WOW Jubilee I / Ethiopia
December 2019 – 31 January 2020
PDF catalogue
is an intervention in an exchange between physical and virtual space,
physically in partnership with
http:// a d d i s v i d e o a r t f e s t i v a l .n e t/
Addis Video Art Festival intends to provide a platform for innovative video art in Addis Ababa, Ethiopia.The festival will screen throughout the city in a variety of locations including street corners, rooftops, public centers and art centers. By sharing video art in both conventional and non-conventional settings, the festival will reach both the artist community and the everyday passerby. The festival aims to create a dialogue between local, and international artists by encourag-ing digital media culture.
Initiated by Ezra Wube and his team Betelhem Mekonin (Artist . Ethiopia / U.S.A.), Celeste Ricci (Curator . Italy), Chiara Cartuccia (curator/ Artist . Italy), Dagrun adalsteinsdottir (Artist/ Curator . Iceland), Kibrom Gbremedhin (Artist/ Educator . Ethiopia / U.S.A.), Mihiret kebede (Artist / Curator . Ethiopia), Robel Temesgen (Artist . Ethiopia), Portia Malatjie (Curator . South Africa) and William Corwin (Artist/ Curator . U.S.A.)
presenting the video art programs by 5 international curators
selecting - Agnès Quillet, Jonas Schloesing, Johanna Vaude, Sigfried Bréger, Les Sœurs H
Details
https://retro2020.nmartproject.net/simone-dompeyre-curator/
Je est un autre / I Am Someone Else – curated by Simone Dompeyre
– Agnès Quillet, Paysage, 2008, 00:59)
– Jonas Schloesing, Je ne suis personne (05:55)
– Johanna Vaude, Inner Stranger, 2012, 05:00)
– Sigfried Bréger, Catleyas, 2014, 07:01
– Les Sœurs H, La Vie de Fraulein Erzebeth est une sorte de chaos organisé, 2012, 12:01 )
Artists:
Agnes Quillet – Paysage (2008, 00:59)
Little girl body’s is an image, landscape is her body. Silence. Found footage, editing: Agnès Quillet
Agnès QUILLET
During she studied Fine Arts, she discovered the video medium. In 2008 she is graduate of the Art school of Aix-en-Provence with her video work. After releasing some video installations for experimental video festivals and some short experimental movies, she works now with theater and dancer company between France and Mali.
Jonas SCHLOESING – Je ne suis personne (05:55)
Johanna VAUDE – Inner Stranger (2012, 05:00)
Like an introspection, « Inner Stranger » explores, through Leonardo DiCaprio’s dialogues and acting, the psychology of the modern man being a prey of his doubts and fears. The crossing through the inner hardship will guide us to a last survive instinct. « Inner Stranger » is also a tribute to Leonardo DiCaprio work.
production: Blow Up Arte and CAMERA LUCIDA – Sound design and editing: Johanna Vaude
Johanna Vaude – Artist and film director, creates eclectic and hybrid movies. Her career reveals wide influences, starting from a background knowledge in fine arts and experimental cinema which she extends to new technologies. Produced out of the traditional ways, her films are subject to specific focusses and obtained critical recognition. ARTE, the french-german cultural channel, has produced a portrait of the artist for its Court-Circuit program. She was allowed a Carte Blanche at the Cinémathèque Française on her research about hybridization : « Transplant, fusion, heredity : hybridization and new technologies according to Johanna Vaude. » followed by an edition of the « Hybride » DVD. Since 2011, Blow Up Arte, webzine dedicated to cinema, gives her Carte Blanche on a regular basis on various themes and directors. Johanna Vaude is laureate 2016 of the Prize label image awarded by the Passeurs de Lumière at the SCAM.
Siegfried BRÉGER – Catleyas, 2014, 07:01
It could be Vinteuil’s musical sentence brought up by Marcel Proust in « In Search of Lost Time : Swann’s Way ».
Directed by (image, sound, editing): Siegfried Bréger / Production: Siegfried Bréger
With the participation of: Valentine / Thanks to: Marion Hermouet / Cited autors: Marcel Proust, “Un amour de Swan” dans «Du côté de chez Swann » / Aleksei Fedorchenko, “Ovsyanki” / Claude Chabrol, “Le beau Serge”
Siegfried Bréger was born in France in 1971, and currently lives and works in Nantes. Video artist and filmmaker, he studied at the academy of the Fine Arts of Rennes in Rennes and then in Le Fresnoy, National Studio. For about fifteen years, he creates films from which arise a real poetic sensitivity to words, images, human consonances and disonances. His relation to poetry, to literature, is deep, extremely personal, marked with a melancholia expressed with both sophistication and violence. Those “poem-films”, very symbolic, succeed in avoiding classifications, and their singular style is also the result of a entirely independant creation process.
Les sœurs H – La Vie de Fraulein Erzebeth est une sorte de chaos organisé, 2012, 12:01
Fraülein Erzebeth’s name is rather outlandish. She is something of a fright too. In a strange / low-brow / English-French she conveys to us a childhood memory that is as weird / poetical / as it is tasteless. Doubts linger on, while the unspoken steals inAnd our imagination insidiously steals into the gaps of this story
Directed by: Les sœurs h / music: Clara de Scott Walker
Les sœurs h are two sisters : Isabelle Henry Wehrlin and Marie Henry.
The former is a video artist and lives in Switzerland. She is a graduate in photography of Ecole nationale supérieure des arts visuels de La Cambre (Brussels, Belgium) and has produced several video films which have been presented in international festivals in Europe. The latter is a playwright and lives in Belgium. She is a graduate of Institut National Supérieur des Arts du spectacle (Brussels, Belgium), a former member of the late “Groupe Toc” and was awarded the Prix Triennial de Littérature Dramatique in 2010. Her plays have all been published by Editions Lansman.
As daydreaming teenagers les sœurs h soon realized they would never be able to do anything to eradicate famine in Africa, or fight injustice anywhere in the world, or for that matter have any leverage in politics in general. Gradually turning in on themselves, they soon developed a particular taste for the trifles of life. Spending their days in wistful languor, shunning reality, they came to prefer the show, the formal, the fake, the specious, the spurious to the real. In an assertive, cliché-ridden rendering of everyday life, les sœurs h love mixing and opposing their respective arts by disturbing the narrative codes of writing and image.
selecting - Ansuman Chakraborty, Madhuja Mukherjee/ Epsita Halder, Utsab Chatterjee, Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das
Details
http://wow.engad.org/madhuja-mukherjee-curator
/
City of Dread – curated by Madhuja Mukherjee (India)
Ansuman Chakraborty (India) – Ismail, 2018, 10.32
Madhuja Mukherjee/ Epsita Halder (India) – RE-TAKE, 2008, 02.33
Utsab Chatterjee (India) – Grain, 2018, 05:58
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das (India) – Tracts of Dust, 2018, 27:00
The curator
Madhuja Mukherjee
Madhuja Mukherjee studied Literature and Cinema at Jadavpur University, Calcutta, India (1992/1997). She did research-programme in Social Sciences (1997-98), and received her Ph.D degree in 2008. Madhuja has done formative research on Indian film industry, technological transformations, urban spaces and cultures, and on issues of genre, gender and labour..
The works
1.
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das (India) – Tracts of Dust, 2018, 27 min.
Credits: Ideation: Sudipto Basu and Bappaditya Das / Location Sound: Archisman Mukherjee / Sound Mixing: Bappaditya Mondal / Sound Design and Edit: Bappaditya Das / Location Support: Raja Alam / Produced by: Dept. of Film Studies, Jadavpur University, Kolkata.
‘Rajarhat’ (also known as ‘New Town’), located on the Eastern fringes of Calcutta, was built through several decades by swallowing up marshy land, and thereby threatening an entire eco-system. ‘New Town’ was planned as a smart city to be fitted with a high-end infrastructure and to be occupied by global tech/finance corporations. This would in turn feed a luxury housing market. However, like all smart cities built upon the whims and speculations of global finance, the projected plans fell through, leaving in its place a largely unoccupied township that is caught between two absent futures. The landless peasants who tilled the land for long have been displaced with little compensation: some pushed inwards towards the city, some further out towards the Sundarbans (the mangrove forests).
Artists
Sudipto Basu, Chandan Biswas, Nilim Bose, Laboni Chatterjee, Bappaditya Das, and others
Brought together by the pure contingency of collaborative coursework, the collective that made Tracts of Dust nonetheless united through a shared interest in the almost sci-fi sensory landscape of Rajarhat, a commitment to capture its strong sense of absence and placelessness. We chose the long-take form not only because it would allow this sense to emerge, but because it allowed us to work around individual aesthetic differences through a database-logic of accumulation and permutation (shoot first, arrange later). Tracts had in that sense no author; it is a film that could have been made possibly by anyone at all.
2.
Ansuman Chakraborty (India) – Ismail, 2018, 10.32
Story/ Screenplay/ Visual Design/ Voice: Ansuman Chakraborty / – Edit: Vishal Tripathi, and Utsav Dan / Made on a Project Development Grant awarded by: German Consulate, Kolkata
Music and Song sourced and ‘quoted’ from: ‘Sarabande’ by Joseph Friedrich Haendel, ‘Finlandia’ by Jean Sibelius, ‘Flight of the Bumblebee’ by Nikolai Rimsky-Korsakov, ‘Lehron pe Lehar’ (Film: Chhabili, 1960 Singer: Hemant Kumar)
This is a story of ‘Ismail’, an unemployed, single, aging person, who eventually falls prey to the ever expanding drive of ‘Development’. Ismail is the residue of the contemporary imaginary spaces called ‘Modern City’. Ever since his arrival, and despite his failing health, Ismail kept on shifting from one odd job to another. Finally he obtains a temporary job in a cyber café — situated somewhere at the southern fringe of the city. At the time Ismail secured this job, the nearest Metro station was far away the cafe. Hence, he was allowed to leave early. On his way back home, towards North of Calcutta, he would roam across the city observing things. However, as the Metro lines expanded unto his workplace, his early exit was barred. As Metro Rail extended its routes, so did ‘Capital’ investments. Eventually, the small, make-shift, insignificant cyber cafe became as much futile as various other trades, animals, birds and Ismail. Ismail’s failure to cope with the new order is an inevitable one. Neither he deserves odes that were usually granted to Working Class Heroes nor does he claims any such thing. Only imaginary birds from his reverie arrive to perform his Swan Song. Ismail by no means, is skilled worker/labourer, nor does he put in much effort to be called so. He prefers observing things to his work and re-posits, re-orders and re-mixes them in his imagination in order to create an Almanac: an Almanac about his bonding with the city, his sense of loss and death and history as he witnessed it. This unique film comprising painted frames, and a fervent voice-over done voice-over by the artist, is as much a personal story as it is a political narrative of social change.
Ansuman Chakraborty
completed BFA in Art History from Kala Bhavana, Viswabharati University in 2003 and obtained Diploma in ‘Direction and Screenplay Writing’ from S.R.F.T.I , Kolkata in 2007. He worked in production houses, TV channels situated in Kolkata and Delhi. Wrote screenplays for four Bengali Tele Films and two Bengali Feature Films and kept on making drawings, paintings and graphic novelettes alongside.
3.
Madhuja Mukherjee/ Epsita Halder (India) – RE-TAKE, 2008, 02.33
Direction: Madhuja-Epsita / Cast: Rupsa Sen / Camera: Nupur Mullick / Sound: Avik Mukhopadhyay / Edit: Krishnendu Ghosh / Production: The Media Lab, Jadavpur University, Calcutta
‘Retake’ is a woman’s reclaimation of the city via cinema, and city histories. It explores many passages of cinema, and women’s secret histories as we re-visit the city. It opens in darkness, shadows, glimmer, flicker, amidst tingling noise, and with a face — looking at the city from a distant. Whose city is this? What claims do women have vis-à-vis city spaces, even when historical studies narrate how partition forced middle-class women out of sheltered and cozy households, and reintroduced them in the grimness of workplace? The spectral vehicles slashing her, and she looking — yet not looking, as well, the flight of birds evoke a sense of movement, an impression of joy and a fragmentary feeling of freedom following loss. Does she attain a voice? Can she revel in her newly found pleasures? The lingering gloom on face betrays a self-doubt. How can she return to the new and ever growing, ever-changing city? What risks does she take? Perhaps she moves two steps backward as she takes a step forward. The filmic image is both a means and a process through which such journeys are articulated. ‘Re-take’ is a video-dairy and a scrapbook of the new woman, who embarks on the new path, and recalls stories of women from the past, and those yet to arrive.
Madhuja Mukherjee
is Associate Professor of Film Studies at Jadavpur University, Calcutta. She is engaged in extended practice of cinema, and inventive recreation of archival material. She has done multi-media installations, which reinvent archival material, thereby, hopes to bridge the gap between theory and practice, and archives and art-spaces. Her art-installations have been shown at renowned galleries and international programmes, including ‘International Film Festival Rotterdam’ (2012), ‘Kolkata Arts Festival’ (2017). She presented her projects at the collateral programmes of ‘KochiMuziris biennial’ 2016-17. Madhuja received ‘ArThink South-Asia fellowship’ for arts leadership (2013-14), and was selected for ‘German Federal Goverment’s Vistors’ Programme (2017) to develop her work. Madhuja is the principal initiator of TENT, theatre for experiments in new technologies, Calcutta (independent art platform), and organizes TENT ‘Little Cinema International Festival’ for experimental films and new media art, since 2014.
Epsita Halder
is Assistant Professor, Department of Comparative Literature, Jadavpur University, Calcutta. Her areas of interests are Narratology, Performance Studies, Cultural Studies; and her research project is on Islam in Bengal. She is specifically interested in popular piety, Muslim sonic and visual cultures, and the impact of new media on vernacular Islam of Bengal. She received Charles Wallace Fellowship in 2011, and a grant for Art Research and Documentation from India Foundation for the Arts, Bangalore, in 2011. Epsita is also a profilic writer in Bangla — she is fiction-writer, poet
and an artist. Her book on ‘Fakir uprising in colonial Bengal’, was published in 2002 (by Papyrus, Kolkata). Epsita has also writtern a detective novel (2006) with a teenaged girl – Ayesha – as her protogonist, which was published in serialized form.
4.
Utsab Chatterjee (India) – Grain, 2018, 05:58
Concept, Direction, and Camera: Utsab Chatterjee / Editing & Sound designing: Utsab Chatterjee and Ansuman dey / Performance: Chirasri Roy / Production: Utsab Chatterjee
‘Grain’ is an attempt to disrupt the cluster of dystopia; it is a series of non-sequential visual dialogue that hammers us out of our comfort zones — a demonic and mechanized situation of alienation in the new city. ‘Grain’ deliberately churns out impermanence, an existentialist maneuver as it were. ‘Grain’ — the primary locus of rupture isn’t just a term; it travels through the unpredictability of our reality, like the sweat of the earth, or the rhythmic stride of the heartbeat as well as the friction between nonchalant lack of a plot and the patterns of a rational discourse. Arresting a stream of thought, within an asymmetrical network of images, ‘Grain’ is without foreplay or climax, or consummation of any acceptable mode. Indeed, the attempt to relate would be a dreadful manifestation of cozy amnesia. What goes on in the GRAIN merely follows Artaud’s prescription for a spectacle which will eliminate the stage, that is, the distance between spectators and performers, and “will physically envelop the spectator”. Thus, its neither a spectacle nor memetic; GRAIN is perhaps a movement through the city.
Utsab Chatterjee
Utsab is a visual artist, formally trained as a painter, but through times he developed or equipped himself with the knowledge of the audio-visual medium. He has been engaged in the practice of video art as an extension of his painterly concerns, around urban and existentialist interpretation. His interest towards the medium grew as he note different geographical paranorm vis-à-vis a neo-rural scenario during his Masters in Kalabhavan, Santiniketan (2011-2013). In this respect, Utsab has been reengaging with the tools of avant-garde practices like Fluxus and transmedia processes to explore the relationship of residue, loss, absence as a situational experience in a futuristic interpretation of contemporary urban existence.
selecting - Gianluca Abbate, Cerezo Azahara, Panagiotis Tomaras, Marcantonio Lunardi, Neno Belcev, Maria Fernanda Bertero, FIELD, Thomas Valianatos, Giada Ghiringhelli
Details – https://retro2020.nmartproject.net/adaf-curator/
Transitions from Public to PostFuture – curated by Eirini Olympiou (Greece)
Gianluca Abbate (IT) Panorama (2015) 07:00 min
Cerezo Azahara (SP) Slopes (2013) 04:37 min
Panagiotis Tomaras (GR) 165 (2009) 02:45 min
Marcantonio Lunardi (IT) Unusual Journey (2017) 03:22 min
Neno Belcev (BU) Sectral Promenade (2013) 03:54 min
Maria Fernanda Bertero (EC) Technolapse (2017) 06:21 min
FIELD (UK) Hidden Layer (2017) 02:54 min
Thomas Valianatos (GR) Fractus machine_Cosmos (2017) 03:34 min
Giada Ghiringhelli (CH/UK) Rhythm of Being (2017) 06:26 min
The Curator
Eirini Olympiou, curator @ Athens Digital Arts Festival
Eirini Olympiou (b. 1987, Athens) has studied Fine Arts (BA, MA). As an individual artist, she has participated in solo and group exhibitions and in collaborative projects since 2008. Her artistic practice takes on many forms including painting, photography and mixed media. She has been a video art curator at the international festival of digital arts and new media Athens Digital Arts Festival since 2011, has done curatorial projects with international festivals, for individual exhibitions and also been a member of video art jury in festivals. Her curatorial research explores the boundaries of digital expression. She currently lives, works and studies architecture in Athens, Greece.
The Artists
Gianluca Abbate (IT) – Panorama (2015) 07:00 min
A city stretching across an infinite global space: a modern progression of the concept of polis (city), with no uninhabited areas or frontiers where you seek refuge. This landscape,
where there is no way to be readmitted into society once you have been excluded from it, reawakens imaginary worlds in search for equilibrium. Panorama is the first chapter of a
trilogy on the concept of conurbation. I got the idea for Panorama while I was on a train looking at the urban scenery pass me by. The inspiration for the images in the film came
from the forced paths taken by trams and buses, de facto dolly tracks across the city. I used cuts from amateur footage found online, elaborating on and adapting them with computer
graphics techniques, creating a phantasmagoric landscape of a dystopian city that already exists. The man’s living in this place, the complicated life conditions, and the environment’s
influence are so strong they cover up the voice of nature.
Cerezo Azahara (SP) – Slopes (2013) 04:37 min
Slopes is an experimental video series about the current recession through scenes shot in Northern Ireland (United Kingdom) and Madrid (Spain) and voices from the philosophers Slavoj Zizek, Michael Hardt and Judith Butler.
Panagiotis Tomaras (GR) – 165 (2009) 02:45 min
Various miniDV archive tapes of the artist edited in an associational way. Nothing more than presenting instantaneous events with dynamic and tension.
Marcantonio Lunardi (IT) – Unusual Journey (2017) 03:22 min
Unusual Journey shows an African man swimming in front of a camera connected to a TV that shows the image to a Caucasian man sitting in an armchair. This is the short-circuit represented following the path of political asylum seekers in Europe. In this video the stories of each of them become, in the face of public opinion, a dress from which they can no longer get rid of. Exactly like the thermal blankets that envelop them upon their arrival.
Neno Belcev (BU) – Sectral Promenade (2013) 03:54 min
The author makes a contrast even contradictory parallel between the art and real life, transforming the social message of the video into a multi meaning metaphor of crossing the bridge between the imagination and reality. This video discusses the role of the artist in the contemporary society. It does not present the artist as somebody, who walks together, or against the mainstream, but rather as somebody, who walks on his own path. On the other hand, the video aims to remind us, that very often we are observers of unexpected, unforeseen and extraordinary phenomenon, but we are so deep in our thoughts about everyday life, that we miss them. The video also can be regarded as a metaphor, presented the “walk through life” as a walk through seven different colours, which symbolical meanings refer to seven stages of the spiritual development. Even the video has light in the end of the tunnel.
Maria Fernanda Bertero (EC) – Technolapse (2017) 06:21 min
“Man programmed technology unconscious that in the future, technology was going to program man, forming an infinite Ouroboros between them both”. Technolapse is a video art about technolust and its reinterpretation, questioning our ways of doing, since they are molded by technology. The performer, interacts multi-sensorially with a typewriter (mechanic archetype) and with an external manipulation in a game of control, appetite and faith. The reinterpretation is materialized in the form of body extensions. “Heal the mechanization with the same machine, speak with an inner device in its programmed language, and touch the spectator with the same keys”
FIELD (UK) – Hidden Layer (2017) 02:54 min
With AI systems playing an ever-growing role in our daily decision making, creative studio FIELD highlights a timely and important topic. Harnessing the insight that human and
artificial intelligence will soon blend into an ‘augmented self’, FIELD weaves together fashion, live action, and CG for its experimental short film, ‘Hidden Layer’. Hidden Layer imagines how the future of AI will affect our sense of identity and humanness – and what happens when these systems inevitably malfunction. In an artificial neural network, the Hidden Layer is where the main computation is performed, but it has no direct connection with the outside world. The film explores how, to a certain extent, deep learning algorithms are simultaneously autonomous, unpredictable, and inscrutable in their decision-making.
Thomas Valianatos (GR) Fractus machine_Cosmos (2017) 03:34 min
The core of «Fractus machine_Cosmos» is an interactive reconstruction of the image and production of real time video, on the basis of the audio information of the image or the visual representation of a sound.
Giada Ghiringhelli (CH/UK) Rhythm of Being (2017) 06:26 min
For an instant, I am. The light touches me gently and I live, burst and shine. This constant, irreversible, rhythmic drift from being to not. Only the memories left. Escaping desires. The
love and the pain. I only have an instant of life. So please. This film is an ode to the rhythm of being. “Rhythm of Being” is an experimental and contemplative film inspired by Henri
Bergson’s concept of vital force and the fact that all existence is a flux of becoming and never at rest, a perpetual generative process that we can’t escape. Through body movements, light and sound, a surreal and artificial world is constructed and deconstructed.
selecting - Gökçen Dilek Acay, Orhan Cem Çetin, Ali Demirtas, Beste Erener, Murat Germen, Çagdas Kahriman, Tahir Ün
Details – http://wow.engad.org/tahir-un-curator/
WOW Turkey curated by Tahir Ün
Gökçen Dilek Acay – Lenin, 2010, 3:29
Orhan Cem Çetin – Passiflora, 2016 / 04:34
Ali Demirtas – Vision, 2018, 02’30”
Beste Erener – SATURN, 2018/ 4:24
Murat Germen – Emerging talent, 2017 / 5:03
Çagdas Kahriman – Rear window, 2009-2013, 6:00
Tahir Ün – The Game, 2013, 00:02:56
The Curator
Tahir Ün
Tahir Un was born in Turkey. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts.
He gives lectures in photography and multimedia essay in the Communication Faculty of Yasar University, Turkey. Tahir Un is currently active in photography, moving image and curatorial works. He lives in Izmir.
Some Video/Film Awards & Distinctions:
2017 – FATHER TONGUE, awarded for “The Film With Most Profound Message”, Uhvati Film Festival, NOVI SAD.
2014 – THE GAME, TOP 10 Selected by jury of the Facade Videoart Festival, PLEVEN.
2012 – POSE, best videoart prize, 14th. International Panorama of Independent Film and Video Makers, PATRAS.
2012 – FACIAL PERCEPTION, 2nd prize for experimental video section, International SnapFilm Festiwal, KRAKOW.
2006- DISTRESS IN THE CITY is selected for Rhizome Artbase Collection, NEW YORK.
Artists:
1
Gökçen Dilek Acay – Lenin/2010/3:29
There have been many people who have changed world history. They’ve stopped time, fast forwarding and deforming it. By time, many phenomenon and ideology gave their places to names and symbols while losing their importance and value. I was lucky to be in East Germany where I found a Lenin statue near a Russian Casern near Weimar. This statue was clean and re- polished although the buildings nearby were demolished and torn apart. I knit a nearly 4 meter long rug with phosphorous colors and decided to cover the statue with it. There is an ideological illusion that remains.
Gökçen Dilek Acay
Born in Istanbul, in 1983, Gökçen Dilek Acay, studied music major violin at the Yıldız Technical University Istanbul (2009) and attended master program in fine arts, at the Bauhaus University Weimar (2012). She worked with the dancers, musicians, visual artists and participated several group exhibitions She was Gala Artist and Performer at Watermill Center Benefit 2013 curated by Robert Wilson and guest artist in Cite International des Arts Paris in 2015 with support Istanbul Foundation for Culture and Arts. Artist got 3rd Honorable Mention of the competition of ”New Generation Young Contemporary Artists in Turkey“. She is selected artist who represents Turkey for 17th International Biennial of Young Artists from Europe and the Mediterranean in Milan 2015. She was represented at ‘Art Fair Brussels’ and ‘Contemporary Istanbul’ by NEV Gallery Istanbul.
2.
Orhan Cem Çetin – Passiflora – 2016 / 04:34 / photography and editing by the artist
This short and silent time-lapse piece shows the movements of a passiflora plant raised by the artist from a seed.
Commonly used as the source of an otc tranquilizing syrup, the plant itself seems to be very active and finally tries to string itself to an old mandolin from the artist’s childhood.
The piece was earlier shown as part of a group show titled “The Atlas of the Sleepless” at Halka Art Gallery in Istanbul in 2016, curated by Ipek Cankaya.
Orhan Cem Çetin
A self taught photographer, Çetin was born in Istanbul in 1960. He graduated from the Department of Psychology at Boğaziçi University, Istanbul and received his MFA degree in Visual Communication Design at Istanbul Bilgi University. He opened his first solo exhibition “Familiaria” in 1988. His work attracted considerable attention with its alternative approach to photography. Numerous solo and group shows have followed ever since. Orhan Cem Çetin is recognized for his focus on a conceptual and interdisciplinary approach to visual arts.
Today, Çetin earns his living as a visual artist, a photographer, a consultant on photography and photographic technology, and as a lecturer, currently teaching at Galata Academy of Photography and Bahçeşehir Uni. Dept. Of Photography and Video. His personal works, essays, and critiques are published in various printed periodicals as well as e-zines. In 2000, Orhan Cem Çetin released a mini-album, Renk’arnasyon and his book, Bedava Gergedan (Rhino for Free), a black humor collection of photography and literature was published in 2004.
3.
Ali Demirtaş – Vision, 2018 / 02’30”
Director: Ali Demirtaş / DoP: Ayşe Nur Gençalp / Art Director: Dila Kuvvetli
Short Synopsis: vision examines the traumatic aspects on humanbeings of media environment with a young man watching a TV. This young man watches a TV at home and zapping not so often. He continues watching different kinds of programs without any reaction. When the pen he plays gets broken, he gives a really abnormal reaction on it. His response should be observed in the sense of media informations, against our daily abnormal and traumatic reactions.
Ali Demirtaş
was born in Turkey in 10th of April 1996. He still studies in İstanbul Arel University Faculty of Communication Department of Journalism with %100 succes scholarship. He educated on cinematography in İstanbul Media Academy for 8 months. During this time he also made experimental and fictional works; a single plan named “Bakış”, a music clip named “Kaçış” and a short movie named “Diyalog”. He wants to work on the subjects like “disability, criterion, communication” in the area of cinema. All literary and short movie works of him are collected and published by him on his blog named “momamijournalist”.
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Beste Erener – SATURN, 2018/ 4’24’’ – /1920×1080/16:9 video animation
Sound: A. Devrim Güçlü & Beste Erener
Saturn is an experimental video-animation, which unfolds an allegoric story on the Lacanian ‘Father-law’. The Big other, or the structure that envelops us within the language, hijacks our desire and fills it with its own phantasies. These phantasies appear in the narratives of nations, moral doctrines and capitalistic success stories. The character Saturn in the animation is inspired by Goya’s infamous painting: “Saturn Devouring His Son” which refers to the Greek myth Cronus or Saturn in Roman myth. The 3D environment is created with Blender and Make Human. This environment is overlapped with real city shots from Istanbul in some scenes.
Beste Erener
Turkey based visual artist. She graduated from Marmara University, Faculty of Fine Arts in 2003 and continues her studies at the University of Applied Arts, Vienna, digital arts department. She joined several group exhibitions and social projects in Istanbul, Vienna, Salzburg, Izmir and Athens. In the last years she is working consequently on the field of 3D animation and developed here a unique style, where she transforms concepts of classical analog painting into this time based virtual medium.
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Murat Germen – Emerging talent / 2017 / 5:03
Murat Germen / The prevailing economic system internalizes, consumes and finally depletes almost everything; even opposition, resistance… Permanency, durability, sustainability are not desired qualities anymore; the quicker any object or subject disappears from the scene to be replaced by a new “cool”ness to be consumed next, the better!
Murat Germen
is an artist using photography as an expression / research tool. Born 1965, he currently lives / works in Istanbul and London. Has an MArch degree from Massachusetts Institute of Technology, where he went as a Fulbright scholar and received AIA Henry Adams Gold Medal for academic excellence. Works as a professor of art, photography and new media at Sabanci University in Istanbul. Having many papers, photo series published on architecture / photography / art / new media in various publications; he has lectured at tens of conferences internationally.
6
Çağdaş Kahriman – Fenêtre sur cour / Rear window, 2009-2013, 6 min
The last years of a tree in city, photographed through my windows between 2009 et 2013
Çagdas Kahriman’s
works are rooted in everyday observations, but push beyond them to reveal latent aesthetic, socio-political, or even metaphysical realities. Her characteristically intricate visual sensibility conceals a tension between the referential possibilities of images and the choreographic nature of their agencement in context. She combines drawings, collages, animations and videos. This mixed and hybrid practices require different approaches to evoke the ambivalence of perception by playing with notions of distance and reversals. She is sensitive to the unassuming nature of everyday interactions, uninteresting details and through subtle means examines the notion of individual agency as it plays out within common ideals, models of authority or processes involving manipulation and power. Kahriman transposes everyday life experience with other temporalities to reveal the social conditioning, latent violence of practices and normative processes.
7
The Game / 2013 / 00:02:56
Mardin is an ancient city of Mesopotamia Coombe and nearest to the border of Syria. The city is established above the hill and some border villages can be viewed from. The civil war in Syria has been effective economically as well as socially in southeastern Anatolia because of the affective commitment between the peoples. The Syrian immigrants more than 2 million came to Turkey during the Syrian civil war. They fight a lot of problems in their new home. Nowadays, Maybe someday, the children will establish peaceful World who share the pain.
Tahir Ün
was born in Turkey. He holds a BA degree from Language and History-Geography Faculty of Ankara University, where he studied History of European Arts. He gives lectures in photography and multimedia essay in the Communication Faculty of Yasar University, Turkey. Tahir Un is currently active in photography, moving image and curatorial works. He lives in Izmir.
selecting - Eija Temisevä , Kristina Frank, Coalfather Industries, Albert Merino, Lisa Birke, Emma Zukovic
WOW – Earth Games – 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
virtually by complementing this through online features between 26 December 2019 and 31 January 2020.
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Video
the solo feature of a feature of video art from Ethiopia curated by Ezra Wube for Addis VideoArt Festival 2015, entitled: Grounded in Movement, including
1st Addis Videoart Festival 2015
Grounded in Movement – videoart from Ethiopia
According to Einstein’s unifying law, a continuos transformational cycle between mass and energy must occur for anything to exist.
Addis Ababa is in the midst of massive transformation. It is expanding drastically with over a quarter of its current residents relocating to newly built neighborhoods. As old communities are disappearing new ones are forming. Echoing the current state of the city, these videos examine the paradoxical unity of movement in energy and its relationship to stillness.
How does one negotiate these shifts? What is the axis of time in the frame of the past and the present? How does one cope with the familiar and the unfamiliar? How does one endure a consistent belonging while everything around it is in transition?
The artists
Berhanu Ashagrie – “The-City-is-The-People” 7:21 min., 2013
Betelhem Makonnen – (w)here is here, 2014, 02:35
Helen Zeru – Inside Out, 2014, 4:17
Helina Metaferia – The Newest Flower, 07:48, 2015
Maranata Tegegne – My Backyard, 2011, 1:00
Martha Haile and Noregard – You can’t eat money, 2014, 10:05
Miriam Haile, Tigrinya Wealth – 2015, 09:38
Mulugeta Gebrekidan – Inside Out, 2013, 2:58
Naod Lemma – 360 Birtukanoch/ 360 Oranges, 2015, 14:57
Robel Temesgen – Semone Himamat/ Holy Week, 2015, 2:01
Yacob Bizuneh – Circle and Hollow, 2013, 3:19
a screening program with the special focus: AFRICA, including
the official launch of the brandnew video collection, entitled:
The 1 Minute Before 12 Memorial
Tova Beck-Friedman, Wilfried Agricola de Cologne, Pierre, Avajon, Alina Vasilchenko, Yarik Z, Fran Orallo, Kate Walker, Julio César Guzmán Villarpando, Johannes Gerard, Uri Kloss, Jonas Ersland, Dmitry Kmelnitsky, Maureen Bachaus, Isabel Perez del Pulgar, Caryn Kline, My Name is Scot, Savio Leite, Carolin Koss , David R. Burns, Gwendolyn Audrey Fosterm Xia Han, Alan Sondheim, Claudia Borgna, Ausin Sainz, Andrea Torrice, Kristina Frank /Mervi Kekarainen, Moshe Vollach, Irena Paskali, Susanne Wiegner, Adrien Gaumé, Oleg Kharch, Gabrielle Lenhard, Marie-Paule Bilger and Jean-Baptiste Friquet, Lino Strangis , Gabriele Stellbaum, Ana Isabel Martén, Arie Sigal & Ben-David Sigal, Kim Maree, Oliver Ressler, Laura & Sira Cabrera, Farid Hamedi, Brit Bunkley, Adrian Regnier, Karin Till, Lisi Prada, Renata Renata Padovan, Dee Hood, Stephen Nachtigall, March Schagen, Boris Marinin, Maria Korporal, Zlatko Cosic, James Murphy, Stine Gonsholt, Lana Z. Caplan, Michael Carmody & Elissa Goodrich , Mikey Peterson, Krzysztof Rynkiewicz, Ronnie Sluik, Xavier Leton, Jean Michel Rolland, Müge Yildiz, Michael Spahr, Monika Zywer, Studio Third World Collective, Tatiana Zubchenko, Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala, Julie Stephenson, Radhika Vyas, Ravin Vyas, Ramesh Vyas, Nance Davies, Patricio Ballesteros Ledesma, Timo Kahlen, moltamole, Lauren Bikerdike, Le Tuan Huang, Dide Akseymen aka Isobel Siemmond, John McVay, Methas Chantawongs, Guilaume Chappez, David John Charles de la Haye , Elissa Goodrich, Daniel Blinkhorn
1 Minute Before 12 Memorial
http://wake-up.engad.org/the-1-minute-before-12-memorial/
The Wake Up! Memorial is adding a new commemorative site focussed on preserving the natural environment on Earth for future generations.
Artists working with audio-visual media were invited to submit works in order to sensitize the open-minded viewer.
As a term or catchword, “Climate Change” is ambivalent – it describes a process, development or state which can be reversible, as well as irreversible – reversible, this includes for an individual the option to take personally influence on one’s environment and prevent actively “the climate change” as an irreversible process or state – irreversible, it is too late to take any influence, and “climate change” means nothing else than the “Last Days” (of humanity, of the natural environment, the world as we know, etc). One has to accept the inevitable destiny. In its widest sense, “climate” can be understood as “environment”.
Wake Up! – Climate Change!
Open the project here
The list of contributors
Wilfried Agricola de Cologne (Germany) – Dawn, 2017, 6:40
Pierre Ajavon (France) – Forever Change, 2019, 2:50
Maureen Bachaus (NL) – The end or the beginning, 2013, 1:37
Patricio Ballesteros Ledesma (Argentina) – Never Stop Sowing, 2018, 11:54
Tova Beck-Friedman (USA) – Gaia Regards Her Children, 2017, 2:46
Marie-Paule Bilger and Jean-Baptiste Friquet (France) – Conversation, 2019, 3ʼ51
Claudia Borgna (Italy) – L’ultimo Accordo I, 2016, 06:05
Brit Bunkley (New Zealand) – Pillard of Cloud, 2016, 4:00
David R. Burns (USA) – Aśānti (Discomfort) Wake up!, 2019, 02:10
Laura & Sira Cabrera (Spain) – Climate Dementia, 2019, 3:51
Lana Z. Caplan (USA) – Canaries in the Mine, 2015, 8:19
Michael Carmody & Elissa Goodrich (Australia) – Common Time, 2018, 12, 23
Zlatko Cosic (Bosnias) – Even Birds Know It, 2019, 2:55
Nance Davies (USA) – ‘Fugue (a storm is blowing from paradise), 2016 , 3:39
Silvana Dunat (Croatia) – The skies will always be above , 2019, 3:25
Jonas Ersland (Norway)- Glacier Sans, 2019, 2:37
Gwendolyn Audrey Foster (USA) – Memento Mori, 2017, 6:34
Kristina Frank /Mervi Kekarainen (Sweden) – 2Rabbits in Purgatorio, 2019, 05:11
Adrien Gaumé (France) – Dry by innocence, 2018, 4’53”
Johannes Gerard (NL ) – . Constantly Floating – So Rising, 2019, 5:20 min
Stine Gonsholt (Norway) – Test 4.1, 2017, 6:12
Julio César Guzmán Villarpando (Bolivia) – The Positive Value Of Powerlessness, 2019, 05:20
Farid Hamedi (Rohina) (Iran) – A Chair For All, 2019, 7:44
Xia Han (China) – The Gift, 2019, 14: 23
Dee Hood (USA) – Game of Chance, 2019, 2.02
Oleg Kharch (Ukraine) – Fakemet, 2019, 3:46
Caryn Kline (USA) – Butterfly Disaster, 2019, 00:06:50
Uri Kloss (Israel) – Word, 2017, 1:29
Dmitry Kmelnitsky (USA) – URTH LING, 2019, 3:43
Maria Korporal (Netherlands) – Emergency Call, 2019, 5:19
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Fenia Kotsopoulou (Greece) – On the streambed, 2019, 03:43
Savio Leite (Brazil) – Lacrimosa, 2019, 3:00
Gabrielle Lenhard (USA) – Flower Pwr, 2019, 00:02:56
Xavier Leton (France) – Uncovered Earth, 2019, 2: 36
Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala (Greece) – IMPRINT, 2019, 3:10
My Name is Scot (Canada) – Anthropocene Antiphony, 2017, 1:00
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Ana Isabel Martén (Costa Rica) – Compass 1, 2019, 4:23
James Murphy (Ireland) – Moving Water, 2019, 1:59
Stephen Nachtigall (USA) – Yellow Forest, 2019, 7:34
Fran Orallo (Spain) – Death Dance, 2017, 1:00
Renata Padovan (Brazil) – Aral Mermaid, 2015, 4:12 // The Scale of Desaster, 2013, 9:41 // The Voices of the Upper rio Negro, 2019, 3:21
Irena Paskali (Macedonia) – 2202m, 2018, 2:36
Isabel Perez del Pulgar (Spain) – Horizon, 2019, 5:08
Mikey Peterson (USA) – Gloriosa Superba, 2019, 3:52
Lisi Prada (Spain) – ELECTRonIC water, 2013, 3:14
Adrian Regnier (Mexico) – Y., 2016, 5’00”
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2019, 10:00
Jean-Michel Rolland (France) – Waste, 2018, 4:08
Ruzan Petrosyan (Armenia) – Wash My soul , 2019, 5:31b
Krzysztof Rynkiewicz (Poland) – The 5th Season, 2019, 4:23
Ausin Sainz (Spain) – Today, 2019, 5:00 // I Like to Fly, 2019, 1:12
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Alan Sondheim (USA) – American Life, 2018, 6:03
Ronnie Sluik (NL) – ronnie s attempts green animist genderfriendly artistic research, 2019, 1:43
Michael Spahr (Switzerland) – Remember Civilization…?! Part Two – The Drought, 2019, 1:43
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Lino Strangis (Italy) – DREAMLIKE OF A PRESENT FUTURE, 2019, 4’49”
Studio Third World Collective (India) – Watermark 1# SOS, 2017-2018, 2:00
Karin Till (Australia) – song of elements, 2015, 9:28
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Alina Vasilchenko (Russia) – The Crows, 2014, 3min 30
Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
Radhika Vyas, Ravin Vyas, Ramesh Vyas (India) – Panchtatva via Canvas, 2019, 1:44
Kate Walker (USA) – Cloudship, 2018, 14:33
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46 // Melting Fields, 2018, 8:16 //Listen 2019, 3:20
Müge Yildiz (Turkey) – Praise of ther Jellyfish, 2016, 3:42
Yarik Z (Russia) – In Search of Lost Time, 2017, 5:55
Tatiana Zubchenko (Ukraine) – Genus. Code Unsealing. , 2019, 3.15
Monika Zywer (Poland/Germany) – Arctic Holiday, 2019, 00:01:29
The Refugee Film Collection – special selection 01
VIP – VideoChannel Interview project – selected interviews 01
NewmediaFest2020 – WOW Jubilee 01 – PDF catalogue
