nasdas – Selfportrait, 2006

WOW.26 / India
Contaminated Progress III

Claudia Borgna (Italy) – Sweep and Weep, Weep and Sweep, Under, Over, In, Out, Away, 2010, 11:09
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Francois Knoetze (South Africa) – Plastic, 2012, 5:00
Liu Wei (China) – Hopeless Land, 2009, 7:28

Video statement

Claudia Borgna

Towards a plastic free environment

Contaminated Progress
curated by Wilfried Agricola de Cologne

The private and industrial use of plastic is contaminating meanwhile the living environment on Earth so profoundly, that microplastic can be proven in nearly all living resources for animals, plants and not to forget the human individual. It is no question of an idiological view any more, but a survival necessity to ban plastic in any form from the cycle of life. Who will win the race? Ecology or economy?

In September 2019, The New Museum of Networked Art – was supporting the initiative for a plastic free Kolkata (India) by launching the video art screening program “Contaminated Progress” – which became part of “The 1 Minute Before 12 Memorial @ The Wake Up! Memorial,

About the curator
Agricola de Cologne
interdisciplinary media artist, director of experimental shortfilms and videos, curator of media art and the designer of culture (2000- )
founder & director of artvideoKOELN – the curatorial initiative „art & moving images“ (2005 – ),
founder and director of The NewMuseum of Networked Art –the experimental platform for art and new media (2000), a global network on different virtual and physical levels
Besides for a broad bandwidth of dynamic curatorial contexts he is initiating in physical & virtual space like JavaMuseum (2001), NewMediaFest (2002), Violence Online Festival (2003), SoundLAB & VideoChannel (2004), CologneOFF (2005), netEX (2007), Agricola de Cologne is standing also for the co-curator & co-organiser of events like festivals & exhibitions of contemporary art, but also for the jury member of divers festivals.

VIP – VideoChannel Interview Project
selected interviews 02

Oksana Chepelyk (Ukraine) – http://vip.newmediafest.org/?page_id=1722
Susanne Wiegner (Germany) – http://vip.newmediafest.org/?page_id=368
Brit Bunkley (New Zealand) – http://vip.newmediafest.org/?page_id=1611
Lisi Prada (Spain) – http://vip.newmediafest.org/?page_id=2239
Maria Korporal (NL) – http://vip.newmediafest.org/?page_id=859
Ausin Sainz (Spain) – http://vip.newmediafest.org/?page_id=1597
Francesca Fini (Italy) – http://vip.newmediafest.org/?page_id=656
Gabriele Stellbaum (Germany) – http://vip.newmediafest.org/?page_id=2303
Tammy Mike Laufer – http://vip.newmediafest.org/?page_id=459
Miri Nishri – http://vip.newmediafest.org/?page_id=140
Francois Knoetze – http://vip.newmediafest.org/?page_id=1770
Dee Hood – http://vip.newmediafest.org/?page_id=496
Kristina Kanders – http://vip.newmediafest.org/?page_id=867
Enoh Lienemann – http://vip.newmediafest.org/?page_id=2266

MEZ – Mary-Anne Breeze

“Mez does for code poetry as jodi and Vuk Cosic have done for ASCII Art: Turning a great, but naively executed concept into something brilliant, paving the ground for a whole generation of digital artists.” (Florian Cramer).

The impact of her unique code/net.wurks [constructed via her pioneering net.language “mezangelle”] has been equated with the work of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall.

1995-2002

di][e][lation ][wo][manifesto

Enter the Project here

The data][h!][bleeding T.ex][e]ts

.be a][h!][ware that the texts make use of the polysemic language/code system termed _mezangelle_, which evolved/s from multifarious email exchanges, computer code re:appropriation and net iconographs. to _mezangelle_ means to take words/wordstrings/sentences and alter them in such a way as to extend and enhance meaning beyond the predicted or the expected. it’s similar to making “plain” text hypertextual via the arrangement and dissection of words & n.sertion of symbolic and actual code manipulation. the use of fragments like programming language-shards & operating system echos – such as ][knit 1][Pearl][2][ tree-structures, wildcard refs, booleanisms, unix shell commands, bare html conventions, ascii][esque][ tracks [as well as the repeated allusions 2 hyperlinks and html code via bracketing & directory slashings] – all act 2 illustrate the x.pansion of software potentialities of co:d][iscours][e in an environment x.clusively reliant on it. mezangelling attempts to expand traditional text parameters through layered/alternative meanings embedded in languages and the codes that create them, with notions of language play, software n.vocations and identity swapping being the key to comprehension; various fiction avatars have been used in the construction of these texts, & they shift through many incarnations such as data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker, Purrsonal Areah Netwurker, etc. the real-life author is mez ][mary-anne breeze][.

Enter the Project here

_][ad][Dressed in a Skin C.ode_

[ad][Dressed in a Skin C.ode_ ho.][email][list.ically documents select phases of the
mezangelle language system and its ][r][evolution[1995-2001]. the texts presented here act as residual traces from net.wurk practices that thrive, react N shift according 2 fluctuations in the online environment in which they ][initially][ gestated.

Enter the project here

_cross.ova.ing ][4rm.blog.2.log][_

Mez has been at the center of the center-less discourse about networks, writing and codework ever since the listserv started to be a vehicle for the dissemination of artistic ideas among artists. Rather than explore or critique network communication from an implied “outside,” however, mez has situated herself within the very operations of the network, her writing never entirely separating itself from the protocols that govern the transportation and presentation of words and images. The bountiful work of mez is everywhere but nowhere, the mystical overtones are intentional as she calls her digital-creole “mezangelle”, and this most software-aware project is actually software independent, as mez has no patience or capacity for operating within the fixity of an “application,” not to mention that of the person, place or nation-state.
Author description: _cross.ova.ing ][4rm.blog.2.log][_ is a “netwurk repository” that’s been in operation since 2003. these “wurks” r inscribed using the infamous polysemic language system termed _mezangelle_. this language evolved/s from multifarious computer code>social_networked>imageboard>gamer>augmented reality flavoured language/x/changes. 2 _mezangelle_ means 2 take words>wordstrings>sentences + alter them in such a way as 2 /x/tend + /n/hance meaning beyond the predicted +/or /x/pected. _mezangelling_ @tempts 2 /x/pand traditional text parameters thru layered/alternative/code based meanings /m/bedded in2 meta-phonetic renderings of language. _cross.ova.ing ][4rm.blog.2.log][ /m/ploys a base standard of code>txt in order 2 evoke imaginative renderings rather than motion-based>flashy graphics.

Enter theProject here

][select][Text

][selec][text documents rite][ual][s of passage thru stylistically driven e-communication. It is also a writing crè][ative][che, 1 that reveals & critiques the very mechanism/form][s][ that it m.mploys in order to exist.

Enter the Project here

V[R]ignettes: A Microstory Series (2019)

Originally titled A Million and Two, V[R]ignettes is a series comprised of Virtual Reality crafted microstories. Each individual microstory, or vignette, is designed to encourage a kind of ‘narrative smearing’ – where traditional story techniques are truncated and mutated into smears (kinetic actions and mechanics, collage-like layered building blocks, visual distortions, dual-tiered text annotations) which requires a reader to make active choices in order to navigate each microstory space (storybox).

An anthology of VR works that integrate 3D illustration with poetic text and a reading experience of visceral intensity. Each piece explores unique textures, atmospheric sound design, and texts that are by turns enigmatic, impassioned, and humorous. The navigation is intuitive, recalling page turns, but also allows for free non-linear exploration.” – Judges’ commentary about the project winning the Queensland University of Technology Digital Literature Prize as part of the 2019 Queensland Literary Awards.

Enter the Project here

Mez
has exhibited extensively since the early 90s [eg Wollongong World Women Online 1995, ISEA 1997 Chicago USA, ARS Electronica 1997, The Metropolitan Museum Tokyo Japan 1999, SIGGRAPH 1999 & 2000, _Under_Score_ @The Brooklyn Academy of Music USA 2001, +playengines+ Melbourne Australia 2003, p0es1s Berlin Germany 2004, Dissention Convention @Postmaster Gallery New York USA 2004, Arte Nuevo InteractivA Yucatan Mexico 2005, Radical Software @Turin Italy 2006 + DIWO @ the HTTP Gallery, London 2007]. Her awards include the 2001 VIF Prize [Germany], the JavaMuseum Artist Of The Year 2001 [Germany], 2002 Newcastle New Media Poetry Prize [Australia], winner of the 2006 Site Specific Index Page Competition [Italy] + awarded the 2007 “Deep Structure: Deep Play” Neutral Ground/Soil Digital Media Commission [Canada]. Mez is also an online journalist [@ Furtherfield, Metamute, CyberSociology Magazine, and fineArt Forum], co-moderator of the _arc.hive_ experimental mailing list and online curator and lecturer in Netwurking.

MEZ article on NOEMA

Alan Bigelow
US media artist

writes digital stories for the web. These stories are created in Flash and use images, text, audio, video, and other components.

Detailed biography

Work title: “Love Is…”

Year of production: 2008
Used technology: Flash

Enter the work here

Work description:

“Love Is…” is an attempt at a definition, and as with all
definitions that try to explain what love is, precision is not
possible, and perhaps not even desirable. This piece moves toward a
definition of love in three stages: first through a standard, accepted
lexicon; then via a series of individual expressions of love; and
finally as defined within randomly selected statements about love
provided by readers.

The work is created in Flash and, at the end of the piece, offers
viewers the opportunity to write their own definitions of love into
the site. These definitions are saved in a database so the next
visitor can view them as they are randomly displayed. “Love Is…”
takes approximately five minutes to view. No special downloads or
plugins are required.

This work uses videos and audio files acquired online, and modified by
the artist. A credits page is included on the site.

Aleksandar Janicijevic

Aleksandar was born and educated in Beograd, former Yugoslavia and relocated to Canada in 1993. He graduated Architecture and Design from University of Beograd, and continued his education after relocation to Canada with numerous certified courses, workshops and seminars

Detailed biography

In search for psychographs
year of production: 2010
used technology (software etc): psychogeographical perfomance recorded using digital camera, location and information found using google search, maps and wikipedia, photoshop and other adobe software are used to create site.

required plug-ins; none

Enter the work

During psychogeographical or mythogeographical walks [DRIFTS] one is expected to shift focus from one plain to the other. Most of the time a mental reaction is established early on. Senses are overwhelmed with primary ambience leading to the state of open minded “blindness”, entangled by the forces of decisive attraction. In my case occasionally “recomposed drift focus” glides [drifts?] to the unexpected or sights usually unrecognized as significant. I call them: psychographs. Psychogeography is a window to the urban future. Psychographs are illustrative individual examples, they are recorded moments of sensuous touch by genius loci.
Everyone has the right to find in the cities the conditions necessary for his or her political, economic, cultural, social, and ecological realization while assuming the associated duties of solidarity.
Psychographs are items, points, stages, elements in psychogeographical search to help us understand the multiplicity of language of urban space.
Starting point in everyday practice is opening your mind and of course all other senses. Positioned to absorb you are focused on the place itself, genius loci [spirit of the place] is beginning to expose to you “psychographs”, small individual scenes preparing you for the powerful experiences in longer and more purposely oriented psychogeographical walks – drifts. When made in common praxis genius loci is willing to reveal – uncover things otherwise deeply hidden or with unrecognizable importance. that is when you notice that shifting focus suddenly makes thing fundamentally changed.

there are only three instances recorded now [september 2010] in this work, I am planning to add many more, site is intended to be ever expanding and influenced by other participants and contributions.

Stefan Baltensberger
Swiss New Media artist.

detailed biography

baltensperger
year of production 2009

used technology (software etc)
Java, Processing, html

required plug-ins
baltensperger

Enter the work

short work description
In the social process of alteration, not only the view of the human itself changes, but also the familiar and social structures.
Standardized solutions replace individual solutions and make global systems work on the one hand, on the other though, they segregate merciless societies and individuals who don’t fit into the norm.
In the artwork „baltensperger“ I use the language as a medium, that in my understanding gives identity since it is intuitively associated with regional identities. Computer codes epitomize the modern and standardized language.

I created my own programming language in my personal dialect. Thus, I extract the code from its original meaning to be global, standardized and functional, giving it a fragment of my local and personal identity.

Russet Lederman
US media artist´

Russet Lederman received a Masters of Fine Arts degree in Computer Art from the School of Visual Arts, New York City in 1999 and is currently pursuing her M.A/Ph.D track in Media Studies at The New School University, NYC. Recently, she collaborated on events and screening for Franklin Furnace Archives and the X/Fest Experimental Video Festival. In 2001-2002, she was awarded the Smithsonian American Art Museum’s New Media/New Century Award, a commission to create a fine art web work about the American landscape for the museum’s web site.

detailed biography
participant in
VIP – JavaMuseum Interview Project

Barely Skin Deep

year of production: 2008
used technology (software etc): XHTML, Flash, XML, php, mysql, Final Cut Pro

Enter the work here

Barely Skin Deep is an interactive online documentary video project, which explores the concept of feminine beauty from the perspective of 10 diverse women. Using video interviews collected over a 4-year period, this documentary work seeks to present a fragmented, pluralistic perspective on the personal and societal issues which influence a woman’s concept of self and group beauty.

About 4 years ago, I sought to uncover a range of personal viewpoints and experiences on this topic by video interviewing women from various ages and cultural backgrounds. At the time, I was unsure how I would use the footage. I approach fine art projects in a fairly organic manner: I collect material and then see what issues are revealed. As a result of seeing the vastly different perspectives presented in the interviews, I decided to create an online interactive work. This enables the viewer to access and evaluate these fragmented interviews in order to formulate his/her own opinion based on the presented materials.

Each interview fragment is 10 to 60 seconds and is retrieved from a database of over 200 clips using the XML language in a Flash interface. One of the key issues discovered as I was working on this project was that different people want to access the material from this database in different ways. As a result, the interview clips can be viewed by either interviewee or by one of 9 topics, where the viewer has the ability to further define the viewing constraints by selecting a specific interview question. In addition to the database clips, the viewer can also access background information on each interviewee in the Women section. Through a Forum section they can also participate in discussions related to the topics covered in the database interviews.

Andre Sier (Portugal)
André Sier (1977, Lisboa) is an audiovisual artist-programmer. Has a degree in Philosophy (FCSH, 2005), having also studied Painting and Sculpture at Ar.Co. Produces objects that installs in exhibiting spaces since 1997.

Detailed biography

title: CsO (BwO)
year of production: 2008
used technology (software etc): processing / java

Enter the work here

‘CorpssansOrganes’ (CsO) is a seminal concept in Deleuzian philosophy. Made after Artaud declared war on the organs, it is a text that influences cyberculture, disrupts organization, and prompts this work. This ‘CsO’ is a work launched in 28 nov 2008, which visualizes and scatters every word of Gilles Deleuze’s & Felix Guattari’s text in 3d abstract space, celebrating 61 years since 28 Nov 1947, date that marks the banished end of Antonin Artaud’s radio broadcast ‘pour en finir avec le jugement de dieu’, that prompted this deleuzian concept.
All the words of this text from Mille Plateaux are floating in space, disembodied from their pages, interconnected by a luminous filament; the code follows every word in reading order, embodying a meta-body-without-organs in 3d space, charting diffuse abstract paths united by generative logic’s thread.

Chris Basmajian

Chris Basmajian was born in San Jose, California, in 1972. He received a M.F.A. from Maryland Institute College of Art, and a B.A. from George Washington University in Washington, D.C.

Detailed biography

Title: Attention Hog
2008
Flash video game/widget

Enter the work here

short work description:
Attention Hog is built on the model of “casual games”, a rising industry and pastime. The player is cast as a pig whose goal is to capture the love and attention of as many people as possible. The game’s subject reflects some of the social and psychological trends present in social-networking communities, including self-promotion, social anxiety, obsessive need for peer validation, and distraction as entertainment. The game operates on a conventional level, and can be shared with others and embedded on web pages, blogs, and social-networking sites such as Facebook and MySpace.

Katty Vandenberghe
Katty Vandenberghe is a new media creative and educator. As a digital artist she has participated in numerous animation projects.

Detailed biography

Chris Diedericks
Fine Arts Cum Laude graduate from the University of Potchefstroom, Christiaan Diedericks has created an extensive body of work over the years. He went on to complete his Masters in Fine Arts with a practical Cum Laude at the University of Pretoria in 2000.

Detailed biography

title
indigo boy
Visual blog and visual hacking – a collaborative work with Chris Diedericks

year of production – Initiated October 2006 – current
used technology (software etc) – html formatting (Dreamweaver), quicktime videos (iMovie), pixel editing (Photoshop)

Enter the work

Chris Diedericks “I am fascinated by an interdisciplinary approach in my work and am always searching for new solutions – it forms an integral part of my personal creative process. I have failed my own creative process, and myself, if I merely regurgitate former imagery. I never want two shows to ‘look’ the same. I encountered Iron John by writer Robert Bly as an art student, and realised then already that the text will remain relevant in my life for many years to come. A vast majority of heterosexual men still battle the same gender issues today. Especially the issue of gender diversity. Iron John is however, aimed specifically at heterosexual men, another exclusion of gay men in a solid study about masculinity. I have decided to visually re-write Iron John for all men without exclusion or selective inclusion.” Cape Town, 2007.

katty vandenberghe “I pretty much stay hidden in the structural aspects of the work. I act as Chris’ blog and organise the navigational infrastructure. Every now and then I also act as visual hacker and play around with Chris’ images and the web page architecture. Chris is the one who speaks, I am the one who transmits – and every now and then I interrupt that transmission. In a sense Chris cuts and pastes images he collects from his world into visual artworks, and I cut and paste his work into code. It matters to me how the images are cut up into squares or strips as the pages download. Some of my animation games only run once as the image is downloading, so there is a good chance that you might miss it. My favourite download scenario is that of a good old slow dial-in connection via landline – then you really have time to observe and absorb the structure I put into the work. Of course, that wouldn’t work very well for the video clips, which require faster download speeds. All my website architecture is consciously directed at lower end access to technology, equipment and the internet.” Johannesburg, 2007.

Tamar Schori & Oded Perry
Israeli new media artists dealing with Flash and game like art environments.

Detailed biography

CycleScope
year of production: 2010
used technology: flash
required plug-ins: current flash plugin

>H5>Enter the work here

“The Ouroboros is an ancient symbol depicting a serpent or dragon swallowing its own tail and forming a circle. The Ouroboros often represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself…”
The Uroboros that swallows its own tail inspires the CycleScope project. As we are swamped by couples of image and words created by search engines one may offer a relief by allowing us to control the flow. Let us reclaim the word and image association by propagating our own associations. Let us detach from machine fabricated realities by slowly tailoring a group view of visual perceptions. Are we swallowing our own tail – reusing the same material that overflows to create even more noise?
CycleScope allow people to investigate the associated link between a word and an image. Together, you are invited to contribute to a local data base, where a word & image become a literary creation.
CycleScope, a web based gadget, is a mechanism that help you match a word of your choice with a selection of images that have been previously uploaded to match this word. Select one or add your own. Your choice becomes a CycleScope, a kaleidoscopic entity formed on the site and kept on the gallery for others to see and use.
Successful matches will appear frequently on the gallery, indicating their appeal to sites’ visitors. One can buy a redrawn version of a CycleScope printed on a T-shirt or a button via the gallery.

keywords: crowd sourcing, DIOS, Semantic Web, literary creation.

Lisa Cianci

is an artist from Melbourne, Australia. Lisa produces work in both analogue and digital format, with her current focus on Internet-based dynamic, interactive art.

Detailed biography

Colour Fields
year of production: 2010
used technology (software etc): Flash, HTML, JavaScript, CSS (JQuery)
required plug-ins Flash player 10 +, javascript enabled

Enter the work here

short work description

Colour Fields is a series of continuous flash animations using video, still image and AS3 code to manipulate visual content. The constantly changing blends and movement create animations that can play endlessly and may never have the same sequence of pixels twice.

The visual content is a combination of abstract and subtle figurative imagery taken from the blackaeonium archive project (link) exploring preservation of digital content and recombinant content creation.

This work also contains a new soundtrack “fishtank musicbox”.

JIP – JavaMuseum Interview Project
selected interviews 01

Andre Sier – http://jip.javamuseum.org/?page_id=127
Chris Basmajian – http://jip.javamuseum.org/?page_id=151
Tamar Shori – http://jip.javamuseum.org/?page_id=58
Katty Vandenberghe – http://jip.javamuseum.org/?page_id=78
Russet Lederman – http://jip.javamuseum.org/?page_id=104

Peter Wolf was born 1956 in Cologne/Germany.
He lives and works in Cologne as a researcher, performer, designer, author, writer, media artist, curator and organizer.
In 2003 he created the “KLANGDRANG Festival for incredible Music”, Cologne, which he organizes annually (http://www.klangdrang.org)

soundLAB III

SoundLAB was one of the “memory channels” of The RRF Project – dealing with sound a tool for artistic creations, resulting soundart or sinic art (in German “Klangkunst”).
SoundLAB III was the 3rd major annually released soundart project, Wilfried Agricola de Cologne was realising in 2006, including also two curated contributions from Australia and Germany. The German one was curated by Peter Wolf presenting a selection from the the Cologne based festival “KlangDrang 2005” a Sonic Art Festival including 4 Cologne based sonic art groups SOUNDSO, FIM, DOPPELPLUS & Enselnble ALL TAG. While this feature can be listened to below on this page -the complete soundLAB III can be acessed by opening following link

Enter SoundLab III – >here

“KlangDrang 2005 – A Festival for Incredible Music – Cologne”

In this case “Incredible Music” means the spheres of New Music, experimental and improvised music, Performance Art and New Media. This festival was brought into being 2002 as a hommage for the cologne citizen center Alte Feuerwache which enables the presentation of extraordinary music since more than 25 years. This year KlangDrang presented 4 ensembles from which you can hear each 3 cuttings of an each 45 minute performance.

F.I.M. (Free improvised music cologne)
Nobert Zajac (voc), Matthias Kaiser (violin), Frank Bersziek (sax, basscl), Michael Haverkamp (sax, perc), Karl Kruetzmann (fl, tr, piano), Joerg Koenig (git), Axel Hoeptner (piano), Frank Homburg (sax), Wolfgang Simmons (git). F.I.M. is an open collaboration between musicians, who let themselves in for the risk of a music without arrangements. If there are agreements, than just in view of the actual cast. The music is free improvised on stage. As a construct of the moment was never heard so, nor it will ever reproduced live exactly in that way. The stile flows between archaic sound, noise art, Free Jazz and New Music and so is based on the exitement of the moment.

FIM 1

FIM 2

FIM 3

soundso
Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf (all vocal) Vocal communication as an experiment – 4 singers test the possibilities of the vocal cords. Croaking, spitting and slurping a part of the repertoire of this vocal ensemble just as singing in extremly high registers and soundfull depth or the spontaneous inventions of cacophonic languages and onomatopoeic escapades. The personalities of the 4 improvisers meet, according to demand, harmonical, contrarily or meshed and meanwhile count on enthusiasm and the intuitive work with vocal sound.

Soundso 1

Soundso 2

Soundso 3

Ensemble All-Tag
Frank Bersziek (sax, bcl), Konrad Doeppert (analogsynth, objects), Matthias Kaiser (violin), Joerg Koenig (git). This quartett came from a combination of musicians, which got random selected while the KlangDrang festival in 2004.. Free improvised pieces are the basic of the musical collaboration. Experiences with the european free improvised music, the electroaccoustical art, the noise experiments of the eighties and in their origin outer musical elements come together while playing free. Results are subtle coded sound sceneries, where the audience finds space for free association.

Ensemble Alltag 1

Ensemble Alltag 2

Ensemble Alltag 3

Doppelpluss
Brigitte Kuepper (voc/tb/div), Wolfgang Simons (git/sax/div), Konrad Doeppert (synth/perc/div), Peter Wolf (voc/perc/div) these four produce live partially improvised sound films as from another planet. Doppelpluss musically darts sideways between all stiles. They sit down winkingly between all chairs and create alternating hot and cold acoustical baths of emotion. Dynamical meditative sound trips grow to impressive psycho drama, change to funny folk, change to philosophical tender loving care, change to absurd theater. Exciting music performance therefore and who knows where the journey goes to.

Doppelplus 1

Doppelplus 2

Doppelplus 3

NewMediaFest 2020 selection

Doppelplus 1
Doppelplus 2
Doppelplus 3
Ensemble Alltag 1
Ensemble Alltag 2
Ensemble Alltag 3
FIM 1
FIM 2
FIM 3
Soundso 1
Soundso 2
Soundso 3