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The project site – self-portrait – a show for Bethlehen

The exhibition interface (online) – self-portrait – a show for Bethlehem (requires the Flash plugin from Adobe

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://selfportrait – a show for Bethlehem
is the second media art exhibition project in Bethlehem/Palestine – initiated and curated by Agricola de Cologne, independent curator and director of
The New Museum of Networked Art.

This media art exhibition was initiated and organised on occasion and in the framework of 10th anniversary of the twincityship of the municipalities of Cologne/Germany & Bethlehem/Palestine to be shown first in Bethlehem at Al Kahf Gallery at Bethlehem International Center – 06-30 July 2006.

artvideoKOELN is proud to collaborate afterwards with Casoria Contemporary Art Museum Naples/Italy and the show to be inaugurated on 16 December 2006 as a message of peace to the world on occasion of Christmas, the birth of Jesus Christ in Bethlehem, whereby the clone to be exhibitited wil become a part of the permanent museum collection.

Through its relevance in three world religions, Bethlehem was during more than 2000 years a symbol for peace also beyond, but since some time Bethlehem and the entire Holy Land on the Westbank
is vanishing behind a huge wall as the result of a conflict in Middle East which is threatening world peace since many years.

By being present personally in Palestine after 2005 for the second time in 2006, Agriccola de Cologne and the incorporated artists are showing face through their selfportraits, via the show they artists overcome symbolically this wall which is separating Israel and Palestine, and become messengers of peace this way.

The show does not only transport the message of solidarity, but also the idea of a free and independent culture without borders, the use of New Media technology represents further a symbol for a new era for solving conflicts via communication. So, the exhibition becomes a contribution to peace on earth, there are conflicts in many parts on the globe, there are virtual and physical walls everywhere to be overcome. Living in peace is a human right forming the basis for othzer human rights.

://selfportrait – a show for Bethlehem
incorporates about 350 artists and following aspects of New Media presented in physical space – digital prints to be installed in space or on walls, digital video via projections and installations, multi-media based on different technologies and sonic art via display on computer installation, and not to be forgotten, the artists statements via projection and display on monitors which give an idea about the visions of contemporary artists.

Project site
http://self.engad.org/

Project development & design, concept & organisation
copyright © 2006. All rights reserved
All artists works – copyright © by the artists or owners.

–>

Media/Art/Cologne
in cooperation with
VideoChannel – http://videochannel.newmediafest.org
SoundLAB – http://soundlab.newmediafest.org

&
Bethlehem International Center/Palestine
Casoria Contemporary art Museum Naples/Italy
Officyna Art Space Szczecin/Poland
MAC – Museum of Contemporary Art Santa Fe/Argentina
MACRO – Museum of Contemporary Art Rosario/Argentina

The exhibition was initiated in the framework of the twincityship
Cologne-Bethlehem in cooperation with the municipalities of
Cologne & Bethlehem, and the Society TwinCityship Cologne/Bethlehem

incorporates different digital art media and components

a) digital prints (up to 48 to be framed)

b) digital videos (38)
installations, screenings, projections

c) multi-media works (18 – online and/or offline-CD-Rom)
to be displayed from computer

d) soundart (16)
after the show at Bethlehem, this component will be extended by
SoundLAB – Edition IV – “Memoryscapes” (online/offline) incorporating moe than 140 artists

e) 100 artists’ statements ( specific interface)

f) the works included in the show can be navigated via a common interface, which forms a basic part of the exhibition, because for the visitor it will be possible to surf through the entire exhibition just by sitting on a computer monitor.

This interface can be displayed on one or more monitors either online (broad bandwidth Internet connection) or offline (from DVD).

After the show in Bethlehem (July 2006) the exhibition collection has been modified and extended. Especiall the inclusion of “memoryscapes” a collection of soundart powered by SoundLAB underlines the variety of media and artists, which are symbol for the variety of a worldwide culture without boundaries.

Currently about 360 artists from 30 countries are participating. Please find below the artists names linked with their biography. For viewing the artworks please use the link

digital print (51)

on DVD

digtal video (42)

.

More Soundart

memoryscapes (140)
powered by SoundLAB

Curatorial contribution from Chile by Rainer Krause (Santiago de Chile)

Featuring these Chilenian artists,
Luis Barrie, Claudio Fernandez Sini, Foro de Escritores (FDE), Ensamble Majamama, Radio Ruido, Mario Soro, Andres Torres, Pintor Z

Artists curated by Melody Parker-Carter

Martin Aaserud (Norway) N.B Aldrich,. & Zach Poff, (USA) Martin Stig Andersen, (Denmark) Andreja Andric (Serbia/Italy), Isabel Arevalo (Spain) Mauro Arrighi (Italy) audio_z (Tautvydas Bajarkevicius) (Lithuania) Sara Ayers (USA), Back Ted N-Ted aka Ryan Breen (USA) Jim Barrett aka NaDa BaBa (Sweden) Leandro Barzabal (Argentina) Becoming Animal, Michael Beijer (Netherlands) Kari Besharse (USA) Rich Bitting (USA) Chris Bors (USA) Donald Bousted (UK), BrailleBones (A.Desjardins) (France) Jackie Bruce (Germany) Mira Burt-Wintonick (Canada) Bibi Calderaro (USA), Callanan, Martin John (UK) Chelsea Cargill (UK) Bronwen Casson (Ireland) Gregory Chatonsky (France), David Chesworth / Sonja Leber (USA) Kyong Mee Choi (S.Korea) Catherine Clover (UK) William Fowler Collins (USA), Herve Constant (UK) Luis Coronado (Guatemala) Jessica Curry (USA) Audhild Dahlstrom (Denmark), Markus Decker (Austria) Paul Devens (Belgium) Linda Rae Dornan (USA) Matt Dotson (USA) Dorsey Dunn USA), Jared Dunne /Meloday (USA) Aniruddha Dutta (India) ELICHEINFUNZIONE – Davide Fabbri (Italy) Heloisa Escudero (Brazil/USA), Fernandez Fernand – Michalak Thomas (UK/France) Flow Ir In (USA) Jason Freeman (USA) Federico Fronterrè (Italy), Satoshi FUKUSHIMA (Japan) Lukas Fütterer (Germany) Gintas K (Lithuania) Matthew Giraudeau (UK), Unclejim – Goard, David & Robinson, Rob (UK) Josh Goldman (USA) Suguru Goto (Japan) Scott F.Hall (USA), Dawn Salvia (USA) Francis Heery USA) Volker Hennes (Germany) PAULO HENRIQUE (Brazil) Ronald J.Herrema (UK), Alex Hetherington (UK) Jeremy Hight (USA) John Maxwell Hobbs (USA) Olaf Hochherz (Germany), G.H.Hovagimyan, & Peter Sinclair (USA) hp stonji (Hans Platzgumer &Jens Döring) (Austria) Le Tuan Hung (Vietnam), Yuicho Ito (Japan) Margaret Jameson aka tinydiva (USA) Paul Jamrozy- Satellitic USA) Neil Kaczor (UK) Mikhail Karikis (UK), Juan Kasari aka 80juan80 (Finland ) David Kasdorf (USA) Kazuo Kawasumi (Japan) James Kelly (USA), Alexander Kharkovsky (Russia) Meri von KleinSmid (USA) Panayiotis A. KOKORAS (Greece) Phivos-Angelos Kollias (Greece), Savvy Krajcek (USA) Caroline de Lannoy (UK) Al Larsen (USA) Gregory Lasserre, & Anais met den Ancxt (France), Dario Lazzaretto (Italy) Le Lavatrici Rosse (Italy) Alan Lechusza aka ARCANUM (USA) Sara Lenzi (Italy), Les Riches Douaniers (France) Tsui-Lun Liu (Taiwan) Stephanie Loveless (USA) Emily Lutzker (USA) Raphael Lyon (USA), Matthew MacKisack, USA) Luigi Mastandrea (Italy) Mike McFerron (USA) Mental Youth aka Robert Kroos (USA), Wolfgang Peter Menzel (Sweden) Jenni Meredith (UK) Jeff Morris (USA) Rie Nakajima (Japan) Ailis Ni Riain (Ireland), Sean O’Neill (USA) Mattyo Ostrowski (USA) Stefano Pasquini (Italy) Stefanos Pavlakis (UK) Debra Petrovich (Australia), Michael Pounds (USA) Peter Prautzsch (Germany) Puccini Marco (OTO) + virgilio VJ (Italy) RijN – Walter van Rijn (Netherlands), Neil Rose (USA) Paula Roush (UK) Rovar17 (Hungary) Robert Rudolf (Slowakia) Grit Ruhland (Germany), Khaled Sabsabi (Australia) Luz María Sánchez (Mexico) Janek Schaefer (UK) Debashis Sinha (Canada) Kenji Siratori (Japan), SonicTrain (Koji Kawai, Rui Ogawa, and Kenya Kawaguchi) (Japan) Malte Steiner (Germany) Peter V.Swendsen (USA), tarofonika aka Rick Foot (USA) Jouni Tauriainen (Finland) Jacqueline Then (Singapore) JEFF THOMPSON (USA), Eldad Tsabary (USA) Tetsuya Umeda (Japan) Peter Wadham/ Susannah Brown (USA) Shirley Wegner (USA) Simon Whetham (UK) Duncan Whitley (USA) Jake Whittaker (UK) Shane Wilson aka Deciduous (USA)

My Mission – 100 artists’ statements

Enter the project here
requires the installation of the Flash plugin- to be downloaded for free from ADOBE site

On 6 July 2006, 19h – the exhibition was opened at
Al Kahf Art Gallery at Bethlehem International Center
by the Mayor of the City of Bethlehem – Mr. Dr. Bartaseh,
Mr. Mitri Raheb, the head of the Lutheran Church and Bethlehem International Center, and
Agricola de Cologne, organiser and curator of ://selfportrait – a show for Bethlehem.

Between 7 and 30 July 2006,
://selfportrait – a show for Bethlehem – was installed at Al Kahf Art Gallery at Bethlehem International Centre – here is a short review & documentation —>

Bethlehem, and Palestine in general, represent a difficult problem, as both have a kind of status of no rights and no back-up area. It is a prison for those who have to live there and call it the home country, and a prison to those who want to visit it: occupied by Israel in the 6 days war, but not accessable for any Israeli, and Palestinians may only leave this completed walled in area by using a special permission which most of them never get.
Walling in the Palestinian residencial areas together with all the people who are living there is seperating them from each other causing a disastrous psychological effect.

By visiting Bethlehem and standing in front of the 9 meter high wall, one has to be aware of this humanitarian disaster. Differently from the current conflict with Lebanon, the conflict in Palestine does not seem to be worth any headline, it never really was – yes the Palestinian have no lobby, otherwise the wall would have never been built, at all.
One has to understand not only the facts, but also the psychological condition, and then it will become clear, that people who are condemned to live in a prison loose the activity for life, they become depressed, demotivated and resignated.
The purpose of living is just to survive the very day, and art which has a different meaning in Arabic countries in general, has the status of a kind of luxury which nobody can afford materially and emotionally.

The message many foreigners receive as a response is “We do not need you”, nobody would tell you that bluntly into your face, however.

One can get aware of this situation, however, just by being there, otherwise nobody would dare to invest a lot of energy, time and money for showing collective solidarity when this engagement is not recognized by those the solidarity is addressed to.

These were the conditions under which I entered the checkpoint of Bethlehem this year, and they were unfortunate, indeed, not only due to the escalating conflict in Gaza and Lebanon.

This negative spirit accompanied me during the entire visit. Anyway, finally shortly before the opening ceremony was taking place, the installation of the exhibition was complete, and it was professionally done the way it was possible under the given circumstances.

The offical opening took place on 6 July, 19h under the participation of the Mayor of the City of Bethlehem, Dr. Bartaseh, the head of Bethlehem International center, Mitri Raheb, who is also the head of the Lutheran church in Bethlehem, and my person Agricola de Cologne, the curator and organiser of the show. Dr. Bartaseh, not so accustomed to use a computer for artistic purposes, seemed to be very excited to surf on one of the installed computers through online exhibition interface. Yes, this was one of the few postive aspects, i.e. the needed technical equipment worked perfectly.

The idea, that through their selfportraits the artist were personally present at Bethlehem and showed their solidarity with Palestinians living behind the wall found much interest among the visitors, also because in Arabic countries the representation of the human image is actually not allowed, or at least people are not accustomed to deal with that.

However, it was obvious, that the majority of visitors were foreigners living in Bethlehem, just only few Palestinians and no Muslim Palestinians at all, although meanwhile the Muslims represent also in Bethlehem the majority of the population. I found this quite frustrating that those people the exhibition actually was adressed to were not present or visible, but slowly I began to understand, what I described before, it is simply not the time for art currently, and Bethlehem is beyond all also not a city of art, at all.

I would lie if I would make the resume, I would be happy, but it is obviously really like that, that it was already a big successs that the exhibition took place at all, while other cultural events planned in Bethlehem and Palestine had been cancelled due to the recent political conflict.

I do not want to waste the reader’s time and start complaining about certain details, but I would like to state anyway, that each activity which give the local people the feeling they are not forgotten, makes much sense, even if the organiser, in this case me, was quite frustrated and is currently rather tending to continue his cultural engagement in Middle East not any longer.

Personally, I think more cultural activists should become active in Palestine, not just by importing art, like it happens mostly currently, but by giving motivation and perspectives as a cultural strategy.

Unfortunately, not many Western countries support such cultural activities, and if at all, then completely insufficiently.

About the location & exhibition

Bethlehem International Center is a kind of “paradise” within an otherwise nearly hostile environment, a historical buidling complex reconstructed by a Finnish architect for future related purposes, a Christian run institution which is the home of a couple of National Palestine institutions, like the National Music conservatory, several craft and art related workshops, a theater and conference center, the Lutheran Christmas Church, a good restaurant and also the Al Kahf Art Gallery.
Al Kahf means “cave”, in this way the art gallery is also situated underground and very original, including two caves orginating from more than 2000 years ago. The name of the gallery is also a good symbol for the survival of art in Bethlehem.

For exhibitions, however just two spaces are used, the main gallery and the former “cisterne”, the third space, a large cave, however, is too humid for being used for most art exhibits.

The main space was presenting the digital prints, the computers (two were online and the third was displaying the multimedia works) and a video monitor was looping one part of the selfportrait videos. The second part of the videos was screened/projected in the little cave of the cistern, an intimate space, ideal for video projections.
Here are some images from the small dimensional, but anyway beautiful show–>

The wall close to Rachel’s tomb

Bethlehem International Center entrance area

Bethlehem International Center: backyard

Bethlehem International Center: garden

stairs down to the gallery

exhibition set up

main gallery

gallery view

exhibition installation

computer displaying the multi-media

video installation

Gita Hashemi’s work & the video installation Lina Persson

online computers running the exhibition interface

work by Larissa Sansour (Palestina artist)

Faten Nastas (ICB art coordinator and artist) and her exhibited work

Samar Ghattas, Agricola de Cologne & Faten Nastas

Samar Ghattas (artist from Bethlehem) and her work

exhibition installation

the big cave

the cisterne – space for video projection

Bethlehem International Center: the main stairs

Bethlehem International Center: The restaurant

the nativity church

view over Bethlehem

view from Bethlehem to Jerusalem

Bethlehem – tree of hope

the wall at AIDA refugee camp

the wall close to the checkpoint

More images—>

the opening on 6 July 2006
(images courtesy of Bethlehem International Center)

The Mayor of Bethlehem, Dr. Bartaseh (right), Mitri Raheb, head of Bethlehem International Center (center) & Agricola de Cologne (left)

Dr. Bartaseh, Mayor of Bethlehem (right), Mitri Raheb, head of ICB (center) & Agricola de Cologne (left)

Mitri Raheb, head of ICB (right) and Agricola de Cologne (left)

audience at the opening

audience at the opening

audience at the opening

audience at the opening

installation at the cave

Dr. Bartaseh, Mayor of Bethlehem (left), Samar Ghattas, artist from Bethlehem and participant in the show (center) & Agricola de Cologne (right)

Bethlehem International Center
Al Kahf Art Gallery
7-30 July 2006
://selfportrait – a show for Bethlehem
http://www.annadwa.org/cave/selfportrait.htm

On Friday, 20 October 2006
://selfportrait – a show for Bethlehem – a show for Peace
was inaugurated at “the place of art – OFFICYNA“
as the starting event in the framework of
Performance and Intermedia Festival Szczecin/ Poland (20-22 October 2006)
Now the review and the image documentation are posted online —>
—>
From its historical and structural conditions, Szczecin was certainly a good choice for presenting our show for Peace. The city has a very changing history and was nearly completely destroyed in World War II. After the war there was not much to be reconstructed, and in this way the contemporary city is presenting itself strangely faceless without a real or historically grown city center. Everywhere are broken links visible and wounds which do not heal.
Since centuries German until the end of World War II in 1945, Szczecin became Polish afterwards. The city can certainly not be called a “place of art”, the few existing museums get lost in the strange architectural conglomerate.
Maybe this was the reason, why the founders of Officyna – a non profit art space, located somewhere decentrally in the suburbs of Szczecin – wanted to create a special “place of art”, i.e OFFICYNA, in order to give contemporary art expression a home and a space.
Nearly consequently, it is also Officyna which is organising divers festival events during a year, whereby a particular relevance got “Performance and Intermedia Festival”, an event which is curated by Antoni Karwowski, an internationally reknown Szczecin based performance and visual artist and organiser and independent curator of performance events since many years.
In 2005, I was curating for the 2005 festival edition a selection from VideoChannel for screenings during in the video section of the festival PI 5 Videofestival, and invited Antoni Karwowski for particiting in the show for Bethlehem. Later, he invited me to present the exhibition in Szczecin as the frist venue after Bethlehem.
Although the art space of OFFICYNA seemed to be a good place especially also for installing the selfportrait exhibition, during the installation phase these peope showed how they understood the term “professional”.
In contrary to what was agreed, the technical equipment and the needed exhibition components were not available or prepared in any way. Instead of starting the exhibition installation when I arrived at Szczecin, I was standing for two days in the icecold exhibition space waiting and waiting, and nobody knew what would be happening else than waiting, resulting that I caught a heavy cold, which was forced also by the icecold hotel room without any heating and partially also without electricity.
I do not want to go more in details in order to remain contructive, as in the end one minute before the vistors entered the gallery space for the opening precedure, the exhibition setup was finished. Inspite of all restrictions, I would say it was a very nice exhibition and a lot of feedback from the visitors confirmed by subjective impression.
The inauguration on 20. October was not standing for itself, but represented the start of PI Performance and Intermedia Festival, a festival organised at different locations.
The selfportrait exhibition represented the main part of the Intermedia section, besides some video installations which were set up in another exhibition space located in a separate building, but installed only during the festival days 20-22 October.
The next item after the two openings was the screening of videos as the part of PI Video Festival, whereby Agricola de Cologne, me, was the first who was starting the video screening. He presented a selection of Cologne OFF I – genderscapes, a selection of videos and short film dealing with gender issues and sexual identity.
Antoni Karwowski, the organiser and curator of the festival video section, was presenting his selection afterwards consisting of short videos with a duration of not more han 5 minutes.
The second day of the festival, 21 October, changed the festival location, the second part of the screenings and the extensive performance event took place at the National Museum of Szczecin, a volumious building originating from 19th century.
The evening started with the second screening curated by Agricola de Cologne–> Cologne OFF II – image vs music at the screening and event hall of the museum, followed by an unusual form of organising artists performances.
At midnight, the main performance section of the festival followed. The gigantic museum entrance hall was modified and used for presenting a dozen of performances simultaneously.
On one hand, the visitor has a wide choice between different performance works, but at the same time he got completely confused, and he did not know on which performance he should concentrate and prevent that he is missing anything. No chance, the visitor was really missing everything, if he is not concentrating from the beginning on one certain performance piece.
For me, who is no expert in the art of performance, I had my problems to value the single performance pieces as I tried to catch as many impressions from all the 12 peformances as possible.
Anyway, I think some of the participating artists should be mentioned individually.
Even I saw only short cuts, the excellence of some artists presentations could not be overviewed –> Antoni Karwowski (Poland), Valerian Maly (Switzerland), Andrzej Pawelczyk (Poland) and Chip for Peace (Poland). An artist who was really suffering from the unusual presentation form was the Berlin based CAP Grundheber, her performance located somewhere in the shadow between the huge columns of the museum architecture, and some other younger artists were also acting nearly without an audience. This is and was a pity.
On the 3rd day, 22 October, the festival was moving to another place – Swinouscije (German: Swinemünde) a place at the Baltic sea situated directly at the German/Polish boarder, where Andrzej Pawelczyk was organising a festival of art in action. Here the second screening of Antoni Karwowski’s curated selection took place and another performance section whereby the performance pieces followed the rather traditional way of presenting, one piece after another.
At the end of this small report, I would like to thank three artists for being present personally in Szczecin on occation of the inauguration of the selfportrait show, i.e Moon Na (South Korea), Marlen Karlen (Switzerland) and Antoni Karwowski (Szczecin), who did not need to travel far.
Here are some images documenting
the inauguration of the exhibition and the performance festival:

Officyna gallery – entrance area

gallery space – exhibition setup

gallery – exhibition setup

gallery – exhibition setup

inauguration 20 Oct – Bartosz Wojcik, director of Officyna speaks

at the opening

some selfportrait artists Antoni Karwowski (Szczecin),
Agricola de Cologne (Germany) & Marlen Karlen (CH)

inauguration audience

inauguration audience

Swiss performance artists Valerian Maly and Klara Schillinger

festival gallery for video installation

inauguratioon audience – at the computers

Officyna – the exhibition installation

Officyna – the exhibition installation

Officyna – the exhibition installation

Officyna – the exhibition installation

Antoni Karwowski, curator of PI – Performance & Intermedia festival

Marlen Karlen, Swiss artist who came especially for the opening to Szczecin

National Museum – location for screenings and performances

National Museum – sceening space

National Museum – temporary festival installation


performance Klara Schillinger

performance Andrzej Pawelczyk

Polish performance “Chips for Peace”

German peformance artist – Christian Schmidt-Chemnitzer

German performance artist Cap Grundheber

National Museum – Cap Grundheber’s performance

Directly from Italy, the first pictures from the show at Casoria Contemporary Art Museum Naples are now online, a detailled report follows in sequence—>
—>

more articles, press released etc can be found on
http://self.engad.org/2006/?page_id=29
Review
://selfportrait exhibition at Casoria Contemporary Art Museum Naples/Italy
16 December 2006 – 16 January 2007
Following images document the museum space and the show–>
the text follows afterwards—>

the location–>
Casoria Contemporary Art Museum

view from outside

view from outside

entrance area

entrance area

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections

museum – space of permanent collections – installation
.
—>
The show – the exhibition space
—>

poster outside

poster outside

director Antonio Manfredi at work

space in preparation

view on empty exhibition space

computer space – opening

computer space – opening

video projection space

space for the digital prints

Pier Giorgio de Pinto in front of his poster

Pier Giorgio de Pinto & Agricola de Cologne

digital prints 1

digital prints 2

digital prints 3

digital prints 4

digital prints 5

digital prints 6
—>
Text: review by Wilfried Agricola de Cologne
Those people who are thinking Naples would be just a nice place based on an exciting long history, has to learn the city has also an ugly industrial side and Casoria represents such an ugly suburb, which is out of function as industrial site, and in this way it represents also a place of social conflicts. In fact, the only nice thing is the view on volcano Vesuv from distance, if it is visble. December is also not really a nice time for travelling in Italy, but visiting Casoria when the weather is just cold and grey, belongs rather to the most unattractive things one can imagine. Normally a visitor finds his way to Casoria only if there is a necessity to do so, but there is no infrastructure and no tourist would ever get the idea to turn from the vivid and magnificent city center of Naples to this former industrial suburb where the garbage is lying meters high along the streets.
From this point of view it is certainly honorable, that Antonio Manfredi, himself a visual artist and director of this museum, initiated at Casoria a place and space for contemporary art, the museum of contemporary art, where ://selfportrait – a show for Bethlehem – a show for Peace was supposed to be exhibited.
If Szczecin in Poland can be seen as a symbol for Peace due to its World War II history, one can call Casoria another type of symbol due to its industrial history and its social focus nowadays.
While looking for the museum on location, the visitor however is surprised to find this museum not located at a former industrial site, but at the underground down of the building which looks much more like a museum than a secondary school, whereby the entrance has to be explored first before it can be found at the backside of the secondary school.
The museum is very young of age, actually once a private initiative is currently obviously acting under the umbrella of the Cultural Department of the municpality of Casoria.
The visitor who wants to enter has to climb the stairs down to the underground first, before then a huge and most impressive space opens which is hosting the permanent museum collection.
The paintings, drawings and installations exhibited there are from their kind and quality not different than in any other museum of contempotrary art, but the artworks were not made by famous artists as they can be found in any other art museum around the globe, but artists from the Naples region and international artists, basically friends of the director. All these smaller and bigger works are nothing else than donations, and this is really impressive again, that the entire huge collection is consisting exclusively of donations, and this seems to be also a main conceptual aspect.
There is also a section for temporary exhibitions, and this represented also the space were the selfportrait exhibition was supposed to be installed. But this space offered for the exhibition did not fit to my idea for a media art exhibition, and a new much bigger space had to be found.
Installing the show was a challenge in so far, as the phyiscal components, i.e. the digital prints were planned to be prepared on location in Naples, as they were supposed to be donated to the museum. This was really not such a fortunate agreement.
Producing prints of museum quality was under the given local conditions anything else than easy, and when they were finalized one day before the exhibition should take place, the director expressed special ideas for the installation, as he wanted each print to be extended through a kind of metal frame on the back for a special hanging with a certain distance from the wall.
All this took so much time during all the night, that only on the very day when the opening was supposed to take place on 16 December, all the more than 50 prints could be hanged on the walls. Also the computers were ready also only a few hours before the opening and from the two projectors which were supposed to run the two programs of videos, one was defect, and the video monitors were not available, at all.
Who had expected an opening ceremory which would be appropriate to the status and aims of the exhibition, where the director was speaking and the curator of the show would have spoken an introduction how to deal with media art in general and in partcular in the case of this exhibition, who had expected a ceremony where the exhibition was given as a donation to the museum as an offical act, this person, in first place it was me, was extraordinary disappointed, because Antonio Manfredi had not planned such a ceremony and I was not informed about this course of events.
Even if the installation was the best what was possible under the given circumstances, in fact the final result was acceptable and I liked it (see also the images), however, the way how the museum and its director were dealing with this exhibition and its donation to the museum, does not belong to what I would have wanted for the show, the artists and finally also the audience.
Especially the fact that the exhibition is based on communicating technology, the lack of communicating stood in contrary to what could be expected.
This was really a strange opening of an exhibition at a strange place somewhere on an alien planet.
The images (see further ahead) give more an objective view on the exhibition than I am able to express myself in words.
From the beginning of the plannings, I warned the participating artists in the exhibition, that the realisation of this show in general, but also at Casoria would belong rather to the category “experiment”, it really did, but retrospectively seen, I am not sure whether this experiment was successful.
While I am not happy as the curator and creator the show, the participating artists have certainly no reason to complain, as from an aesthetic point of view the show was finally well installed, and that’s also what the visitors could perceive. Further I was informed that the incomplete video equipment was immediately after the opening properly and completely installed, and this represents the most important finally.
I received some good feedback from the show, and I also think it represents certainly a good thing to bring new ideas of contemporary art to such a cultural desert as Casoria represents.
Wilfried Agricola de Cologne
January 2007

Read the review by Irene Coremberg (Buenos Aires), who visited the show in Santa Fe. Find further the images documenting the exhibition installation at MAC – Museo de Arte Contemporaneo Santa Fe/Argentina) and links to online press articles (see also–> )
.
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://Selfportrait – a show for Bethlehem – a show for peace
MAC – Museo de Arte Contemporáneo de Santa Fe – Argentina
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Visit report

The show opened at December 10 of 2006 at “Museo de Arte Contemporáneo de la Ciudad de Santa Fe” – Argentina – (Bv. Pellegrini 1578).
Santa Fe is the capital city of Santa Fe province in Argentina. It is located at center – east of Republic, at the margins of Paraná River, which is a long river, colored like the mud, and crosses the province from north to south under a sky in warm colours, always changing.

Very close from river and from city port, at the center of the city, in middle of a long boulevard with great trees, is located the Museo de Arte Contemporáneo de Santa Fe (MAC). Its building shows a colonial style.

At the entrance we can see the museum announcements and those with the invitation to the exhibition “Selfportrait – a show for Bethlehem – a show for peace”



Walking by two contiguous rooms we will find the digital print artworks, and at the third room, the digital videos, soundart, multimedia and artists statements works, all of them running in different digital supports.
The artworks supporting by DVD, are continuously playing (loop), on individual screen monitors. The visitor can access them with earpieces, as a personal experience.
At the same way, it’s possible to access to multimedia support in Cdrom, as an interactive experience and make a review of all the artworks.
There, also we will find the digital versions of the prints and video; besides, there’s a commentary of each author about his work.
As it is a show conformed by artworks that live in despite of their support, as ideas that live with independence of the physical support of the brain, we can appreciate the same works in a variety of formats at the same time; besides it is a show that runs simultaneously with the same shows in other cities of the word; then, it may be a metaphor of nets where the gift of the ubiquity, the non-material and non-original are some of the most outstanding characteristics.
A Show for Peace. This is a show that overcame the walls of Bethlehem, but also it overcomes the continent walls, and I hope it overcame also the walls in ourselves, waking up our conscious.
I can’t avoid remembering the history of another wall, close to that place at the same province. Around the big cities, as a result of the inequality, in our country grew up “belts” of poverty, where live persons who were excluded from system after years of applying political procedures recommended by international institutions, which were creditors of our country.
At times of a world championship of football, developed here under a military dictatorship, long walls were made in order to hide the poverty from the eyes of tourists who had to come here. At nights, the settlers took the bricks to improve their precarious homes.
Here below, a commentary about some works that impacted me more.
Among digital prints, Anahí Cáceres speak us about the spirit of these times:

We don’t know what is beyond the image, the personage sails towards a space out of the visible picture, towards an uncertain space of future, but with a slight sign of hope.
An abyss? A firm ground? This not the classic representation of a future up, behind a horizon, it looks more like a fall, or a descent. It’s a good idea to read also her message at the multimedia version.

Bruce Eves shows here a strong and critical picture, with a multiplicity of possible meanings leaving in it.
Following my personal vision, in this picture from Wolf Nkole Helzle the whole humanity is present composing the figure of the symbolic human being, the millions of fragments build the symbol of the individual when we move us far away, and the symbolic individual fragments itself again when we approach to the picture.
It’s a static print image but interactive at the same time. I hope it will be possible to appreciate the experience here below:

In the artwork of Jasenka Vukelic we find a concept that is related in a point with the previous work:

At this image, there is only one real eye, which looks us through hundreds of representations of eyes in photographs. Looking at the multimedia version, she will tell that God is present through different languages, countries and derivative religions from the same original.

In this strong energetic image proposed by Pier Giorgio De Pinto, I can perceive the forces of conflict that reign in the world.
Among digital video, I find this from Eileen Bonner. The idea that was born in me, after seeing this self-portrait in video, is the dissociation of the vision of oneself, is the capability present in the look of to see from our interior to outwards, and also to fleeing out of the prison of our body and seeing the world from outside, including ourselves in this outside. Obviously, interpretations possible are unlimited.

In this silent self-portrait of Sofia v. Bustorff, I find the proposal of a subtle trip towards the interior of mind locating ourselves between two worlds: perhaps a way towards change, to future, from the intimacy of ourselves. The images are accompanied only by subtle and rhythmic sounds that remember me the wind, like far machines which make me imagine nets of neurons, or perhaps the weavings of reality, working as cogwheels.

Of course, the exhibition is very rich and extended, there are much more good artworks to see, and each work and the whole exhibition will result in a different meaning for each one.
I suggest going and seeing it, and try to communicate with the particular universe of each artwork, and to perceive the multiplicity of hidden meanings that live in them, and the new ones that are being born continuously from our interaction with them.
It will be open in Santa Fe until January 30 of 2007.
Irene Coremberg

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Find below a photo documentation of the exhibition installation at MAC
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La imaginación y sus complejas intenciones
por Stella Arber, directora MAC Santa Fe/Ar
Todas las personas tenemos experiencia directa de lo que significa evocar una imagen.
Podemos representar mentalmente a voluntad, un lugar donde hemos pasado un grato momento e incluso disfrutar de nuevo con solo recordarlo. Imaginar, es en buena parte, reproducir mediante recuerdos, nuestra sensaciones, sentimientos, emociones y pensamientos. La imaginación puede permitirnos vivir en el pasado, pero también anticipar aconteceres, podríamos decir que la imaginación es el punto de partida de algunos proyectos y el apoyo insustituible de la planificación previsora.
Si aplicamos lo dicho al género del autorretrato podemos inferir, que a través de la imaginación, el artista puede verse, buscarse, conocerse, mostrarse, exponerse desde una mirada propia y en ella, activar los mecanismos de la representación visual.
Probablemente quien decide autorretratarse, proyecta el hecho y ancla en si mismo, complejas intenciones que son implicadas en la generación de esa imagen. Cuando alguien se autorretrata, está recuperando una amplia gama de impresiones que tiene de si mismo y debe hacer varios ejercicios de imaginación para equilibrar lo que proyecta y construye mentalmente con el resultado de la imagen lograda, instalando así, el otro representado.
Autorretratarse es recuperar y hacer explicita la información propia almacenada, para luego y en forma implícita dejarla en la imagen, para ello deberá pasar por varias simulaciones mentales de registros físicos reales, construyendo así la trayectoria del proceso de realización de la obra.
El artista se observa a si mismo, con el ojo y con la mente, asociando y a la vez disociando la mirada integral que tiene de su yo, pasando por multitud de hechos primarios, garantizados desde un constructo psicológico que da como resultados “informes introspectivos únicos” de su propia historia, informes que suelen determinar “sesgos” subyacentes en la obra. Es probable además, que muchos de los procesos responsables de imágenes finales, sean inaccesibles también, a la conciencia y ala introspección del propio autor.
En consecuencia el autorretrato es un ejercicio de imaginación profunda, es un proceso de múltiples variables y conocimientos, es una forma asombrosa de organizar la información almacenada y es en definitiva la recuperación de la propia existencia.

MACRO – Museo de Arte Contemporaneo in Rosario/Argentina will open on 9 February 2007 the media art exhibition ://selfportrait – a show for Bethlehem – a show for Peace.
More details


The show at MACRO – Museo de Arte Contemporaneo Rosario/Argentina was opened on 9 February 2007 and was finalized on 2 March 2007

On 6 March 2007, I received this message from MACRO Rosario:
–>
Agrícola de Cologne:
Es de nuestro agrado informarle que la muestra a sido un éxito, recibió muy buenas criticas por parte del público.
La misma fue visitada por más 1000 personas, que ingresaron al macro en el tiempo que estuvo expuesta (del 09 de febrero al 02 de marzo).
Por medio de este e-mail le hacemos llegar fotos que registran el espacio donde estuvo montada la misma.
Saluda atte
Castagnino+macro
—>
English
Dear Agricola de Cologne,
It is a pleasure for us to inform you about the success of the show, which received very good critics from the visitors. While the exhibition was running (9 February – 2 March 2007) more than 1000 visitors entered the space. Please find attached some photos of the installation of the show.
Greetings from
Castagnino & MACRO
[The Castagnino Museum is the art museum of the City of Rosario running also MACRO – Museum of Contemporary Art of Rosario.] MACRO is a unique art museum installed at a former grain silo situated close to the Parana river. The visitors have a magnificent view on the the city of Rosario and Parana river islands.
On the museum site, a comprehensive description of the exhibition project can be found in Spanish language
http://www.macromuseo.org.ar/archivo
—->
this message was accompanied by a couple of images documenting the show at MACRO
–>

://selfportrait – a show for Bethlehem
is realized in cooperation with
2006-2007

Bethlehem (Palestine)
International Center
Al Kahf Art Gallery – 07 – 30 July 2006
Paul VI street/Madbassa Square
Bethlehem

Szczecin (Poland) – 20 October – 20 November
Offizyna Art Space

Santa Fe (Argentina) – 10 December 2006 – 28 January 2007
MAC – Museo Arte Contemporaneo
Universidad Nacional del Litoral
KONICA MINOLTA DIGITAL CAMERA Casoria/Naples (Italy) – 16 December inauguration
Contemporary Art Museum

Rosario (Argentina) – 2 – 28 February 2007
MACRO – Museo Arte Contemporaneo Rosario

The exhibition
://selfportrait – a Show for Bethlehem – a Show for Peace
Concept & realisation – supervisor & chief curator
@ 2006-2007 by Wilfried Agricola de Cologne
Coordinators & co-curators
Cologne (Germany) –> Wilfried Agricola de Cologne
Media/Art/Cologne – now artvideoKOELN international

7-30 July 2006
Bethlehem (Palestine) Al Kahf Art Gallery @ International Center Bethlehem
Bethlehem (Palestine) –> Faten Nasdas Annadwa, Inger johannson
coordinators @ Annadwa – International Center Bethlehem

20 October – 20 November
Szczecin (Poland) – Officyna Art Space
Szczecin (Poland) – Antoni Karwowski
curator @ Offycina – space of art @ Na

10 December 2006 – 28 January 2007
Santa Fe (Argentina) – MAC – Museo Arte Contemporaneo
Universidad Nacional del Litoral
Santa Fe (Argentina) –> Stella Arber
director @ Santa Fe University Contemporary Art Museum

16 December 2006 – 1 February 2007
Casoria/Naples (Italy) – Contemporary Art Museum
Naples (Italy) –> Antonio Manfredi
director @ Casoria Contemporary Art Museum

2 February – 31 March 2007
Rosario (Argentina) – MACRO – Museo Arte Contemporaneo
Rosario (Argentina) –> Roberto Echen
director @ MACRO – Rosario Contemporary Art Museum

The Plea – A Palestinian Trilogy
2017, 40:00

In October 2017, Agricola de Cologne completed his film project “The Plea – A Palestinian Trilogy” starting in 2005 when he visited the Westbank for the first time.

The project is consisting of three videos created between 2005 and 2016, a period when the political situation in Middle East escalated dramatically.

The footage of the first part, entitled “Message from Behind the Wall” released in 2005, is reflecting the erection of the big wall in Bethlehem in 2005.
The 2nd part, entitled: „One Day On Mars“, completed in 2008, is based on footage Agricola de Cologne shot 2006 when he was visiting Palestine for the 2nd time, while the footage of the 3rd part, entitled “Shatila – Lost Island” completed in 2016, was shot 2012, when he was visiting Beirut and the Palestinian refugee camp „Shatila“. The camp which is currently also shelter for Syrian refugees in Beirut is now a symbol for two most dramatic conflicts in Middle East and failed international politics at the expense of the Palestinian people.

Visiting Middle East and dealing with the Palestinian question is causing a differenciated point of view and thinking. While the problem is dominated by two (however, failed) political ideologies drawing reality black and white, the “true” reality shows multi-facetted shades of grey, in which the “normal” people are yearning desperately for living in peace, dignity and the perspectives for a future.

The film project “The Plea” is a plea for humanity on one hand and a self-determined life which is representing a human right.

The Plea – A Palestinian Trilogy

1.
Message from Behind the WAll
http://agricola-de.cologne/video/?p=459
2005, 10:00

The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. In 2006. however, the construction of the wall in Bethlehem was completed, and the hostile area around the wall is not used any longer as a playground for children.

2.
One Day on Mars
http://agricola-de.cologne/video/?p=478
2007, 8:00

A human being is obliged to spend at least one day in his lifetime on Mars. Mars the red desert planet, Mars the god of war. Mars can be anywhere, any place which is identified with the inhuman, violence, hate, rage, revenge and despair.
Agricola de Cologne filmed the original material 2006 during a visit in Palestine & Israel.

3.
Shatila Lost Island
http://agricola-de.cologne/video/?p=667
2016, 20:00

“It was a wonderful sunny afternoon, time for dreaming when my Palestinian guide catched me from the hotel in downtown Beirut. We were riding with his car about a quater of an hour but after a while the car was swimming in a kind of mysterious fog like a boat in the sea when suddenly the gate of an Arab town appeared from nowhere. Entering this gate I was entering a forgotten, enchanted world, happy and very sad alike crowded with people who seems to live in an ancient and contemporary world at the same time. They call it camp, but aren’t we all living in camps.”

Shatila –
that’s the name of this place. Seperated from the metropolitan area of Beirut, but at the same time in its center, but invisible to those who do not know, and for those who know a kind of “tabu” is speading the message of not existing.

Errected as a Palestinian refugee camp in Beirut in 1949, its actual purpose was to give Palestinian refugees – expelled from their home land Palestine a temporary shelter – lasting probably in the beginning just for a few months, to be later prolonged for some years, but since many years, however, for permanent. After nearly 70 years, still provisional and only for humanitarian reason tolerated by the Lebanese, the camp developped to a real Arab town – but an island of no return within the community of Beirut – where generations of Palestinians – followers of the first refugees – eke out their existance as “unwanted” – as eternal refugees – without any perspectives for a future.

People forgot its existance so that Shatila and its inhabitans became during the past decades invisble, until 2012 people remembered Shatila – this fogotten island – as an ideal shelter for refugees escaping from the Syrian civil war (which is since then escalating in a most horrible way).

While until his dead the Palestinian leader Yasser Arafat represented the only hope for these Palestinian refugees living in camps in and outside Palestine, after his death 2004, however, it was Bashar al Assad, the current Syrian dictator who took over this role but waging since many years a war against his own people with terror and death, causing since 2012 hundreds of thousands of Syrians to escape to Lebanon. Once the only hope for the Palestinians, Assad, is standing now for the abolute despair and hopelessness. How quickly Shatila turned again to that forgotten area and invisble area – an island – located in the middle of metropolitan Beirut.

The video is representing the final part of Agricola de Cologne*’s “Palestinian Trilogy”, which is including also the previously released videos “Mesaage from behind a Wall” (2005) and “One Day on Mars” (2008) based on original footage shot in Palestine (Westbank) and Israel.

NewMediaFest2020´7
WOW Jubilee VII Berlin
IAM – Institut für Alles Mögliche Berlin – 09 July – 2 August 2020
Curated by Wilfried Agricola de Cologne
7 screening programs

NewMediaFest2020 feiert dieses Jahr zahlreiche Jubiläen, darunter die Gründung im Jahre 2000 in Köln. WOW Jubilee VII Berlin – (WOW steht für „We Are One World“) ist das 7. Jubiläumsprogram in Folge, diesmal mit dem Fokus auf die 7 Videoart Programmeinheiten mit ihren insgesamt 11 Programmen, welche Wilfried Agricola de Cologne, der Leiter, Hauptkurator und Realisator von NewMediaFest2020 für die Screenings bei IAM – mit den 115 Videos von 115 Künstlern aus 25 Ländern zu Themen, die Künstler und Gesellschaft gleichermaßen beschäftigen – Gewalt, Migration, Klimawandel, Umwelt und Identität – vorbereitet hat, darunter auch die Programme der beiden Gastkuratoren Parya Vatankhah (Iran) und Tahir Ün (Türkei).
NewMediaFest2020 ist eine Veranstaltungsstruktur mit einem retrospektiven Charakter, welche im Austausch zwischen virtuellen und physischen Raum während des gesamten Jahres 2020, beginnend am 26. Dezember 2019, bis zum 31. Dezember 2020 mit Netzwerkpartnern in aller Welt durchgeführt wird. Neben den 12 monatlichen Festivalprogrammen, kommt den täglichen Features mit der Veröffentlichung neuer Medienkunstprogramme des 365 Tage Tagebuchs online eine besondere Bedeutung zu.
Nach Addis Abeba und Köln vor der Corona Krise, die NewMediaFest2020 dazu zwang, die Aktivitäten ausschließlich online als 1. Corona Festival weiterzuführen, ist Berlin mit den Screenings bei IAM nun der erste physische Austragungsort nach dem Abflauen der Krise. Als weitere Austragungsorte sind 2020 u.a. noch Los Angeles (USA), Cusco (Peru), Athen (Griechenland). Lucca (Italien), Beirut (Libanon) und Kalkutta (Indien) geplant.
Während die Screenings in Berlin bereits am 28.6.2020 beginnen, geht die 7. Ausgabe von NewMediaFest2020 offiziell am 1. Juli 2020 online, und wird dabei die Videoprogramme, welche IAM während der Zusammenarbeit 2014 im physischen Raum vorgeführt hat, als Streamingprogramme online mit aufnehmen.

NewMediaFest2020 celebrates numerous anniversaries this year, including the foundation in Cologne in 2000. WOW Jubilee VII Berlin – (WOW stands for “We Are One World”) is the 7th anniversary program in a row, this time with the focus on the 7 videoart program units with their 11 programs in total, which Wilfried Agricola de Cologne, the director, main curator and realizer of NewMediaFest2020 for the screenings at IAM – with the 115 videos of 115 artists from 25 countries on topics that concern artists and society alike – violence, migration, climate change, environment and identity – prepared, including the programs of the two guest curators Parya Vatankhah (Iran) and Tahir Ün (Turkey).
NewMediaFest2020 is an event structure with a retrospective character, which is carried out in an exchange between virtual and physical space throughout 2020, starting on December 26, 2019, and ending December 31, 2020 with network partners around the world. In addition to the 12 monthly festival programs, the daily features are of particular importance with the publication of new media art programs from the 365 day diary online.
After Addis Ababa and Cologne before the Corona crisis, which forced NewMediaFest2020 to continue its activities exclusively online as the 1st Corona Festival, with IAM, Berlin is now the first physical venue after the crisis has subsided. In 2020, other venues include Los Angeles (USA), Cusco (Peru), Athens (Greece). Lucca (Italy), Beirut (Lebanon) and Calcutta (India) planned.
While the screenings in Berlin start on June 28th, 2020, the 7th edition of NewMediaFest2020 officially goes online on July 1st, 2020, and will include the video programs that IAM demonstrated in physical space during the collaboration in 2014 as streaming programs online .

1 – INSIGHT
1 – Einblicke

Shaghayegh Cyrous (Iran) – No Smell,No Touch, Somewhere between the United States and Iran, 3’49”, 2018
Haleh Jamali (Iran) – The End of the Beginning 2018,, 3’15”
Parya Vatankhah (Iran) – Women must be beautiful-women must be hidden 2017, 11:12
MandanaMoghaddam (Iran) – Exodus, 2012, 2:58
Sara Niroobakhsh (Iran) – A woman behind, 2015, 2:35

WOW Insight II
curated by Wilfried Agricola de Cologne
Koorosh Asgari (Iran) – Shahrzad, 2012, 7:34
Celine Barakat (Canada) – Tallulah, 2013, 7:30
Kostia Vozniuk (Ukraine) – Woman in Her Room, 2017, 4:08
Isabel Perez Del Pulgar (Spain) – Expediente No. 0/2, 2013, 5:56
Catherine Del Buono (USA) – How to Not Get Raped, 2014, 3:09
Karin & Didi Fromherz (CH) – Happy Noon!, 2014, 5:45

1h 5 minutes

2 – WOW – THE WAY IT WAS
2- WOW – So wie es einmal war

curated by Wilfried Agricola de Cologne

Marek Ranis (USA) – Like Shishmaref, 2016, 16:00
Viktor Brim (Germany) – monoscape, 2017, 16:00
Simon Welch (UK) – Focus, 2014, 7:37
Szymon Krzyżanowski (Pl) – VHS, 2016, 1:00
Alex Anikina (Russia) – Some Entropy in Your Tea, 2013, 8:15
Collin Bradford (USA) – Deep Horizon, 2013, 6:35
Cinzia Sarto (Italy) – Forbidden Fruit, 2009, 4.40
Marek Ranis (USA) – Hold On, 2010, 3:00
Muriel Montini (France) – Constellation, 2011, 5:00
Mickey Petersen (USA) – Slip Away, 2014, 2:24
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12

1h 31 m

3 – WOW – about human nature
3 – WOW – Über die menschliche Natur

curated by Wilfried Agricola de Cologne
1h 38 minutes

Stine Gonshold (Norway) – Human Nature, 2008, 1:50
Roland Quelven (France) – Harey Solaris, 2015, 4:51
Gregg Biermann (USA) – Crop Duster Octet, 2013, 5:32
Sándor M. Salas (Spain) – De cara a la muerte, 2013, 03:52
Theresa Khalil (Egypt) – It goes on, 2013, 5.40
Istvan Horkay (Hungary) – The Lords Prayer, 2014, 5:04
Laurent Pernot (France)- Still Alives, 2005, 2.34
Francesca Lolli (Italy) – The Dying Lilium, 2016, 03:27

WOW – Earth Games/Erdspiele
curated by Wilfried Agricola de Cologne

Eija Temisevä (Finland) – An Attempt to be Earth, 2016, 5:15
Kristina Frank (Sweden) – Earth One Minute, 2013, 1:43
Coalfather Industries (USA) – User History, 2018, 6:02
Albert Merino (Spain) – Bestiary, 2018, 5:10
Lisa Birke (Canada) – Endgame, 2017, 7:05
Emma Zukovic (Macedonia) – Post Memory From A Lost Country, 2018, 4:33
Farid Hamedi (Iran) – 947, 2019, 4:44

WOW Turkey / WOW Türkei
curated by Tahir Ün

1. Gökçen Dilek Acay (Turkey) – Lenin, 2010, 3:29
2. Orhan Cem Çetin (Turkey) – Passiflora, 2016 / 04:34
3. Ali Demirtaş (Turkey) – Vision, 2018, 02’30”
4. Beste Erener (Turkey) – SATURN, 2018/ 4:24
5. Murat Germen (Turkey) – Emerging talent, 2017 / 5:03
6. Çağdaş Kahriman (Turkey) – Rear window, 2009-2013, 6:00
7. Tahir Ün (Turkey) – The Game, 2013, 00:02:56

1h 38 minutes

4 – WOW – Contaminated Progress
4 – WOW – Kontaminierter Fortschritt

curated by Wilfried Agricola de Cologne
Robert Dohrmann (USA) – All Systems Go – Neil Armstrong, 2009, 3:16
Anna Garner (USA) – Lineage (USA), 2013, 1:54
Brit Bunkley (New Zealand) – Fleeced,2009, 4:22
Paul Turano (USA) – Toxic Red Sludge, 2010, 5:00
Ben Fox (UK) – Recent Tactile Nonsense, 2012, 2:17
Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
Diego de Los Campos (Uruguay) – Still Life, 2012, 2:28
Luis Patino (Spain) – Echoes of the Forest, 2012, 6:52
Javier Velasquez Cabrero (Spain) – My City a Bit Cleaner From Advertising, 2012, 6:00
Xiaowen Zhu (China) – Terminal island, 2013, 10:50
Claudia Borgna (Italy) – L’ultimo Accordo I, 2016, 06:05
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Francois Knoetze (South Africa) – Plastic, 2012, 5:00
Laura & Sira Cabrera (Spain) – Climate Disorder, 2019, 4:18

1h 19 munutes

5 – WOW – In Troubled Waters
5 – In gefährlichen Gewässern

curated by Wilfried Agricola de Cologne

Enoh Lienemann (Germany) – In My Head, 2015, 6`34 min
Angelina Voskopoulou (Greece) – Blind Traveller, 2018, 1:27
Abe Abraham (USA) – Salt Water, 2017, 5:52
Francesca Lolli (Italy – No country for everyone), 2015, 01:52
Fu LE (France) – Mass, 2019, 10:00
Cigdem Slankard (Turkey/USA) – Fresh Start, 2017, 12:50
Sonia Guggisberg (Brazil) – Skaramanga Camp, 2017, 9:00
Mathilde Babo (France) – After The Spring, 2016, 4:00
Vito Alfarano (Italy) – I have a Dream, 2018, 11:32
Alessandro Inglima (Italy) – Breathe, 2014, 2:41
Daniela Lucato (Italy) When I dance, 2016, 67:00

2h 17 minutes

6 – WOW transcendental roots
6 – WOW transzendentale Wurzeln

Curated by Wilfried Agricola de Cologne

Cody Healey-Conelly (USA) – Glitch Noir – Datasifter Prelude, 2015, 2:41
Peter Whittenberger (USA) – Don’t Worry, You’ll Get There, 2016, 4:53
Hdys (USA) – We The People, 2018, 3:51
Daniel Zezelj (Croatia) – The World of Wonder, 2015, 5:34
Ezra Wube (Ethiopia) – Twilight Galaxies, 2017, 7’52”
Tomislav Findrik (Croatia) – Oyashio, 2017, 04:29
House of Style (Bryne Rasmussen-Smith and Andrew Smith-Rasmussen) (USA) -Infinite Leaks in the Memory Palace, 2013, 5:04
Rui Hu (USA) – Metropolitan Triangle Garden, 2015, 5:52
APOTROPIA (Italy) – The Kiss, 2016, 1:19
Christina Lykoka (Greece) – Death Of A Blackbird, 2017, 6:26
Maurizio Sanhueza (Peru) – Parasite, 2016, 6:23
Harold Charre (France) – Requiem, 2017, 9:18
Henry Gwiazda (USA) – Knowledge, 2017, 3:05

WOW Babylonia /WOW Babylon
curated by Wilfried Agricola de Cologne

Annetta Kapon (USA) – Synopsis, 2017, 0:35
Perry Bard & Richard Sullivan (USA) – NO FLAK, 2017, 7’23
Maria Korporal (NL/Germany) – Breaking Borders, 2017, 5:36
Marie-Paule Bilger (France) – Sweet Fight, 2017, 4:35
Lidia Starodubtseva (Ukraine) – Time Is Up, 2018, 4:00
Lisi Prada (Spain) – Illuminationi Mattina, 2014, 3:14
Pierre & Jean Villemin (France) – Lake, 2012, 5:35
Laura Petrilla & Brooke Schooles (USA) – Wrong Me A Love Life, 2012, 4:50
Alexander Delnevo (Italy) – Transhumances, 2012,3:48

1h 41 min

7 – WOW – Switching the Change
7 – WOW -Die Veränderung wechseln

Curated by Wilfried Agricola de Cologne

Uri Kloss (Israel) – Word, 2017, 1:29
Fran Orallo (Spain) – Death Dance, 2017, 1:00
James Murphy (Ireland) – Moving Water, 2019, 1:59
Zlatko Cosic (Bosnia) – Even The Birds Know It, 2017, 2:55
Alan Sondhein (USA) – American Life, 2018, 6:03
Dmitry Kmelnitsky (USA) – URTH LING, 2019, 3:43
Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
Lana Z. Caplan (USA) – Canaries in the Mine, 2015, 8:19
Kristina Frank /Mervi Kekarainen (Sweden) – 2Rabbits in Purgatorio, 2019, 05:11
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
Adrien Gaumé (France) – Dry by innocence, 2018, 4’53”
Kate Walker (USA) – Cloudship, 2018, 14:33
Xia Han (China) – The Gift, 2019, 14: 23
Michael Carmody & Elissa Goodrich (Australia) – Common Time, 2018, 12:23
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Ausin Sainz (Spain) – Today, 2019, 5:00
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11

1h 50 min

2014 – 10 Years Cologne International Videoart Festival

CologneOFF 2014 Germany II
@ Institut für Alles Mögliche Berlin/Germany
http://bnw.i-a-m.tk/
4 September 2014

CologneOFF X
Total Art – Brave New World
a collaboration with Institute fuer Alles Moegliche Berlin/Germany
curated by Wilfried Agricola de Cologne

on occasion of the 26th anniversary of the foundation of GOOGLE
(4 September 1998)

# Part I
Gabin Cortez Chance (USA) – Do Americans Dream of Being Electric Sheep, 2014, 7:52
Ivar Veermäe (Estonia) – Crystal Computing (Google Inc., St. Ghislain), 2014, 9:19
Robert Dohrmann (USA) – Me America, 2009, 1:38
Fatih Bilgin (Turkey, – How would you like to Migrate, 2013, 3.36
Lenka Kurikova & Michal Hustaty (Slovakia) – Who Wants To Belong to My Country, 2014, 3:41
Kaiser Nahhas (Syria) – Anti-Censorship Protest at Taksim, 2014, 2014, 4:27
William Pena (Colombia) – Control, 2013, 3:45
Neil Ira Needleman (USA) – The Great Gate of Kiev, 2013, 2:15
Margerita Novikova (Russia) – Chronicles On The Lap, 2014, 8:38
Andrew Norman Wilson (USA) – Workers Leaving the Googleplex, 2011, 11:00
Hector Rodriguez (Hongkong) – Theorem 8, 2014, 6:49
Shiva Ahmadi (Iran) – Lotus, 2014, 8:52
Hande Zerkin (Turkey) – Democracy, 2014, 2:34
Karl F. Steward (Germany) – Video of Shadows, 2013, 7:00

# Part II
Salome MC (Iran) – Drunk Shah, Drunk Elder, 2012, 4:21
Mr MVIN (Spain) – BREAK GLASS IN CASE OF CRISIS”, 2013, 1:50
Laura Cabrera Díaz y Sira Cabrera Díaz (Spain) – “Irreconciliables, II”, , 2014, 3:54
Boris Eldagsen & Sabine Taeubner (Germany) – SuperHigh, 3013, 38:00
Zoe Hough (UK) – Smile, The Fiction had Already Begun, 2014, 3:30
Orsolya Bajusz (Hungary) – Bela’s Struggle, 2011, 9:00
Kristina Cranfeld (UK) – Manufactured Britishness, 2013, 10:00
Roland Quelven (France) – La Chambre d’Eric B. 2014, 4:31
David Fodel (USA) , So Were You, 2012,1:12

Part III#
Ranis Marek (USA) – Hold On, 2010, 3:00
Keni Kojima (Japan) – Composition Fukushima 2011, 2014, 10:00
Armstrong Tarke (Cameroun) – REVERSE CIVILISATION, 2014, 3:57
Fabian Heitzhausen (Germany) – I’m Game, 2014, 3:08
Yuval Yairi & Zohar Kawaharada (Israel) – Land, 2013, 4:36
Gabriele Tosi (Italy) – The Extreme Challenge, 2014, 4:56
Marcantonio Lunardi (Italy) – 370 New World, 2014, 5:08
Francesca Fini Italy) – Touchless, 2014, 4:46
Siniša Stojanović Sinister & Dragana Nikolić (Serbia) – Soup Kitchen, 2014., 04:59
Tabita Rezaire (Guinea) – Same Sex Biz, 2014, 6:19
Alina Vasilchenko (Russia) – I like going the the Pet Stores, 2014,7:00
Sedi Ghadiri (Iran) – The Kings Hand, 2014, 10:00
Sanglim Han (S.Korea) – Bloom, 2012, 3:35

Screening on 4 September 22014 – pics © by Brit Bunkley

CologneOFF 2014 Germany I

2014 – 10 Years Cologne International Videoart Festival
@ DIRECT ACTION * 2014 Berlin
FESTIVAL FOR CONCEPTUAL / NON-EXPRESSIVE / NON-DRAMATIC ACTIONS AND INTERVENTIONS
23-25 May 2014
http://da2014.i-a-m.tk/

CologneOFF XP – Moving Gestures – Moving Targets
selection curated by Wilfried Agricola de Cologne

List of videos

Vito Alfarano (Italy) – My Shout, 2012, 7:42
Cornelia Eichorn (Germany) – Parasites, 2011, 2:57
Beate Hecher/Markus Keim (Austria) – ln Absentia, 2012, 10:00
Maya Watanabe (Peru) – A-phan-ousia, 2008, 4:45
Sofia Goscinski (Austria) – Without Head, 2013, 8:48
Dorianne Wotton (France) – Cold, 2012, 4:55
Hamza Halloubi (Morocco) – Lait, 2009, 0:56
Yuri Pirondi & Ines Von Bonhorst (UK) – Emergencia, 2012, 10
Peter Spiers (UK)- Mimicking Frame By Frame, 2010, 06:17
Bill Aitchison (UK) – Proletarian Dance 1, 2012, 4:50

During the 7 weeks, each week will present another program. After a program has been screened by TAM, NewMediaFest2020 will include the respective program in itsonline screenings.

1 – Corona! Shut Down?

Ronnie Sluik, (NL) .How to be alone, 2020, 1:00
Ebba Jahn, Berlin based filmmaker since 1980 – Stay Home, 2020, 1:00
Gili Avissar, Israerl – Ganges River, 2008/2020, 8:15
Danielle Imara and Yolande Brener, UK/USA – Y&I Lockdown, 2020, 1:00
Werther Germondari, Italy – Constraint 19, 2020, 0:55
Dee Hood, USA – Chant for Chant For A Pandemic, 2020, 5:08
+ including contributions by the global artists: Finn Harvor, Maria Korporal, Sandra Bougerch, Tushar Waghela, Muriel Paraboni, Lisi Prada, Eija Temiseva, Ian Gibbons, Jutta Pryor, Sarah Bliss, Darko Duilo, Gwendolyn Audrey Foster, Erick Tapia, lori Ersolmaz, Sarahjane Swan, RogerSimian, Lino Mocerino, Francesca Giuliani, Luis Carlos Rodriguez, Willow Morgan
Antonio Alvarado, Spain – Cloistered, 2020, 3:27
Lorenzo Papanti, Italy – Disease, 2020, 1:02
Ulf Kristiansen, Norway – title of video: Coronavirus waltz, 2020, 1:00
Matteo Campulla, Italy – The COVID-19 Spring Breakers, 2020, 3:00
Agricola de Cologne, Germany The Corona Video, 2020, 4:24
Alina Tofan, Romania – Ritual of the Quarantine, 2020, 0:52
Jack Williams /Uk/Poland – Entangled, 2020, 1:00
Shivkumar KV, India – Stay Home, 2020, 1:00
Isabel Chiara, Spain – A Bout Of Fever, 2020, 2:15
Tova Beck – Friedman, USA – Pregnant with the Dead, 2020, 3:36
Alireza Amin Mozafari, Iran – You were Zhkvnd, 2018, 4:00
Kenji Kojima, Japan – Techno Synesthesia: open mailbox, 2020, 3:15
Kokou Ekouagou, (Togo) – VICTORY AGAINST COVID-19, 2020, 1:36
Dawn Westlake/USA – Touch, 2020, 7:35
Manon Pichon, France Quarantine Contact, 2020, 0:59
Bernhard Hollinger, Austria – “ME, MYSELF & I”, 2020, 1:56
Ellen Maiorano, Australia – Home Safe Home, 2020, 1:45
Noviki, Poland – Covid-19 Playgrounds, 2020, 1:52
Marie Bismonte, USA – Emergency, 2020, 3:36
Johannes Christopher Gérard, NL – Isolate, 2019, 2:58
Abdoul-Ganiou Dermani (Togo)- Social Distancing, 2020, 1:40
Robert Frankle, Luxembourg – Washing, 2020, 5:00
Amy Alexander, USA – What The Robot Saw, 2020, endless
Anja Strelec, Croatia The Shift, 2020, 1:20
Katya Kan, KZ – Self-isolation Film, 2020, 1:00
Igor Krasik, Belarus – Love is for free, 2020, 1:40
Musical Friends, Germany – Musical Friends – Covid Who!?, 2020, 2:58
Stephan Groß, Germany – Panda Nikogda, 2020, 3:24
Jerry Galle, Belgium – The Soul, Stats and Feelings of a lockdown, 2020, 2:31
Artoldo (Sara Ferro / Chris Weil), Germany -. Vespertillio Spillover, 2020, 4:16
Katherine Sweetman, US – Weird, 2020, 1:00
Amadeu Rodrigues (Portugal) – “Cityados” (besieged) , 2020, 1:31
Kim Maree, New Zealand – MMXX, 2020, 2:27

2 – WOW – THE WAY IT WAS

curated by Wilfried Agricola de Cologne

Marek Ranis (USA) – Like Shishmaref, 2016, 16:00
Viktor Brim (Germany) – monoscape, 2017, 16:00
Simon Welch (UK) – Focus, 2014, 7:37
Szymon Krzyżanowski (Pl) – VHS, 2016, 1:00
Alex Anikina (Russia) – Some Entropy in Your Tea, 2013, 8:15
Collin Bradford (USA) – Deep Horizon, 2013, 6:35
Cinzia Sarto (Italy) – Forbidden Fruit, 2009, 4.40
Marek Ranis (USA) – Hold On, 2010, 3:00
Muriel Montini (France) – Constellation, 2011, 5:00
Mickey Petersen (USA) – Slip Away, 2014, 2:24
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12

1h 31 minutes

3 – WOW – about human nature

curated by Wilfried Agricola de Cologne
1h 38 minutes

Stine Gonshold (Norway) – Human Nature, 2008, 1:50
Roland Quelven (France) – Harey Solaris, 2015, 4:51
Gregg Biermann (USA) – Crop Duster Octet, 2013, 5:32
Sándor M. Salas (Spain) – De cara a la muerte, 2013, 03:52
Theresa Khalil (Egypt) – It goes on, 2013, 5.40
Istvan Horkay (Hungary) – The Lords Prayer, 2014, 5:04
Laurent Pernot (France)- Still Alives, 2005, 2.34
Francesca Lolli (Italy) – The Dying Lilium, 2016, 03:27

WOW – Earth Games/Erdspiele
curated by Wilfried Agricola de Cologne

Eija Temisevä (Finland) – An Attempt to be Earth, 2016, 5:15
Kristina Frank (Sweden) – Earth One Minute, 2013, 1:43
Coalfather Industries (USA) – User History, 2018, 6:02
Albert Merino (Spain) – Bestiary, 2018, 5:10
Lisa Birke (Canada) – Endgame, 2017, 7:05
Emma Zukovic (Macedonia) – Post Memory From A Lost Country, 2018, 4:33
Farid Hamedi (Iran) – 947, 2019, 4:44

WOW Insight
curated by Wilfried Agricola de Cologne

Koorosh Asgari (Iran) – Shahrzad, 2012, 7:34
Celine Barakat (Canada) – Tallulah, 2013, 7:30
Kostia Vozniuk (Ukraine) – Woman in Her Room, 2017, 4:08
Isabel Perez Del Pulgar (Spain) – Expediente No. 0/2, 2013, 5:56
Catherine Del Buono (USA) – How to Not Get Raped, 2014, 3:09
Karin & Didi Fromherz (CH) – Happy Noon!, 2014, 5:45

1h 38 minutes

4 – WOW – Contaminated Progress

curated by Wilfried Agricola de Cologne
Robert Dohrmann (USA) – All Systems Go – Neil Armstrong, 2009, 3:16
Anna Garner (USA) – Lineage (USA), 2013, 1:54
Brit Bunkley (New Zealand) – Fleeced,2009, 4:22
Paul Turano (USA) – Toxic Red Sludge, 2010, 5:00
Ben Fox (UK) – Recent Tactile Nonsense, 2012, 2:17
Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
Diego de Los Campos (Uruguay) – Still Life, 2012, 2:28
Luis Patino (Spain) – Echoes of the Forest, 2012, 6:52
Javier Velasquez Cabrero (Spain) – My City a Bit Cleaner From Advertising, 2012, 6:00
Xiaowen Zhu (China) – Terminal island, 2013, 10:50
Claudia Borgna (Italy) – L’ultimo Accordo I, 2016, 06:05
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Francois Knoetze (South Africa) – Plastic, 2012, 5:00
Laura & Sira Cabrera (Spain) – Climate Disorder, 2019, 4:18

1h 19 minutes

5 – WOW – In Troubled Waters

curated by Wilfried Agricola de Cologne

Enoh Lienemann (Germany) – In My Head, 2015, 6`34 min
Angelina Voskopoulou (Greece) – Blind Traveller, 2018, 1:27
Abe Abraham (USA) – Salt Water, 2017, 5:52
Francesca Lolli (Italy – No country for everyone), 2015, 01:52
Fu LE (France) – Mass, 2019, 10:00
Cigdem Slankard (Turkey/USA) – Fresh Start, 2017, 12:50
Sonia Guggisberg (Brazil) – Skaramanga Camp, 2017, 9:00
Mathilde Babo (France) – After The Spring, 2016, 4:00
Vito Alfarano (Italy) – I have a Dream, 2018, 11:32
Alessandro Inglima (Italy) – Breathe, 2014, 2:41
Daniela Lucato (Italy) When I dance, 2016, 67:00

6 – WOW transcendental roots
Curated by Wilfried Agricola de Cologne

Cody Healey-Conelly (USA) – Glitch Noir – Datasifter Prelude, 2015, 2:41
Peter Whittenberger (USA) – Don’t Worry, You’ll Get There, 2016, 4:53
Hdys (USA) – We The People, 2018, 3:51
Daniel Zezelj (Croatia) – The World of Wonder, 2015, 5:34
Ezra Wube (Ethiopia) – Twilight Galaxies, 2017, 7’52”
Tomislav Findrik (Croatia) – Oyashio, 2017, 04:29
House of Style (Bryne Rasmussen-Smith and Andrew Smith-Rasmussen) (USA) -Infinite Leaks in the Memory Palace, 2013, 5:04
Rui Hu (USA) – Metropolitan Triangle Garden, 2015, 5:52
APOTROPIA (Italy) – The Kiss, 2016, 1:19
Christina Lykoka (Greece) – Death Of A Blackbird, 2017, 6:26
Maurizio Sanhueza (Peru) – Parasite, 2016, 6:23
Harold Charre (France) – Requiem, 2017, 9:18
Henry Gwiazda (USA) – Knowledge, 2017, 3:05

WOW Babylonia /WOW Babylon
curated by Wilfried Agricola de Cologne

Annetta Kapon (USA) – Synopsis, 2017, 0:35
Perry Bard & Richard Sullivan (USA) – NO FLAK, 2017, 7’23
Maria Korporal (NL/Germany) – Breaking Borders, 2017, 5:36
Marie-Paule Bilger (France) – Sweet Fight, 2017, 4:35
Lidia Starodubtseva (Ukraine) – Time Is Up, 2018, 4:00
Lisi Prada (Spain) – Illuminationi Mattina, 2014, 3:14
Pierre & Jean Villemin (France) – Lake, 2012, 5:35
Laura Petrilla & Brooke Schooles (USA) – Wrong Me A Love Life, 2012, 4:50
Alexander Delnevo (Italy) – Transhumances, 2012,3:48

1h 41 min

7 – WOW – Switching the Change
Curated by Wilfried Agricola de Cologne

Uri Kloss (Israel) – Word, 2017, 1:29
Fran Orallo (Spain) – Death Dance, 2017, 1:00
James Murphy (Ireland) – Moving Water, 2019, 1:59
Zlatko Cosic (Bosnia) – Even The Birds Know It, 2017, 2:55
Alan Sondheim(USA) – American Life, 2018, 6:03
Dmitry Kmelnitsky (USA) – URTH LING, 2019, 3:43
Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
Lana Z. Caplan (USA) – Canaries in the Mine, 2015, 8:19
Kristina Frank /Mervi Kekarainen (Sweden) – 2Rabbits in Purgatorio, 2019, 05:11
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
Adrien Gaumé (France) – Dry by innocence, 2018, 4’53”
Kate Walker (USA) – Cloudship, 2018, 14:33
Xia Han (China) – The Gift, 2019, 14: 23
Michael Carmody & Elissa Goodrich (Australia) – Common Time, 2018, 12:23
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Ausin Sainz (Spain) – Today, 2019, 5:00
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11

1h 50 m

The 7 Memorials for Humanity

developed, created and curated by Wilfried Agricola de Cologne & released in 2019, the 7 Memorials Project is a multi-facetted digital media art context – a “platform for commemorating” – to be understood as a kind of multi-dimensional virtual sculpture – working in an exchange between virtual and physical space. While the memorial sites are located online for permanent – accessible 24 hours a day, 7 days a week and 365 days of a year, there will be temporary locations in physical space hosting a manifestation of one or more memorials to be complemented by interventions like screenings, a symposium, lectures, discussions, artists meetings, exhibitions, performances etc in order to reach a higher degree of sustainability by sensitizing people via art.

Commemorating can be understood as an advanced and, additionally, collective form of perception as the contrary of consuming in which the aspect of time is receiving generally a particular relevance – stimulating the “audience” permanently or at least regularly to be activated again and again and reflect and re-reflect – and, in the given case, also as a higher goal of art which goes far beyond the visual or sensual sensation.

Based on 7 differently aimed ongoing audio-visual media art contexts, launched between 2001 and 2020, the project is dealing with new forms of commemorating, respectively generating awareness, related to topics that really matter in the currently globally and locally escalating political, social, ecological and cultural situations endangering a free, open and democratic society and Humanity as that fundamental human value, at all. It is a plea to the contemporarily living people to keep and defend humanity as the highest human value also for future generations.

The Memorial context and its creator are acting as mediators between different parties by demonstrating diversity, eg. activating on one hand artists to articulate and contribute their (artistic) opinion, on the other hand by doing so, activating the audience to use the artistic interventions as the basis for their own reflections.

It is said, that art cannot change world as it is, but this is not completely true, art as the most human of all human expressions has that particular potential to sensitize people and change awareness, this way. However, it lies in the responsibility of the individual what he/she is doing with this awareness.

Each one of the incorporated memorials is rooted on another collection of audio-visual art, which can be experienced online. The Sonic Memorial is the only one using the non-visual medium of sonic art, generating different kinds of associations than the visual medium of video or film: for instance, The Refugee Film Collection, incorporating more than 100 videos from documentary to video art & experimental film.

As a media art work itself, the 7 Memorial commemorative platform is incorporating 20 individual projects acting individually as Memorials, commemorative projects contexts which are each one representing works of media art for itself, created by Wilfried Agricola dde Cologne, simultaneously they are based on the engagement of (external) artists by contributing (mainly audio-visual) art works which form in the sum of all, related to each topic differently, individual art collections in a community based responsibility, curated and coordinated by Wilfried Agricola de Cologne.

The works created before 2010 are completed – standing as Memorial sites for a PAST to be commemorated, the works created after 2010 referring partially to historical, and partially to most recent incidents and events are ongoing and still in an active conceptual progress.

In total more than 2000 artworks by 1700 artists from 60 countries are forming the fundament of the commemorative platform and the individual Memorial sites, give the 7 Memorials project a multi-dimensional character – including & complementing each other: the global, as well as the local: while the online context is available 24 hours a day to the global community, the individual local manifestation to be realized in an exchange between virtual and physical space in collaboration with worldwide networking partners allow people to meet each other at venues that change their meaning and the awareness related to it by becoming a temporarily limited memorial & space of art.

The main medium of the active part is „art & moving images“ – mono channel art films & videos in an hybrid format, allowing to present the works in different presentation formats, eg. screening, projection & installation.

The short films & videos are forming outstanding collections to be presented to an open minded audience, but together with other artistic media like digital static images and the non-visual medium manifested in sonic art – the form also the basis for exhibition installations of different kind, online and in physical space.

The manifestations are realized in the framework of “The W:OW Project” – We Are One World – http://wow.engad.org – a global networking project, launched in 2017.

The 7 Memorials for Humanity

• The Refugee Memorial – based on – The Refugee Film Collection – why and how become people refugees
• d/i/light Memorial – based on Shoah Film Collection – dedicated to the victims of Holocaust
• The Never More Memorial – no more genocide – dedicated to the victims of genocides
• The Wake-Up Memorial – for an open and free society- against populism and intolerance
• The Hiroshima // Fukushima Memorial – based on “The Hiroshima//Fukushima Film Collection – dedicated to the threats of nuclear power
• The iTERROR Memorial – dedicated to the victims of terror
• The Sonic Memorial – soundart as a tool for commemorating – collective trauma & identity

a digital media art project context created & curated by Wilfried Agricola de Cologne

Concept, text & realisation
copyright © 2001-2019 by Wilfried Agricola de Cologne

Included art works (video, digital, images, soundart, text etc & related images/screenshots)
copyright © by the artists or owners

The 7 Memorials for Humanity
are part of The New Museum of Networked Art
operated by artvideoKOELN

CologneOFF 2014 USA
@Torrance Art Museum Los Angeles
8 November – 6 December 2014

CologneOFF X– “ Total Art “

1

Alienated Territories
Home, Sweet Home!?

Johanna Reich (Germany) – Horizon, 2012, 1:00
Albert Merino (Spain) –Visàvis, 2013, 5.05
Susanne Wiegner (Germany) – Home, Sweet Home!, 2014, 2:59
Theme Bannenberg & NOK Snel (NL) – Behind Closed Doors, 2010, 7:38
Stephen John Ellis (USA) – Aus dem Kinder , 2011, 5:14
Mizmor Watzman (Israel) – A Thing So Small, 2013, 9:00
Effrosyni Kontogeorgou (Greece) – Knitting, 2004, 6:07
Istvan Horkay (Hungary) – Mother, 2014, 4:51
Sinem Serap Duran (Turkey) – Adequate, 2012, 9:11
Alexander Callsen (Germany) – Gap Camp, 2013, 6:04
Francesca Fini (Italy) – Oasis in the Desert, 2010, 5:00
Matthias Härenstam (Sweden) – Closed Circuit, 2011, 3:01
Valerio Murat and Antonio Poce (Italy) – Meine Heimat, 2012, 4:32
Shahar Marcus (Israel) – Seeds, 2012, 5:03
Rick Fisher (Canada) – Arcadia, 2014, 4:49
Cinzia Sarto (Italy) – Dirty Vacation, 2005, 7:00

VIP interviews with
Francesca Fini – http://vip.newmediafest.org/?page_id=656
Mattias Härenstam – http://vip.newmediafest.org/?page_id=752
Albert Merino – http://vip.newmediafest.org/?page_id=944
Bannenberg – NOK – http://vip.newmediafest.org/?page_id=871
Johanna Reich – http://vip.newmediafest.org/?page_id=22
Susanne Wiegner (Germany) – http://vip.newmediafest.org/?page_id=368

2

Alienated Identities

Owen Eric Wood (Canada) – Return, 2011, 5:00
Barry Morse (USA) – Mouse’s Birthday, 3:37, 2010
Agricola de Cologne (Germany) – Silent Cry, 2008, 3:06
Cynthia Whelan (UK) – Selfportrait, 3:27, 2005
Jaime Ekkens (USA) – A Life With Asperger’s, 2013, 4:00
Doug Garth Williams (USA) – Back & Forth, 2009, 2:42
Peter Spiers (UK)- Mimicking Frame By Frame, 2010, 06:17
Angelika Herta (Austria) – Man of Iron, 2011, 1:53
Anna Garner (USA) – Sequential Interactions, 2013, 1:54
Zaoli Zhong (China) – We Are Walking All on the Same Road, 2014, 12, 06
Lisa Birke (Canada) – Red Carpet, 2013, 9:59
Kristina Cranfeld (UK) – Manufactured Britishness, 2013, 10:00
Yu_Hang Huang (Taiwan) – Identity Correlation, 2009, 5:41
Levi Hanes (Ireland) – Shapes on Grey, 2014, 3:14
Mores McWeath (USA) – Sharing Laizy Gaines, 2013, 5:12
Yuri Pirondi & Ines Von Bonhorst (UK) – Emergencia, 2012, 10

VIP interviews with
Barry Morse – http://vip.newmediafest.org/?page_id=511
Lisa Birke – http://vip.newmediafest.org/?page_id=1702

3

Alienated Memory
Brave New World!?
a collaboration with Institut fier Alles Moegliche Berlin

Roland Quelven (France) – La Chambre d’Eric B. 2014, 4:31
Eric Patrick (USA)- Retrocognition, 2012, 17:37
Evertt Beidler (USA) – Moves Manager, 2011, 4:09
Francesca Fini Italy) – Touchless, 2014, 4:46
Armstrong Tarke (Cameroun) – REVERSE CIVILISATION, 2014, 3:57
Javier Velázquez Cabrero (Spain) – My city a bit cleaner of advertising every day, 2012, 6:00
Marcantonio Lunardi (Italy) – 370 New World, 2014, 5:08
Kaiser Nahhas (Syria) – Anti Censorship Protest at Taksim, 2014, 2014, 4:27
William Pena (Colombia) – Control, 2013, 3:45
IOCOSE (Italy) – In the Long Run, 2010, 20:20
Fabian Heitzhausen (Germany) – I’m Game, 2014, 3:08
Gabriele Tosi (Italy) – The Extreme Challenge, 2014, 4:56
Jonathan Minard and James George (USA) – Clouds, 2012, 19:00
Yu Cheng Yu (Taiwan) – Switch, 2008, 4:32

VIP interviews with
Roland Quelven- http://vip.newmediafest.org/?page_id=606
Francesca Fini – http://vip.newmediafest.org/?page_id=656
Marcantonio Lunardi – http://vip.newmediafest.org/?page_id=907
William Pena – http://vip.newmediafest.org/?page_id=726
Gabriele Tosi – http://vip.newmediafest.org/?page_id=1725

4

Alienated Time Lines

Apotropia (Italy) – K, 2012, 4:00
Isabel Layton (USA) – Little Black Dress, 2014, 2:28
Ezra Wube (Ethiopia) – Amora, 2009, 2:41
Ozan Turkkan (Turkey) – Bipolar Fractal, 2013, 4.32
Ramon Suau Lleal (Spain) – Hoax, 2010, 4:23
Julie Skarland (Australia) – Angeline, 2013, 2:49
Karolien Soete (Belgium) – Tempus Fugit , 2013, 3:53
Umesh Mangupudi ( India) – March To Nowhere, 2014, 6:06
Dustin Grella (USA) – Animation Hotline, 2012, 5:37
Elisabeth Leister (USA) – Strange Loop, 2014, 6.45
SinQuenza (Spain) – Exotic Shadow in a Shadow, 2013, 2.15
Sai Hua Kuan (Singapore) – Space Drawing 05, 2010, 1:21
Kristen Lauth Shaeffer (USA) – Forty-Six, 2009, 4:09
Anthony Sherin (USA) – DUÆL: Lee + Man, 2014, 5:09
Farid Hamedi (Iran) – Theatre for the Artist, 2014, 1:50
Hyash Tanmoy (India) – Stark Electric Jesus, 2014, 12:00
Cinzia Sarto (Italy) – Disquiet, 2013, 3:13
Sanglim Han (S.Korea) – Bloom, 2012, 3:35
Johanna Reich (Germany) – Phoenix, 2012, 3:20

VIP interviews with
Apotropia – http://vip.newmediafest.org/?page_id=1661
Ezra Wube – http://vip.newmediafest.org/?page_id=830
Karolien Soete – http://vip.newmediafest.org/?page_id=820
Elisabeth Leister – http://vip.newmediafest.org/?page_id=1862

WOW.04 / Greece @ TWIXTlab Athens 6-7 May 2017 – Athens/Greece
CologneOFF 2017 Greece
@ TWIXTlab Athens
6-7 May 2017 – Athens/Greece

WOW.04 / Greece
W:OW Art Film & Video Festival
(We Are One World // Art Film & Video Festival)

No Return
The Refugee Film Collection
selection curated by Wilfried Agricola de Cologne

Luca Nanini (Italy) – A Hope – a Perpetuum Mobile, 2012, 2:00
Simone Stoll (Germany) – FAREWELL – ABSCHIED, 2016, 06:08
Theodoris Trampas (Greece) – Scorched Earth, 2015, 14:53
Isabel Pérez del Pulgar (Spain) – Línea Imaginaria , 2016 , 06:39
Mo’ Mohamed Benhadj (Algeria) – GOD WILL KNOW HIS OWNS, 2014, 08:32
Fenia Kotsopoulou (Greece) – Borderline, 2015, 3:06
Florentia Ikonomidou (Greece) – Heart Attack, 2016, 02:44
Daniel Wechsler (Israel) – Exi(s)t, 2016, 01:45
Panagiotis Kalos (Greece) – Gasping for Air, 2015, 1:36
Anni Kaltsidou (Greece) – The Refugees, 2015, 2:48
Monika Zywer (Poland) – Golden Life Jacket, 2016, 01:00
George Symeonidis, Artemis Stathakou (Greece) – “Refugee”, 2015, 04:08
David Gutema Gamatchis (Hungary) – Traffickers, 2015, 4:18
Lucija Konda Labas (Croatia) – We are the dogs – Wir sind Hunde, 2016, 1:11
Max Hattler (Germany) – Stop The Show, 2013; 1:00

2014 – 10 Years Cologne International Videoart Festival

CologneOFF 2014 Greece II
@ Videoart Festival Miden Kalamata/Greece
http://www.festivalmiden.gr
July 2014

CologneOFF XP – “ Total Art – Alienated Time”
selected by Wilfried Agricola de Cologne

list of videos
Heidi Kumao (USA) –Swollowed Whole, 2014, 3:53
Maurizio Sanhueza (Peru) – Copycat, 2013, 8:12
Francesca Fini (Italy) – Little Pills Blues, 2013,
Cinzia Sarto (Italy) – Forbidden Fruit, 2009, 4.40
Giulia Giannola (Italy) – Tinker Tailor Soldier Sailor, 2012, 04:58
Karolien Soete (Belgium) – Tempus Fugit , 2013, 3:53
Albert Merino (Spain) –Visàvis, 2013, 5.05
Stephen John Ellis (USA) – Aus dem Kinder , 2011, 5:14
Brit Bunkley (NZ) – By Blood and Water, By Blood and Sand, 2014, 5:37
Ben Skea (UK) – Sleep Vessel, 2013, 2:43
Vojtìch Žák – (CZ) – Svetovar Brewery, 2013, 03:18
Gavin Hoffman (Ireland) – Complicit, 2013, 4:08
Mani Mehrvarz (Iran) – Wistful Affection For The Past, 2013, 3:06

Curatorial statement
by Wilfried Agricola de Cologne

The motto of the 10th Cologne International Videoart Festival – “Total Art – Gesamtkunstwerk” is not only related to the type and contents of the audiovisual video works to be selected, but also to the meaning CologneOFF has as an artistic creation of its own.

It points to the fact that the festival activities are the creative output of the media artist Wilfried Agricola de Cologne, founding director und curator of CologneOFF whose artistic creative work in form of curating is manifesting itself in that special type of art work, the 10th festival edition of Cologne International Videoart Festival., respectively the totality of the project, entitled CologneOFF – Cologne International Videoart Festival, including 10 editions of an experimental and experimenting festival, and in this way, 10 years of an exciting media development. The festival as an art project and a cultural creation.

However, Agricola de Cologne is not placing himself and his creation in the foreground, but the particular complex audiovisual creations by the submitting fellow artists whose video works follow all the idea of the “Gesamtkunstwerk” using an individual audiovisual language, and in this way, the medium of digital video in all its technological complexity in order to confront the audience with multi-facetted contents, the manifestation of philosophical, political, cultural or artistic statements through a critical view on the PRESENT, sometimes ironically and with a sense of humour, but very serious und profound in artistic concern.

Alienated Time is indicating “time” as an essential component determining the perception of life as a process from the subjective point of view of the creator, as well as the viewer in cultural, social or political concern.

As a unity and totality, the selection to be presented in Kalamata would like to celebrate the diversity of contemporary artistic creations in times of the merging arts on occasion of the 10th anniversary of CologneOFF.

On 19 January 2014, such a “common attempt” was presented at Florina Art School in Florina (Greece), entitled “Art & Nature”. The venue was initiated by Gioula Papadopoulou from Videoart Miden and networking partner since many years already.

List of videos

Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
exDoc – experimental documentary film festival -curator Agricola de Cologne

Claudia Borgna (It) – Sweep and weep, Weep and sweep, Under, Over, In, Out, Away, 2010, 11:09
CologneOFF VII (Gwermany) – curator: Agricola de Cologne

QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
animateCOLOGNE – curator: Agricola de Cologne

Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
VideoChannel (Germany) – curator: Agricola de Cologne

Wei Ming Ho (Taiwan) – The Art Qaeda Project, 2010, 4:11
Manipulated Image (Los Angeles/USA) curator: Alysse Stepanian

Louise Coetzer (RSA) – Dead Air, 2011, 5:12
Letters from the Sky Festival Capetwon (South Africa)- curator: Kai Lossgott

Derek Larson (USA) – Landscape, 2011, 10:34
STRATA Foundation (Finland) – curator: Pekka Ruuska

Yuliya Lanina (USA) – Dodo Valse, 2010, 2.46
Videoart Festival Miden Kalamata/Greece) – curator: Gioula Papadopoulou

Juliana Alvarenga (Brazil) – Winter Garden”, 2010: 03:56
VideoBabel – Videoart Festival Cuzco (Pru) – curator: Very Tyuleneva

Andre Scucato & Cristina Pinhero (Brazil) – Mago, 2005, 3:26
FONLAD – Digital Art Festival (Portugal) – curator: Sergio Gomes

Dan Hudson (Canada) – River, 2011, 3:00
CologneOFF VIII (Germany) – curator: Agricola de Cologne

The NewMediaFest2020 selection includes
Videos on the topic – art & nature

Dan Hudson (Canada) – River, 2011, 3:00
QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
Claudia Borgna (Italy) – The Final Accord I, 2016, 6:05
Lois Patiño (Spain) – Forest Echoes, 2011, 7:20

Contaminated Progress I
Towards a plastic free environment

Robert Dohrmann (USA) – All Systems Go – Neil Armstrong, 2009, 3:16
Marcantonio Lunardi (Italy) – 370 New World, 2014, 5:07
Anna Garner (USA) – Sequential Interaction (USA), 2013, 1:54
Brit Bunkley (New Zealand) – Fleeced,2009, 4:22
Paul Turano (USA) – Toxic Red Sludge, 2010, 5:00
Ben Fox (UK) – Recent Tactile Nonsense, 2012, 2:17
Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
Diego de Los Campos (Uruguay) – Still Life, 2012, 2:28

Cologne Art & Moving Images Awards
is happy to announce

CologneOFF 2013 Greece III
@ Videoart Festival Miden Kalamata/Greece
4-7 July 2013
http://www.festivalmiden.gr/

Trace of Transformation
animateCOLOGNE – Cologne Art & Animation Festival
selection coordinated by Wilfried Agricola de Cologne

Part I
Curated by Agricola de Cologne
Pablo Fernandez-Pujol (Spain)- Pigman, 2012, 3:00
Albert Merino (Spain) – Les Bagneurs, 2010, 3:50
Kristina Frank (Sweden) – Take to the woods, 2011, 6:01
Sarah Mock (Germany) – Is there a Way Out, 2011, 3:47
Karolien Soete (Belgium) – Prolegomena, 2011, 7’32″
Todd Fuller (Australia) – Tin Man, 2010, 4:37

Part II
Curated by Myriam Thyes
DoDomani Studio (Italy) – The Box, 2012, 3:00
Andrea Ferri (Italy) – Satura, 2008, 2:30
Natalia Biegaj (Poland) – For Katy, 2012, 3:26
Karolina Glusiec (Poland) – Velocity, 2012, 6:00
Shuai Cheng Pu (Taiwan) – Ferry Paradise, 2012, 3:48
Susanne Wiegner (Germany) – At the Museum, 2012, 3:00
Arjan Brentjes (Netherlands) – Il était une fois un Artiste, 2011, 6:34
David Clark (UK) – Odd Jobs, 2010, 4:16

CologneOFF 2012 Greece II
@ Videoart Festival Miden Kalamata (Greece)
http://www.festivalmiden.gr/
5-7 July 2012

PDF catalogue CologneOFF2012 Greece II

Featuring
1#minuteCOLOGNE -Cologne One Minute Film Festival
60×60 – a special selection curated by Wilfried Agricola de Cologne

01. Antony Rousseau (France) – Climax, 2005, 1:00
02. Sonja Vuk (Croatia) – Title: My Way, 2005, 1:00
03. AngelaWashko (USA) – Title: Give Stripes, Pretty Khaki, 2010, 1:00
04. Unity Art Nabiha & Thom (Germany) – Yellow Chain Dance, Penang Malaysia 2009, 1:00
05. Sahra Bhimji (USA) – Title: “La Ghost”, 2008, 1:00
06. Sreedeep (India) – 1 minute crash-course on SEDUCTION, 2009, 1:00
07. Ron Diorio (USA) – Title: Night Light, 2008, 1:00
08. Bill Domonkos (USA) – Title: Wormwhole, 2008, 1:00
09. Lukas Mateijka (Slovakia) – Title: 20m, 2008, 1:00
10. Simone Stoll (Germany) – Video title. The Crow, 2009, 1:00
11. Kika Nicolela (Brazil) – Title: Windmaker, 2009, 1:00
12. Harriet Macdonald (UK) – Title: Another Year Gone, 2008, 1:00
13. Alex Lora (Spain) – Video title: So Much Love, 2009, 1:00
14. Katherine Sweetman (USA) – Title: Dating in LA, 2009, 1:00
15. Kriss Salmanis (Latvia) – The Shower, 2007, 1:00
16. Mores McWreath (USA) – Title: The Egg, 2008, 1:00
17. Diogo Pessoa de Andrade (Portugal) – Gesture of Love, 2011, 1:00
18. Junho Oh (South Korea) – My identity by web application, 2010, 1:00
19. Ana Brotas/ Joana Gomes dos Santos (PT) – ABC whistling, 2012, 1:00
20. Karlos Alastruey (Spain) – Video title: S1-S4 reflections, 2010, 1:00
21. Jack Brandtman (Australia) – Title: Nightlife (2010, 1:00)
22. Ulf Kristiansen (Norway) – The Hope of Enduring Long, 2010
23. Antti Savela (Sweden) – Title: Mother, 2007, 1:00
24. Andrea Zrno (Croatia) – video title: Is this your language?, 2009, 1:00
25. Agricola de Cologne (Germany) – Title: Burning Phantom, 2009, 1:00
26. Victoria S. Weible (USA) – Title: Memory, 2009, 1:00
27. Helena Alvesalo (Sweden) – Microfilm 5, 2012, 1:00
28. Lilia Perez Romero (Mexico) – video title: “Pills”, 2010, 1:00
29. Minso Kim (South Korea) – video title: Is this mine?, 2009, 1:00
30. Filip Jacobson (Poland) – Is it the end?, 2012, 1:00
31. Lemeh42 (Italy) – Title: Image de la Plaine, 2009, 1:00
32. Mohammed Harb (Palestine) – Death tunnel, 2011, 1:00
33. Kaspars Groshevs (Latvia) – Title: Tomorrow, 2007, 1:00
34. Adam Dragojevic (Serbia) – Title: Sweet Memory (2010, 1:00)
35. Gergely Erdely (Hungary) – Title: Myth (2010, 1:00)
36. Nikesh Shukla (UK) – Title: The Great Identity Swindle, 2009, 1:00
37. Nitin Das (India) – Title: Benefits of War, 2008, 1:00
38. Nenko Genov (Bulgaria) – Tomates Eat You, 2010, 1:00
39. Vera Todorova (Bulgaria) – video title: Video – II., 2010, 1:00
40. Alison Beda (USA) – Title: Just a Minute (2008, 1:00)
41. Hervé Constant (UK)- Title: 59 Steps (2006, 1:00)
42. Xiaowen Zhu (China) – Caroussel Travel, 2010, 1:00
43. Henry Gwiazda (USA) – Title: Claudia & Paul 4:55 p.m, 2009, 1:00
44. Fabrizio Bellomo (Italy) – The Most Beautiful View of Milan, 2011, 1:00
45. Olga and Tatiana Poliektova (Russia) – Inspiration, 2010, 1:00
46. Pramod Saahoo (India) – Video title: Wake Up Call, 2011, 1:00
47. Gruppo Sinestetico (Italy) – Title: anche un parole uccidona, 2007, 1:00
48. Veena Shekar (India) – We are different because we were made differently, 2009, 1:00
49. Myriam Thyes (CH) – Janus Goddess Flies over Malta , 2011, 1 :00
50.Hamza Halloubi (Morocco) –Title : Untitled, 2009, 1 :00
51. Basir Mahmood (Pakistan) – Dot in The Line, 2011, 1 :00
52. Pierre-Laurent Cassière (France) – Title: Mimnemesis, 2006, 1:00
53. Lin Fangsuo (China) – Title: White, 2008, 1:00
54. Katherine Oggier Chanda (CH) – Squeaky Clean, 2010, 1:00
55. Johanna Reich (Germany) – Blast, 2008, 1:00
56. Adrian Zalewski (Poland) – Title: I Once Wasn’t Dead, 2010, 1:00
57. Yin-Ling Chen (Taiwan) – Title: A Face, 2009, 1:00
58. Baptist Coelho (India) – Title: Crosslegged, 2008, 1:00
59. Drew Hamilton (USA) – Street Corner project, 2012, 1:00
60. István Rusvai (Hungary) – TitlE. Pass, 2009, 1:00

CologneOFF 2011 Greece (II)

Videoart Festival Miden Kalamata/Greece

CologneOFF 2011 Greece (II)
Videoart Festival Miden Kalamata (Greece)

δελτία τύπου – ανακοινώσεις

14-17 July 2011

Lines, colours & emotions
– videoart from Latin America –
curated by VideoChannel Cologne

List of participants

Marita Contreras (Peru) – Via Crucis, 2008, 4:00
Javier de la Torre (Mexico) – Suennos Y Sustitutes, 2002, 6:34
Julio Orta Villarreal (Mexico) – Elena in the Prison of Herself, 2006, 6:58
Carlos Ruiz-Valarino (Puerto Rico) – Hosts / Guests, 2004, 7:50
Christian Bermudez ( Costa Rica) – Dear Neigbour, 2006, 7:00
Alejandra Villasmil (Ecuador) – Fanesca, 2010, 1:00
William Peña Vega (Colombia) – Zero Degrees, 2010, 3:00
Juan David Gonzalez Monroy (Colombia) – How To Catch A Mole, 2009, 9:00
Henrique Roscoe (Brazil) – Love Rules, 2007, 1:16
Silvia Cacciatori Filloy (Uruguay) – Prostituto, ta., 2005, 4:40
i2off.org+r3nder.net (Argentina) – Siembra: Videocode03 (2006, 4:09)

VIDEOCHANNEL:FOUNDFOOTAGE!
Curated by: WilfriedAgricoladeCologne

1. BillDomonkos–Ludeuxfois(2006), USA, 3:11
2. DeinseHood–RealLife(2008), USA, 3:08
3. Dr. Boston-I wish I had a date(2006), USA,3:15
4. Alexander Mouton–Stare(2009), USA, 1:40
5. James Woodward–The Annihilation of Michael Phelps(2008), USA, 0:30
6. Constantin Hartenstein–LIFTN(2008), Germany, 1:20
7. Dennis Summers–The Whipping Off Moss Distinction Blues(2005),USA, 4:45
8. Jennifer Schwed–How do you love(2009), USA, 4:33
9. Rajorshi Ghosh–Pig(2009), USA, 1:00
10. Johanna Reich–Blast(2008), Germany, 1:00
11. Toban Nichols–Battlestations!(2008), USA, 6:28
12. Maria Cañas Reyes–The Toro’s Revenge(2006), Spain, 2:00
13. Larry Caveney–In the Defence of An Old Bank Robber(2008),USA, 2:09

CINEMATHEQUE: FLASH & THUNDER
CINEMATHEQUE: FLASH & THUNDER
Selected, curated, programmed by Wilfried AgricoladeCologne
Participating artists:AaronOldenbourg(USA), MyriamThyes(Switzerland), BillDomonkos(USA), RenaudVercey(France), DavidClark(Canada), RoderickCoover(USA), RitaSá (Portugal), CynthiaLawsonJaramillo& StephanieStrickland(USA), AlexanderMoton(USA), AlanBigelow(USA), ChrisJoseph(U.K.), EdmondSalsali(USA), HermesMangialardo(Italy), MatthewRandall(U.K.

VideoArt Festival Miden/Kalamata-Greece – July 2009 – CologneOFF IV – VideoChannel-WDC 13:13:13

 

Women Directors Cut – 13:13:13

Videoart Festival Miden Kalamata/Greece – 10-12 July 2009 Burning Phantom
Videoart Festival Miden Kalamata/Greece – 4-6 July 2008 Encoded

Videoart Festival Miden Kalamata/Greece – 10-12 July 2009
Wilfried Agricola de Cologne – Burning Phantom, 2009, 1:00
Love is a burning phantom – it appears unexpectedly and is vanishing without any warning.

Videoart Festival Miden Kalamata/Greece – 4-6 July 2008 Encoded
Wilfried Agricola de Cologne – En[code]ed, 2008, 5:00
Digital video inspired by a visit of Thessaloniki.
The work describes the principle of “code” or “coding” in form of an allegory, a metaphoric story as a ritual of meeting, dominating and resigning. The code is identified as a state of the static, dogmatic and conservative, which asks for obedience, but gives no chance to escape.

CologneOFF partner festival 2009

Festival Miden: starting from zero!

Festival Miden (miden means “zero” in Greek), the first Greek video art festival presented in open public spaces, is an annual video art & new media cultural event held 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, the Messinia Chamber of Commerce and the Municipality of Kalamata.

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 a new, 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.

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.

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

Our manifesto:

Festival Miden is an initiative action, taken in order to promote and develop alternative and free expression at times where visual arts and media play a more and more dominant role.

The main axes of Festival Miden is Video Art which is presented not just as a different mean of expression for many pioneer visual artists but also as an easy and effective tool for public creativity. A potential that derives mainly from the free use of modern visual media, which offer an easy access to everyone.

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.

The main objective of this initiative action is the stimulation of the community to freely develop its artistic dimension independently, away from any type of intervention.

Previous editions:

Festival Miden 2005: starting from miden(=zero)

The first Festival Miden was presented in open spaces of the Historic Centre in Kalamata, at 8, 9 and 10th of July 2005. The three-day events included a two days video art screening program at Amfeia’s square and a musical concert -featuring Messinian Jazzteat, The Freak Brothers Band and Mellotron- at Agii Apostoli, both areas of the Historic Centre of Kalamata.

The screening program included 44 art videos of various techniques and styles, created by forty video artists from all over Greece and abroad. The audience of the first year’s organization embraced the Festival not only with its lively presence but also with its support by all possible means.

In its first realization, Festival Miden was supported by Kalamata’s Historic Centre Organization, The Messinia Chamber of Commerce and the Municipality of Kalamata and co-operated with Athens Video Art Festival and Fournos-Centre for Digital Culture.

Festival Miden 2006: established in Greece

In its second realization, which took place in public spaces of the Historic Centre in the city of Kalamata in July 2006, Festival Miden presented 3 days of screenings and events.

The three-day program included a two days screening program at Amfeia’s square (Thursday 6 and Friday 7 of July). There were presented 71 art videos, created by 68 video artists and groups from Greece and abroad.

The third day included a special screening of “The Approaching of the Hour”, a dinsticted documentary film about the Greek English-speaking Pop/Rock music scene, directed by Gratsiella Canellou, followed by a VJ musical concert featuring “Alloiosis” group, at Agii Apostoli (Saturday, 8 of July 2006).

Festival Miden 2007: the festival becomes international

More than 500 artists, groups and video creators from all over the world submitted their works for the screening program of Festival Miden 2007, which took place in public spaces of the Historic Centre of Kalamata, from 5th to 7th of July 2007.

Festival miden 2007 focused on contemporary video art and was realized in collaboration with the Municipality of Kalamata, with the support of Kalamata’s Historic Centre Organization and the Messinia Chamber of Commerce.

The central program in Amfeia’s Square included 6 thematical screenings and tributes. A parallel screening, with 3 more theme programs, was placed in a nearby open area of the Historic Centre.

Festival Miden 2007 presented videos from more than 35 countries from all over the world: Greece, Cyprus, Italy, Portugal, Spain, Turkey, Israel, Palestine, Syria, Iraqi, UK, France, Germany, Holland, Belgium, Sweden, Finland, Norway, Finland, Slovenia, Croatia, Russia, Czech, Canada, USA, Brazil, Australia, New Zealand, Japan, Taiwan, Korea, and others, getting an international character.

Festival Miden 2008: upgraded and renewed

Video Art Festival Miden 2008 took place in public spaces of the historic centre of Kalamata (Amfeia’s Square), from the 4th to 6th of July 2008.

In its 4th realization, Festival Miden presented 205 works from various artists from over 40 countries, aiming to a global presentation of the most interesting contemporary video art practices and trends.

For the first time, the festival presented, along with its main video program, interactive works and internet projects.

The program included thematical screenings and tributes, interactive projects, student works and a special tribute to Manthos Santorineos, Professor in Athens School of Fine Arts and a pioneer Greek media-artist.

Festival Miden 2008 was a co-production of “Sea Level” (urban, non-profit company) and the Municipality of Kalamata and was realized with the support of Kalamata’s Historic Centre Organization and the Messinia Chamber of Commerce.

(Find all previous editions at www.festivalmiden.gr/prevfestival_eng.html)

Upcoming edition: Festival Miden 2009

For the upcoming 5th edition (which will be presented early July in Kalamata, GR), Festival Miden has announced the following special theme programs:

-a special theme program entitled “Transforming the ordinary”
-a special theme program entitled “Strange thoughts”
-a tribute to videodance
-a special theme program entitled “Urban (R)evolutions”

This year, the festival will celebrate its 5year presence in Greek and international art and culture by presenting also a selection of the best videos shown in the previous editions of the festival.

The festival has also announced the presentation of 2 screening programs curated by Agricola de Cologne (Cologne OFF and VideoChannel director) and will also present the new compilation of Globalscreen “Simulations”.

Other parallel events, seminars and lectures are also scheduled in the frame of Festival Miden 2009.

For news and announcements visit www.festivalmiden.gr

The festival team:

Art Director:
Giorgos Dimitrakopoulos

Art Curators:
Gioula Papadopoulou, Margarita Stavraki

Co-members:
Stavros Kapetis, Sibel Amet, Nikos Syrigos
Maria Bourika, Stavroula Baka, Georgia Oikonomopoulou

More info at:

www.festivalmiden.gr
info@festivalmiden.gr

VideoChannel is very proud to release in May 2009 “Video Prints” , a curatorial contribution of Greek video art by Gioula Papadopoulou, who is curator of the Greek festival of videoart “Festival Miden” in the city of Kalamata.
Enter this feature —> here , or go to –>
http://videochannel.newmediafest.org/blog/?page_id=247.

This feature is completed by 3 interviews with artists/directors included in the feature on VIP – VideoChannel Interview Project and finally the inclusion of the videos on VAD – Video Art Database

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