Networked art via networked curating
curated by Marisa Caichiolo
DIVERSEartLA is back with a new ecological lens. Curated by Marisa Caichiolo, this year’s edition will examine not just how the environment is represented in art, but how humanity’s place in the world is depicted. This exhibition will open up an important dialogue about the Earth’s past, present, and future, uniting the community around discussions of the global climate crisis and potential solutions.
“One of the most powerful things about art is that it brings people together, and transforms the way we communicate. The goal of DIVERSEartLA 2022 is to view this sector of art within the show through ecological glasses.
This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations, designed to inspire artistic appreciation and the desire to respond to environmental challenges – reinforcing the value of translating environmental advocacy into art.
video by Eric Minh Swenson –>
The installations, immersive experiences, and performances represent our present day and the looming impact we will all face if the planet continues to warm. DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions.” – Marisa Caichiolo
Our engagement with museums and institutions this year includes projects with Dox Contemporary in Prague/Czech Center New York and The General Consulate of The Czech Republic in Los Angeles; MUSA Museum of the Arts of the University of Guadalajara and MCA Museum of Environmental Science; MUMBAT Museum of Fine Arts of Tandil & Museum of Nature and Science Antonio Serrano of Entre Rios, Argentina; Museum of Nature of Cantabria, Spain; Skid Row communities; Torrance Art Museum; Raubtier Productions & Unicus.
images by LA Art Show
curated by Max Presneill
https://www.torranceartmuseum.com/memorial-future
video by Jason Jenn and Vojislav Radovanović –>
Max Presneill
is an artist and the Director / Curator of the Torrance Art Museum, a small contemporary art museum in Los Angeles, as well as the Curatorial Director for Artra Curatorial. He is the Co-Founder of Durden and Ray (2009-present), a collaborative artists group and gallery in LA as well as the Founder and former Director of Raid Projects (1999 – 2009).
Daniela Soberman photo by Genie Davis
Daniela Soberman
Serbian-American artist
(b. 1976 Downey, California; lives and works in Los Angeles).
First generation American and daughter to immigrant parents from former socialist Yugoslavia, Daniela grew up making regular visits to Eastern Europe/Yugoslavia (pre and post civil-war) where brutalism and socialist avant-garde became foundational to her DNA and now regularly show up in her work. Daniela explores themes of unconventionalism, memory, and the shared human experience.
Soberman also has a small / large cult following for her published books [which are carried at the Smithsonian].
curated by Wilfried Agricola de Cologne
Networked art via networked curating
Marisa Caichiolo – Max Presneill – Sue-Na Gay – Kisito Assangni – Wilfried Agricola de Cologne
LA Art Show 2022- DIVERSEartLA section
Torrance Art Museum presents Memorial to the Future, a collaborative installation – curated and co-authored by Max Presneill of the Torrance Art Museum. The large-scale sculptural object created by Daniela Soberman, which houses open-source photographic elements and the video components by curator Wilfried Agricola de Cologne contributing a curated program of international video artists.
Memory of the Future?
program – curated by Wilfried Agricola de Cologne
original duration – 107 minutes
selected artists
Tova Beck-Friedman (USA) – Arrogance, 2021, 3:03
Laura & Sira Cabrera Diaz (Spain) – Between Species, 2021, 9:16
Wilfried Agricola de Cologne (Germany) – Oaktown, 2019, 17:00
Renata Padovan (Brazil) – Scale of Disaster, 2013, 9:40
Ian Gibbins (Australia) – Ferrovores, 2021, 5:30
Mikey Peterson (USA) – Gloriosa Superba, 2018, 3:51
Claude Ciccolella (France) – Under the Golden Leaves, 2021, 8;50
Ebba Jahn (Germany) – Along Thorns, 2021, 3:21
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2020, 10:26
Elena Vertikova (Poland) – Under Certain Circumstance, 2021, 3:00
Abdoul-Ganiou Dermani (Togo) – Keke, 2021, 5:00
Susanne Wiegner (Germany) – Melting Fields, 2019, 8:35
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
Susanne Layla Petersen (Denmark) – The End of The World As We Know It, 2021, 4:25
Jean-Michel Rolland (France) – Vaches:Decoupage, 2021, 3:46
40 minutes short cut of the original video program–>
Memory of The Future?
The concept of the program composition of art videos curated by Wilfried Agricola de Cologne is considering the architectural installation at Torrance Art Museum as a modular system and his curatorial contribution as one module among the others forming in its totality on one hand a curatorial artwork (among other artworks in the framework of the global artwork, the installation on its totality is representing), communicating with the other static, interactive or moving installation components.
When the viewer/visitor is sensually experiencing the installation, particularly the moving images modules, the 100 minutes running program “Memory of the Future?” is confronting the visitor with the memory of Unknown, Unexpected, the yet to come – as long as he/she is staying sensually experiencing the installation.
“Memory OF THE Future” is referring beyond that primarily to the Uncertainty of the Future of Planet EARTH and its inhabitants – the “Climate Change” they are causing. How do artists deal with the aspect of taking responsibility for each other by taking responsibility for planet Earth saving its integrity for future generations?
The selected artists – Tova Beck-Friedman (USA)- Laura & Sira Cabrera Diaz (Spain) – Wilfried Agricola de Cologne (Germany) – Renata Padovan (Brazil) – Ian Gibbins (Australia) – Mikey Peterson (USA) – Claude Ciccolella (France) – Ebba Jahn (Germany) – Oliver Ressler (Austria) – Elena Vertikova (Poland) – Abdoul-Ganiou Dermani (Togo) – Susanne Wiegner (Germany) – Kim Maree (New Zealand) – Susanne Layla Petersen (Denmark) – Jean-Michel Rolland (France) – originating from different continents and cultural backgrounds & experiences approach the aspect of transferring the memory of the already existing to the not yet existing differently. The 15 selected video works, commu-nicating with each other and the other art modules they are embedded in are sharing the memory of ideas and ideals, juxtaposing also the incompatibility of economic and ecological interests.
The curatorial contribution would like to support the architectural installation by encouraging, activating and motivating the visitor/viewer to become part of the artistic concept.
About the curator
As a cultural activist, new media artist und curator, Wilfried Agricola de Cologne (Germany)
Is also the director and founder of The New Museum of Networked Art and its associated platforms of static, interactive and moving images, including as huge collection of art videos created by international artists between 2000 and 2020. Since 2000, his artistic and curatorial works have been presented on a wide range of festivals and media art exhibitions all over the world including, Venice Biennale, Biennale de MONTREAL, Biennale of NEW MEDIA and VIDEO Santiago de CHILE, Biennale of Electronic Media PERTH (Australia), FILE Electronic Language FESTIVAL Sao Paulo. There have been successful collaborations with TAM – Torrance Art Museum in 2014, 2016, 2018, 2020 und now recently in 2022.
the video program is produced by The New Museum of Networked Art
Climate Change Now!
Memory of the Future?
Curated by Wilfried Agricola de Cologne
selected artists
Program 1
Tova Beck-Friedman (USA) – Arrogance, 2021, 3:03
Laura & Sira Cabrera Diaz (Spain) – Between Species, 2021, 9:16
Wilfried Agricola de Cologne (Germany) – Oaktown, 2019, 17:00
Renata Padovan (Brazil) – Scale of Disaster, 2013, 9:40
Ian Gibbins (Australia) – Ferrovores, 2021, 5:30
Mikey Peterson (USA) – Gloriosa Superba, 2018, 3:51
Claude Ciccolella (France) – Under the Golden Leaves, 2021, 8;50
Ebba Jahn (Germany) – Along Thorns, 2021, 3:21
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2020, 10:26
Elena Vertikova (Poland) – Under Certain Circumstance, 2021, 3:00
Abdoul-Ganiou Dermani (Togo) – Keke, 2021, 5:00
Susanne Wiegner (Germany) – Melting Fields, 2019, 8:35
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
Susanne Layla Petersen (Denmark) – The End of The World As We Know It, 2021, 4:25
Jean-Michel Rolland (France) – Vaches:Decoupage, 2021, 3:46
Program 2
Natalia Ludmila (Mexico) – Swim, swim don’t sink, 2022, 3:40
Oleg Kharch (Ukraine) – Satisfaction, 2021, 4:13
Oleg Kharch (Ukraine) – ls_it_impusar_gl, 2021, 4:22
Program 3
Ian Gibbins (Australia) – Colony Collapse, 2019, 3:54
Yossi Galanti (Israel) – Green Bag in the First Act, 2021, 4:03
Barry Whittacker (USA) – Sugar Water, 2021, 4:02
Kokou Ekouagou (Togo) – Stand Up, 2020, 1:46
Irina Paskali (Macedomia) – Two of us, 2020, 3:00
Shivkumar K V (India) – Being Back to Nature, 2020, 4:07
Marcus Keim/Beate Hecher (Austria) – Pangäa, 2020, 13:00
Pierre Ajavon (France) – Lost Garden, 2018, 4:16
Mikey Peterson (USA) – Through The Rift, 2021, 6:58
Dee Hood (USA) – The Powers That Be, 2022, 2.29
Alina Vasilchenko (Russia) – The Tree, 2020, 1:23
Aaron Oldenburg (USA) – Nightwalk, 2021, 1:00
Vanessa Cardui (Germany) – Nature Dance, 2021, 1:00
Zlatko Cosic (Bosnia) – The Lungs, 2022, 5:00
Brit Bunkley (New Zealand) – a) Pillar of Fire, 2021, 6:59
Gioula Papadopoulou (Greece) – When I was the Moon, 2020, 6:10
Program 4
Albert Merino (Spain) – Memories of Detachment, 2021, 18:00
Renata Padovan (Brazil) – The Scale of the Disaster, 2013, 9:41
Jeremy Newman (USA) – The Dreaming Biome, 2020, 8:00
Moshe Vollach (Israel) – “31 Cubes” – A land art project, 2013-2016, 8:35
Caspar de Gelmimi (Germany) – Life in the future, 2020, 4:50
Maria Korporal (Netherlands) – Thinking with my Knee – original: Denken mit dem Knie, 2021, 1:49
Dee Hood (USA) – Ghost Forest, 2020, 3:46
Laura & Sira Cabrera Diaz (Spain) – Sintonizar con la Natura / Tune in to Nature, 2021, 9:43
Vanessa Cardui (Germany) – The green thread, 2021, 6:38
Ian Gibbins (Australia) – floodtide, 2018, 8:00
Susanne Wiegner (Germany) – Bellevue, 2020, 7:00
@ Alphabet Art Centre
Artists
Wilfried Agricola de Cologne (Germany) – Oaktown, 2019, 17:00
Agricola de Cologne (Germany), OAKTOWN – on climate activism, 2019, 17:00
The video is demonstrating how the future generation is facing its future – by preserving the natural environment as the living habitat for mankind. Oaktown @ the Hambach Forest is standing as a symbol for many other attempts in all parts on the globe to sensitize people and public opinon.
Oaktown @ Hambacher Forst
The Hambach Forest, which is located between Cologne and Aachen in North Rhine-Westphalia, is one of the oldest and last primary forests in Central Europe. It has been in existence for 12,000 years, which is exceptional. At one time the forest was 5,500 ha in size. Now there are only 1,100 ha left, the rest having been destroyed by the RWE (Reinisch-Westfälisches Elektrizitätswerk) and by opencast lignite mining. For activists living in the forest, it is not just a question of protecting the forest, it is also a question of climate change, health, relocation, expropriation and who makes the decisions.
For Wilfried Agricola de Cologne who grew up in 60ies and 70ies of 20th cenrtury, Martin Luther King’s human rights activism is standing at the beginning of the movememt which manifesting iiself these days in the diverse form of climate activism. The three songs written and performed by Marvinn Gaye stand for the spririt of activism via non-violent resistance.
Pierre Ajavon (France) – Lost Garden, 2018, 4:16
When the universe will become the ultimate computer…
Pierre Ajavon
is a French visual artist, composer and musician.After studies in Ethnomusicology and Sociology with a focus onpsychedelic culture, he embarked on a long musical journey as a composer, arranger and multi-instrumentalist and expanded into media art when he saw the possibility of bringing the sound and moving image together.
Mixing electronic music, psychedelic rock and field recordings for his musical research, he hinges his musical thought on postmodern visual aesthetics which draw references from psychoanalysis, surrealism, psychedelia and the pop-art artistic movement. Pierre Ajavon lives in Paris and exhibits internationally.
Tova Beck-Friedman (USA) – Arrogance, 2021, 3:03
Titled ARROGANCE, the video-poem touches on climate change, pointing a finger at us, human beings, for the destruction on the planet. Both, Poem and video, are by Tova Beck-Friedman
Tova Beck-Friedman
is an artist, a filmmaker, & a poet. Her work fuses poetry and moving images to create cine-poems, that have been shown in festivals, museums and galleries including: The International Artists’ Museum, at the 50th Venice Biennale; The National Museum of Women in the Arts, Washington DC; The Jerusalem Cinematheque; The Newark Museum; The Norwegian Short Film Festival@ Grimstad; International Short Film Festival Detmold, Germany; Pärnu International Film Festival, Estonia;The Poet House, NYC; Ó Bhéal International Poetry-Film Competition; International Video Poetry Festival / Athens, Greece and The Film and Video Poetry Symposium, Los Angeles.
Brit Bunkley (New Zealand) – Pillar of Fire, 2021, 6:59
“Pillar of Fire” uses its biblical reference as a metaphor for catastrophic climate change. The video is a montage of landscapes, ranging from an abandoned mesa top pueblo to the cold war era “iron cross” Corona Satellite Calibration Target ruins in Arizona.
Deer, including the extinct Père David’s deer*, walk, jump and run through these landscapes, while leaping into a black void. Finally, the New Zealand “Bridge to Nowhere” animation clip, floating in this empty void, segues into an archetypal New Zealand Forest landscape.
A trip that I took to the Southwest US in 2021 brought home the urgency of action necessary to tackle this impending proto-apocalyptic challenge. We were surrounded by near and distant wild fires in a year of endemic climate anomalies, only to soon return to the apparent tranquility of New Zealand.
Brit Bunkley
International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019 and Kasseler Dokfest also in 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021, Czech Republic. Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around” at Taipei, Taiwan, “Sculpture on the Gulf 2019”, Auckland , NZ, the 2021 National Contemporary Art Award, Waikato Museum, Waikato, NZ and at the Auckland Botanic Gardens 2021.
Laura & Sira Cabrera Diaz (Spain) – Between Species, 2021, 9:16
It is a contribution to biodiversity. Human beings reject our own animal nature and we are destroying animals and the habitability of the planet every day. We are in a fracture of history that wants to banish the anthropocentrism of culture to connect without hierarchies with all living beings, with all vital forces for diverse interconnections. A passage to another
paradigm. The images of the video are produced by a mixture of techniques, it is also, like the content, a hybridization, an interconnection of drawing, sculpture, filming, reality, surreality and animation.
Laura & Sira Cabrera Diaz (Spain) – Sintonizar con la Natura / Tune in to Nature, 2021, 9:43
– About admiration for all life on the planet and fear of our own self-destruction. This video proposes to open up to the natural world, to other species, to natural phenomena. Open our senses, immerse ourselves, respect and change our relationship of predatory exploitation with Nature. Look for a horizon towards the echoes of life. Listen and harmonize your own life course with the universe. Feel our interconnection with the natural world. It tries to bridge the gap between human beings and nature by immersing ourselves in it, as one more living being, and generating a common space between species.
Laura Cabrera Díaz and Sira Cabrera Díaz
were born in Cáceres, Spain, in 1947.They are twins. Both have degrees in Fine Arts from the Complutense University of Madrid. Laura also studied sculpture and engraving in Buenos Aires at the Prilidiano Pueyrredón and La Cárcova Schools. And they have dedicated themselves to the teaching of Plastic Expression in Institutes and in Teaching at the same time that they made exhibitions of painting, sculpture and engraving. Since 2009 they have made 38 pieces of video art and have participated in more than 100 international video art festivals.
Vanessa Cardui (Germany) – The green thread, 2021, 6:38
A piece of thread is cut off again and again from a ball of wool until almost nothing is left of it and in the end, life only hangs on a very thin, short thread. The pictorial metaphor of the increasingly smaller ball of wool shows the finiteness of our natural resources. Everything is connected to one another by the same green thread. The same thread that
shapes the planet also draws the silhouette of man and gives him its shape. So basically we are all hanging by the same thread that holds us and the world together. When man cuts off something from the great ball of wool on his planet, he ultimately cuts himself too, and everything he does to the planet, he ultimately does to himself.
With the animation film the artist creates awareness for our actions and shows the meaningfulness and ultimately the necessity of climate protection in a sensual way. And despite the severity of the problem, she opposes a lightness and aesthetic that makes a positive rethink possible.
Vanessa Cardui (Germamy) – Nature Dance, 2021, 1:00
Flowers, leaves and branches are dancing in a circle. But the idyll of nature images is acoustically sawn in half by industrial noises and machine rhythms – the harmonious image of nature is falling apart – The natural cycle comes to a standstill.
Vanessa Cardui,
born in 1987, is a Berlin based video artist. She studied art at university Hildesheim in Germany and in France. Her work is characterized by artistic metamorphoses. She transforms objects into pieces of art by exploring the different techniques of animation to bring the objects to life. She works with meaningful color contrasts and creates an imaginative world that arises from the texture of the material.
Claude Ciccolella (France) – Under the Golden Leaves, 2021, 8:50
Paradoxical, ecstatic and consumerist approach to nature, bathed in predictions and visions from 1970 to 2018, and tinged with black humor. Music from Persian Surgery Dervishes by Terry Riley and “Feels Like We Only Go Backwards” by Tame Impal ….
Are we at the dawn of the sixth extinction?
Different facts coated with transformed, distorted, accumulated images. Filmed at Parc Borely, Marseille / France
A 3-part video with throughout inclusions, alerts and reminders from public figures, Commander Cousteau, Haroun Tazieff and Robert Watson from 1970 to 2018 on the danger of pollution and global warming. First part: questioning on the sixth extinction, mosaic images, color overlays, unreality, idealized nature, its eternity in question …
Second part: animals, seagull, nutria, ducks, water and trees seem to communicate, documentary form, image of reality, of protected nature …
Third parts: cinema in rupture where the musics collide and break the pleasure of the contemplation of the image, the perception is suspended and interrupted, to resume its course until the conclusion. I moved away from the sea to get closer to the land. The urban tree is now considered an urban good, a source of ecosystem services and of public and general interest.
Claude Ciccolella (France) Realization of 31 videos with themes : disappearance, color, video material, entropy, antimatter, String Theory, improvisation, existentialism
Zlatko Cosic (Bosnia) – The Lungs, 2022, 5:00
A reflection upon the climate crisis, deforestation, and the devastating damages to the lungs of the Earth.
Zlatko Ćosić
is a video artist born in Yugoslavia whose work includes short films, video installations, theater and architectural projections, and audio-visual performances. Ćosić’s experience as a refugee influenced and shaped the content of his early artistic practice. His work began with the challenges of immigration and shifting identities, evolving to socio-political issues connected to injustice, consumerism, and climate crisis. Ćosić’s artwork has been shown in over fifty countries in exhibitions such as the Contemporary Art Museum St. Louis, Ann Arbor Film Festival, Video Vortex XI at Kochi-Muzeris Biennial, St. Louis International Film Festival, Alchemy Film and Moving Image Festival, /si:n/ Biennale, Institut Für Alles Möglische, and the Research Pavilion at the 57th Venice Biennale.
Abdoul-Ganiou Dermani (Togo) – Keke, 2021, 5:00
The video “keke” (Bicycle) was shot in the city of Amsterdam in the Netherlands. Amsterdam is well-known for its numerous bicycles at every corner of the city. The video is about the use of bicycle in the city and its positive impact on the environment.
Abdoul-Ganiou Dermani
was born in Togo and currently lives in Stuttgart (Germany). Graduated from the College of Arts and Crafts in Kpalimé (Togo), his artistic practice encompasses painting, drawing, mixed media, photography and video. His exhibitions include the IV Bienal del Sur in Caracas, Venezuela (2021); OSTRALE Biennale O21 in Dresden, Germany (2021); 7 th International Biennial of Performance in Bogota, Colombia (2020-2021); LagosPhoto Festival in Lagos, Nigeria (2020); 13 th Havana Biennial/ FIVAC Festival in Cuba (2019); 18 th Asian Art Biennale Bangladesh in Dhaka (2018); NSK State Pavilion at the 57 th Venice Biennale in Italy (2017); Time is Love.10 at ZKM Museum in Karlsruhe, Germany (2017); Ephesus Video Art Program at Pera Museum in Istanbul, Turkey (2016), among others.
He has earned numerous prestigious awards for his work, including the Honor Award at the 7 th Geoje International Art Festival 2021 in South Korea; Artfacts Performance Award 2019 and 2020 in Berlin, Germany; Finalist at the Global Art Awards 2018 in Dubai, UAE; Best Video Art Prize at the 17 th International Film Festival “Zoom-Zblizenia” 2014 in Jelenia Gora, Poland.
Kokou Ekouagou (Togo) – Stand Up, 2020, 1:46
STAND UP performed here by Visual Artist Kokou Ekouagou to denounce climate change, spiritual and physical pollution of our environment.
We all think that we live healthily while forgetting the essential, the environment which surrounds us and which is vital to us which we leave without care.
Plastic waste greatly influences the living environment and its enormous and multiple consequences range from the environment to human health. Fighting against plastic pollution is Fighting against reproductive problems, cardiovascular diseases, cancer and malformation, malaria etc… For a healthy body in a healthy environment, STAND UP now!
Kokou Ekouagou
was born in Lomé,Togo. He studied at the University of Lomé and was trained in Cultural Management by Goethe Institut. His work is trans-medial encompassing painting, sculpture, photography, video, performance and installation. His visual practice weaves stories and visual histories, which comment on the idea of identity and multicultural principle. His research projects are propelled by a desire to reflect on the classifications and constructs of everyday reality.
Ekouagou has exhibited at Torrance Art Museum, Los Angeles; ZKM Museum, Karlsruhe (Germany); Guangzhou Live (China); Marrakech Biennale (Morocco); Ben Uri Museum, London; Sobering Galerie, Paris; HANGAR, Lisbon among others.
Yossi Galanti (Israel) – Green Bag in the First Act, 2021, 4:03
The plastic bag and the worldwide efforts to reduce its use have become prominent symbols of the fight for protecting the environment. In the summer of 2021, a vast wildfire burned a large forest area in the Judean Hills nearby Jerusalem. The hot weather contributed to the blaze, while the investigation suggested it was arson. The encounter between the plastic bag and the forest, which also has the role of the stage, is a starting point for visual research on altered landscapes. The visual language employed ranges from strait, static shots to more complex ones constructed in a photomontage fashion to convey the complexity of human\object\nature interactions
Yossi Galanti (b. Jerusalem, 1965)
He is a senior lecturer of digital photography and video editing at the Hadassah Academic College, Jerusalem. Yossi has participated in numerous group exhibitions and film festivals in Israel and abroad and had several solo shows. Recent festivals include, */ 17th Athens Digital Arts Festival | Tactus, 33 Girona Film Festival, Bordeaux Shorts International film festival, Video Art Miden Festival, CineToro Experimental Film Festival, III Muestra de Video Arte Faenza 2020.
His works are in private and public collections including: The Israel Museum and the
Tel Aviv Museum of Art.
Caspar de Gelmimi (Germany) – Life in the future, 2020, 4:50
Life in the future is a part of a project by a Finnish Film Student Club (Kino Club Helsinki). It was made with help by german Research Instituts for Biology (Humboldt University Berlin), Charité Hospital and the Alfred Wegener Institut Bremerhaven. The music was done by Caspar de Gelmini and Bernhard Range. More about the project
Caspar de Gelmini
studied after a preparatory training in composition in Berlin at the University for Music and performing Arts Rostock where he obtained his baccalaureate exam. He then studied until his Diploma Examination at the University for Music Franz Liszt in Weimar. He took postgraduate Studies at the University Mozarteum Salzburg as well as a Master degree from the State University of Music and Performing Arts in Stuttgart. During his studies he was Exchange Student at the Royal College of Music in Stockholm, at the University for Music in Basel, at the Conservatoire national supérieur de musique et de danse de Paris and at the IRCAM. His teachers majoring in composition were: Helmut Zapf, Peter Manfred Wolf, Michael Obst, Annette Schlünz, Pär Lindgren, Karin Rehnqvist, Georg Friedrich Haas, Michel Roth (music theory), Tristan Murail, Marco Stroppa, Frédéric Durieux and Hèctor Parra. He is also studying Fine Arts with focus on Video with Prof. Michael Brynntrup at the University of the Arts Braunschweig. He received several awards in the field of Video Arts. He was a finalist and winner of the Weimar Spring Festival Award (2005, 2007), winner of the BMW Composition Prize of Musica Viva in Munich (2008, 2010), winner of the Reading Panel IRCAM (Manifeste 2012; Cursus 2014) and a finalist in the OE1 Talentebörse composition prize in Austria (2013). Scholarships: Gerda and Luigi Prade Foundation, Oscar and Vera Ritter Foundation, Friedrich Naumann Foundation for Liberty, Studienstiftung des deutschen Volkes, German Academic Exchange Service. Since 2007, his works are published by Verlag Neue Musik Berlin. He worked with the Bavarian Radio Symphony Orchestra, the Ensemble Intercontemporain, Ensemble Recherche, IRCAM Centre Pompidou, Work in Progress Berlin, Ensemble Phorminx Darmstadt, Ensemble Junge Musik Berlin and many others. For some time now I have been dealing with a mixture of contemporary music and video art.This type of music has a long tradition in Germany and can be shown both in the context of a new music festival, but also at media art festivals or in galleries and museums. On the one hand, this music requires knowledge of instrumental music and live electronics, on the other hand, it requires knowledge of photography and image processing. IRCAM software such as Max Msp, Open Music and Jitter are used here. The goal is to create an interface between music and art. In this context, many courses of study such as “Sound Studies” or “Music and Media Art” were created in Germany. In my work I cooperate with scientists from the Humboldt University Berlin and the Charité Berlin and research cells with regard to their graphical, typological structures, on the other hand I deal with various plant species in the botanical garden. For this I use typological processes that are based on Bernd and Hilla Becher and their Düsseldorf school.
Ian Gibbins (Australia) – Ferrovores, 2021, 5:30
“this time, this place… beyond open circulation closed reciprocity… closed hydration spheres wrought cast smithed… this is what we are what we eat … “
Iron is the most common metal on earth. Indeed, it forms much of the molten core of the planet which in turn generates the earth’s magnetic poles. The red soils of the world are due to iron. At a biochemical level, iron is essential for human life, amongst other things, making our blood red. In the societal domain, iron is essential for manufacturing, electricity generation, and much more. Certain bacteria can derive energy for life directly from dissolved iron compounds (“rust”) rather than from oxygen as we do. Perhaps, at some time in the future, we, our descendants, the Ferrovores, may need to do the same.
Ian Gibbins (Australia) – Colony Collapse, 2019, 3:54
“I am still watching ghosts, eyes rimed with salt, homesick… this was never our natural state, our true inheritance… we should not be here…”
While walking around the Circular Key area of Sydney Harbour, I was struck by the disconnect between the crowds of people going about their current-day activities and the deep timelines of the area. Despite the urban infrastructure largely obliterating so much of what, and who, was once there, the power of natural environment remains inescapable, the precariousness of our hold on place seems obvious.
Ian Gibbins (Australia) – floodtide, 2018, 8:00
“After The Incoming, The Overflow, our future lay within the tides, no turning back, no neap, no ebb, an undertow of uncertainty and doubt… Taunting us, an illusion of normality… We have run out of options, we are battling for breath… ” How does a city cope, what does it look like, after years of drought, rising sea levels, relentless storms? Nearly every scene in this video has been composited from multiple sources. These scenes might be imaginary, but the reality may not be far off…
Ian Gibbins
is a widely published and exhibited poet, video artist and electronic musician living in South Australia. His video poetry and video art have been shown to acclaim at festivals, installations and galleries around the world. Previously, Ian was an internationally recognised neuroscientist and Professor of Anatomy at Flinders University, South Australia.
Dee Hood (USA) – Ghost Forest, 2020, 3:46
A short environmental video by Dee Hood and Sheryl Haler
(made in connection with the Rhino Project)
Dee Hood (USA) – The Powers That Be, 2022, 2.29
Thinking about the power of money, the power of nature and the power of people to make change.
Dee Hood ‘s
experimental videos have shown in over 30 countries around the world. She has received numerous awards for art videos and her political videos have been featured in The Nation Magazine’s Opp-Art section. She is a Professor Emerita, Ringling College of Art and Design, Sarasota Florida where she taught time based media as well as other studio courses. Hood received an M.F.A. in Visual Art from the University of South Florida in 1990.
Ebba Jahn (Germany) – Along Thorns, 2021, 3:21
Along Thorns is a nature-music video inspired by an utterly beautiful duet of German trombonist Paul Hubweber with guitarist Dirk Bell, both improvising on the old German folk song “Maria durch ein Dornwald ging” / “Maria walks amid the thorns”. The video images focus on thorns – a metaphor for hardship and an allusion to drought. The video’s montage has a subtle arch through seasons, a climate we would like to keep.
Ebba Jahn
graduated from the Film and TV Academy Berlin (DFFB) and has worked as a 16 mm filmmaker and cinematographer. She moved to New York City from 1991 until 2010, where she also studied towards a BA in Fine Arts. Back in Berlin she’s since 2018 focussed on creating short poetic video collages, made with original sound and contemporary music, own and found footage, photos and poetic texts. These short films, poetic music videos and poetry films are shown by intl. film festivals, video programs and in art exhibitions.
2021 the Senate Department for Culture and Europe in Berlin has awarded EJ a juried grant for female filmmakers /video artists.
Maria Korporal (Netherlands) – Thinking with my Knee – original: Denken mit dem Knie, 2021, 1:49
Homage to Joseph Beuys. During a walk in the streets of Düsseldorf, I photographed a piece of rubbish sitting on the asphalt. Later I anthropomorphised and animated it, using charcoal drawing. It changed into a spontaneously created microcosm. Transforming the waste by using associative drawing, I want to make it clear that humanity is destroying its environment. It possesses, however, also a strong creative power, which it can use to improve the world and shape the future. To quote Joseph Beuys: “The only revolutionary force is the force of human creativity.”
Maria Korporal
was born in 1962 in Sliedrecht, the Netherlands. She studied at the St. Joost Academy of Fine Arts in Breda, the Netherlands. After her studies, in 1986, she moved to Italy, where she lived and worked until 2013. Since 2014 she has settled in Berlin.
Maria Korporal’s artistic production includes video art, installations, interactive art and performances. Her multimedia work has been designed using a wide variety of techniques. Most of her projects deal with social and environmental issues, often with an ironic approach.
Her works have been shown in various exhibitions and festivals all over the world.
Marcus Keim/Beate Hecher (Austria) – Pangäa, 2020, 13:00
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
MASTERPLAN is an ambient, immersive response to climate change. Air travel is both awesome and awful in these environmentally aware times. The miracle of flight amazes me but so too does the speed at which we are filling our atmosphere with carbon dioxide and other greenhouse gases. MASTERPLAN is a carbon neutral project. All footage was sourced online and licenced for public use under a Creative Commons Licence. The sources are all acknowledged and where possible, individual videographers are credited. The original music PLANESONG is by Mrs Nevin.
Kim Maree
is a video artist and environmentalist who lives in Auckland, New Zealand. She has been creating ambient and art-related videos since 2003. She is particularly interested in using slow motion video to draw attention to aspects of our everyday surroundings that are often overlooked. Many of her videos have screened in various theatres and galleries
Albert Merino (Spain) – Memories of Detachment, 2021, 18:00
The Detachment refers us twice to material and affective, associating both emotional and physical. The Detachment may become a gesture of pain but also necessary, in the same way that the imaginaries of collapse does not necessary imply an end but a desired beginning.
In the Memories of Detachment, the Collapse is shown as the appearance of unspecific elements who will appropriate the space of the city. These elements respond to collective imaginaries that reveal us details of a society’s behaviour.
These cultural imaginaries are build based on real or manipulated images that have been agreed socially. They are direct related with the evolution of the image technologies and the capacity to record and manipulate then. Collective and social imaginaries are constructions who can articulate political narratives and serve as a justification. The real ones have been selected, and the manipulated ones has been produced and distributed as consume objects playing an important role in the construction of a tale. What role do we attribute to these imaginaries of collapse and in which way they justify the control devices? In the architecture of the collective narratives the fantastic is replaced by the possible.
The elements of the video work as metaphors of the accumulation of information and knowledge, and the rise of entropy or decay; using a plot that unveils us the contemporary scenarios of overflow.
Albert Merino
is Bachelor in Fine Arts from the Universities of Barcelona (UB) and Kunsthochschule Berlin Weißensee (KHB). His artistic work focuses in the field of Videoart. Using a hybrid language, and several graphic resources he develops a wide imagery within he intervenes and transforms reality exploring the borders between simulation and truthfulness. His subjects range from the condition of the individual in contemporary society to the imaginaries of collapse and the political use of symbols and imagesHis work has been shown in a big number of international festivals and has ben presented in institutions and museums such as Arts Santa Mònica (Barcelona), Académie de France, Palais de Tokyo (Paris), Les Abattoirs (Toulouse), MEIAC (Badajoz), Nam June Paik Art Center, Songwon Art Center (Seoul), MOCA (Taipei). In his career, it is worth highlighting the individual and group exhibitions in the Trapezio space (Madrid), Espai Souvenir (Barcelona) Alternative Loop Space (Seoul), Galleria Boccanera (Trento), C1 Espace (Berlin), CCCB (Barcelona), DIAS Kunsthal Vallensbæk (Denmark), Corner Gallery (Madrid) or the biennials of Wroclaw, (Poland) or Cerveira. (Portugal). His carrier has been recognized with several international awards.
Jeremy Newman (USA) – The Dreaming Biome, 2020, 8:00
This experimental film immerses viewers in a nature dream. Viewers watch plant and animal life in an ecosystem that appears natural, but doesn’t physically exist. Some of these elements,
juxtaposed via editing, are miles apart in actuality. The editing also imparts a visual rhythm that echoes breathing. The visuals are familiar, yet strange. They are arrived at by various editing
techniques. Ultimately, the experience is aesthetic and made visceral by digital manipulations. The surreal visuals highlight the beauty and wonder of nature, but they’re haunting. A glove
floating in water is a key image, literally pollution and symbolic of drowning. In this film, there is life, and these living things are already ghosts.
Jeremy Newman
has directed numerous documentary and experimental videos. His work is frequently shown at film festivals and has also aired on several PBS stations. He is Associate Professor of Communications at Stockton University. Newman earned an MFA in Media Arts from The Ohio State University.
Aaron Oldenburg (USA) – Nightwalk 2, 2021, 1:00
The Night Walks projects are intended to explore environmental memory, through AI “minds” that exist on the level of the landscape. On a server, the player’s actions are recorded (remembered), and Night Walks, in its various client instances, calls up this memory data and responds to it. Night Walk 2 applies date from other games to the reconfiguring of vignettes. These are composed of images traced from my own photography. The act of tracing, rather than cutting out the images, anonymizes and abstracts them. Night Walk 2 is non-interactive, a form of electronic dreaming influenced by the gameplay of others.
Aaron Oldenburg
is a Baltimore-based game, interactive and video artist. His work has exhibited in festivals and galleries in New York, Johannesburg, London, Buenos Aires, São Paulo and Los Angeles, including SIGGRAPH, A MAZE. International Games and Playful Media Festival, the LeftField Collection at EGX Rezzed, Slamdance DIG, Game On! – El arte en el juego, and FILE Electronic Language International Festival. His games have been written about in Kill Screen, Baltimore City Paper, and Rock, Paper, Shotgun. He teaches game design as a Professor in University of Baltimore’s Simulation and Game Design program.
Renata Padovan (Brazil) -The voices of the upper Rio Negro, 2019, 3:28
During a three-day boat trip along Rio Negro, towards the extreme northwest of the Brazilian Amazon forest, the complete harmony between water, jungle and sky gave me a feeling of suspension. Arriving in São Gabriel da Cachoeira I met the majority of the population of indigenous people who, despite all the white interventions in the area still keep their languages alive.
Renata Padovan (Brazil) – The Scale of the Disaster, 2013, 9:41
Traveling along the Xingu river in Para, north Brasil, I was very impressed with the grandeur of nature, and at the same time bewildered by the fact that without a reference the sense of scale is completely lost. It was only when I approached the construction of Belo Monte power plant that scale of nature became clear to me. Based on the sizes of men and machinery it became evident the immensity of the forest. The process of destruction of an intact region of forest, in the name of a doubtful progress, is what made me aware of the scale of what is being lost forever.
Renata Padovan
is a Brazilian artist living and working in São Paulo, Brazil. Graduated with a BA degree in Social Communications from FAAP São Paulo, later followed by a MA Fine Art from Chelsea College of Art and Design London. She has participated in several residency programs: 2018 | Labverde, an immersion in the Amazon; Residencia Epecuén, Argentina 2016| Seoul Art Space Geumcheon, South Korea 2014| GCC, South Korea; 2013| JKSD, Ljubljana; 2012| Arctic Circle, Norway; THAV, Taiwan; 2009| NES, Iceland 2008| Over the Fence, International winter workshop, Finse, Norway 2004| Nagasawa art park, Japan 2001| Braziers International Artists Workshop, UK; 1996| The Banff Centre for the arts, Canada. Her work has been exhibited in galleries, institutions and museums in Brazil and abroad.
Gioula Papadopoulou (Greece) – When I was the Moon, 2020, 6:10
“When I was the moon” is a single channel video which follows a surrealistic & subversive journey of the moon in familiar landscapes. What happens when the moon gets autonomous, escapes its eternal trajectory and follows a different path visiting the earth, defying all known natural laws?
Gioula Papadopoulou
is a visual artist and art director of Video Art Miden (www.festivalmiden.gr). Born in Athens (GR) in 1974. She studied Painting at Athens School of Fine Arts (ASFA) & Conservation of Works of Art (TEI Athens) and holds an MA in Digital Arts (ASFA). Her artistic practice focuses on video art. As an artist, she has presented her work in many exhibitions, site-specific projects and video art festivals in Greece and internationally. As a director/curator of Video Art Miden, she has organized/curated numerous screenings, exhibitions & events and has collaborated with significant festivals, museums and institutions globally.
Irina Paskali (Macedomia) – Two of us, 2020, 3:00
Climate change is shifting a lot in our lives. Animals in particular are exposed to these processes without protection, many animal species are threatened with extinction, bird and fish populations are declining, the dying of trees, But it is basically a give-and-take basis. Nature strikes back. Our Living conditions are getting tougher. How far do the changes go? It depends on us.
Irena Paskali
Lives and works in Cologne Germany. MFA Academy of Media Arts Cologne
Susanne Layla Petersen (Denmark) – The End of The World As We Know It, 2021, 4:25
The End of the World as we know it consists of 7 videos and 20 images, this is a screener with the videos
Filming locations were Ilulissat Icefiord, Mojave Desert, Death Valley, Grand Canyon, Muir Woods
Susanne Layla Petersen
is an interdisciplinary artist based in Frederiksberg, Denmark
Mikey Peterson (USA) – Gloriosa Superba, 2018, 3:51
From an unseen source, ominous plumes of smoke release into the atmosphere from above. Its uncanny beauty coincides with its unsettling terror, as the artificial mixes with the natural. The imagery and sound in this one-shot video are digitally manipulated, taking us into a surreal yet familiar place. A black bird cuts across this environment through the blossoming cloud and into the foreground. These two entities share the same space and time – possibly warning us of an inevitable future.
Mikey Peterson (USA) – Through The Rift, 2021, 6:58
The relationship between the information we retain and its imagery we mentally re-envision and reassemble, helps us conceptualize imperceptible events such as the slow moving catastrophe of climate change. Recalling Robert Jay Lifton’s concept of fragmentary awareness, we form surreal sequences from these visual thoughts in order to create our own narratives of the real events that are difficult to comprehend. In this video, natural imagery unfolds into a surreal cycle of destruction, death, and rebirth. The fragmented footage, taken from three coastlines in the United States, is edited into new forms – accentuating nature’s close interplay with itself and us. The soundtrack, taken from the ambient sound of the source footage, is manipulated and layered with synth drones – reinforcing the intense and uncanny relationship between memory and reality. By dramatizing these natural moments a light is cast on our environmental impact and the overall power, horror, and beauty of nature itself.
Mikey Peterson
is a Chicago-based video-audio artist and musician. His work has shown at the Museum of the Moving Image in New York City Chicago’s Museum of Contemporary Photography; Chicago Cultural Center; University of Chicago’s Smart Museum; Rome’s MAXXI Museum; South Korea’s CICA Museum; Chicago’s Zhou B Art Center, Armory Center For The Arts in Pasadena, California; Seattle’s Northwest Film Forum; SIGGRAPH Conference in Los Angeles, California, Lucca Film Festival, London’s Visions in the Nunnery, CURRENTS New Media in Santa Fe, New Mexico, STREETVIDEOART exhibition in Paris, France, Brooklyn’s Ende Tymes Festival, and the Video Art and Experimental Film Festival at Tribeca Cinemas in New York. Publications include CICA Museum’s Digital Body: New Media Art 2018; Mexico City’s Blancopop; Paris’ Stigmart 10 – Videofocus; LandEscape Art Review and Text Sound. Peterson teaches courses at the School of the Art Institute of Chicago and Snow City Arts.
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart: Limity jsme my, 2020, 10:26
This film leads us directly into the blockade of Bílina coal mine in the Czech Republic. In June 2018, climate activists entered the mine in an attempt to stop all activity there and to insist on the need to shut down climate-destructive mining operations. 280 of approximately 400 activists taking part were detained. The camera follows a group of activists awaiting deportation inside a police kettle, against the backdrop of a landscape defaced by lignite strip-mining. While the screen shows images filmed from inside a prisoner transport vehicle, we hear the voice of a semi-fictional character, reflecting on mass civil disobedience.
Oliver Ressler,
born 1970 in Austria, lives and works in Vienna. He produces installations, projects in public space, and films on economics, democracy, migration, global warming, forms of resistance and social alternatives. He has completed thirty-two films that have been screened in thousands of events of social movements, art institutions and film festivals. Solo exhibitions: Lentos Kunstmuseum, Linz; CAAC, Seville; MNAC – National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler participated in the biennials in Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Venice (2013), Quebec (2014), Jeju (2017), Kyiv (2017) and Documenta 14, Kassel, 2017 (EMST exhibition).
Jean-Michel Rolland (France) – Vaches:Decoupage, 2021, 3:46
« Vaches » is a series of 5 videos that questions our relationship to the animal world. Are we hopelessly carnivorous or is veganism the future of humanity? Will we ever be compassionate enough to give up our animality and satisfy our appetites without killing?
Cows are cut into thinner and finer slices to end up blending into a dripping texture and then disappear.
Jean-Michel Rolland
is a French artist born in 1972. A long time a musician and a painter, he brings together his two passions – the sound and the image – in digital arts since 2010. Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favorite mediums, the sound and the visual. His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.
Shivkumar K V (India) – Being Back to Nature, 2020, 4:07
Around 60 % or more of Zoonotic diseases are reaching humans in form of Viruses; these attacks were happening from medieval or primitive. The video be seen as Ecological friendly and shows to Alternate the life of this civilization, and alteration takes hundreds of years to go back to the pure state of living on Earth. Life stocks, deforestation, wildlife trade and change in climate and many in the list to trace out these zoonotic happening around the world. Nature is quite greatly, sending us messages which we always ignore or unaware to this call. We may see the depletion of Ozone, glaciers melting, water scarcity and many such to rethink to go back to revived Earth form. However, the trade of animal, its dislocation or biological loss, leading to the pandemics where every life matters in their own families. It is to be good to maintain healthy continental relations, keeping all the hold against away, and live a peaceful and sustainable balanced life within the ecosystem.
Shivkumar K V
Born 1982, A multidisciplinary artist works between Painting, Video, sculpture, installation, photography, writing etc. The themes or the concept of Art works are inspired by the surroundings or local matters, and also works on Global causes and crises which touches us. Showed work of art in International venues Like Geumgang Nature Art Biennale, Torrence art museum, Odessa biennale, ZKM museum and Ontological Museum etc.
Alina Vasilchenko (Russia) – The Tree, 2020, 1:23
The Tree”. In this film we can hear the sound that I recorded near the biggest power plant of Moscow. It is a dangerous place under electricity transmission lines, and you can never meet a living creature there, but you can hear numerous voices of predatory birds and animals that are supposed to scare away pigeons and crows, and their voices combined with the sound of transmitted electricity sound like cries from hell. We can also see the tree that is growing behind a plastic curtain and looks unreal. It looks like it grows in the place where nothing can ever grow.
Alina Vasilchenko
is an artist and filmmaker based in Moscow. In her short films and videos she tries to make a portrait of a modern person in the rapidly changing world, looking for something that will always remain constant. She studied filmmaking in the oldest Russian film studio at “Mosfilm Filmmakers Course”, which gave her the possibility to learn from professionals who worked with such masters as Tarkovsky, Konchalovsky, Paradjanov. Having worked as a film producer assistant for several years, she decided to try to make her own experimental films using the experience and the simple technical equipment that she had. Alina has shown her works in the cities of Russia, Germany, the USA and many other places around the world, she has participated in numerous international projects including The Wake Up! Festival and many others curated by Wilfried Agricola de Cologne. In 2013, she had two solo shows in Berlin, in 2015 she became one of the finalists of the “Lichter Art Award” in Frankfurt. In 2021 her works have already been selected for the “Sustainability Shorts Film Competition” at the University of North Carolina at Greensboro and Experiments in Cinema v16.1 film festival in the USA.
Elena Vertikova (Poland) – Under Certain Circumstance, 2021, 3:00
The video-performance was created in the space of the historic Old Sobieski Water Reservoir. The reservoir is in the form of a circle, about a hundred meters long. The reservoir used to supply the
city with water, but now it has been empty for a long time. The completed artwork was based on the conducted research of space in the sense of its topography – circularity, but also on the condition of the absence of water, which revealed binary opposition in the setting: beginning/end.
The performance lasted 58 minutes. At the beginning of the performance there was a bucket full of water. The water poured from one bucket to another with each pass. The performance ended when the water ran out in the process.
Elena Vertikova –
artist based in Poland. Born in Siberia in 1984. Her main areas of artistic activity are painting and installation in public space, she works also with techniques: video, performance.
Participant of numerous exhibitions in Poland and abroad. Taking part in international art festivals in Russia, Europe and Africa. PhD student at the Faculty of Painting of the Academy of Fine Arts in Gdansk (pl).
Moshe Vollach (Israel) – “31 Cubes” – A land art project, 2013-2016, 8:35
A long row of, 61 identical-size cubes, is stretched toward the horizon, composing a string of: matter cube – space cube ….
The cubes are made of ice, placed in the desert on a hot summer day The defrosting process is documented, from the air and from the ground, using 5 stills cameras in time-lapse mode.
Moshe Vollach
Multidisciplinary Artist – sculpture, video art, performance, photography
My themes are Space- matter correlation, nothingness and beingness, present and absent, drawing and erasing. My art work reacts to topics that engage and trouble me in our society, politics and environment.
Barry Whittaker (USA) – Sugar Water, 2021, 4:02
A meditation on the importance of proper hydration and the friction between consumerism and ecosystems.
Barry Whittaker
is a multi-media artist, designer, musician, and Associate Professor of Art at the University of Toledo. His work explores mythology, language, miscommunication, cultural hybridization, and play through a variety of technology and collaboration-based projects.
Susanne Wiegner (Germany) – Melting Fields, 2019, 8:35
A single camera movement explores a catastrophic scenario that cannot be classified neither spatially nor temporally. Is the flat overlooking the street just an illusion or the
broken rooms in the inhospitable landscape. The title “melting fields” refers to climate change, the melting ice surfaces and glaciers as well as to an incipient loss of memory and
orientation. How does our usual environment change when it is only fragmentarily perceived and reminded. How can this feeling of complete loneliness and despair in a
fragmented and destroyed world be visualized?
Susanne Wiegner (Germany) – Bellevue, 2020, 7:00
The title Bellevue ironically refers to the by no means beautiful view, neither from the train window of a dystopian urban landscape, nor, figuratively, of a world that is heading for the
abyss or has already crossed it. The hopelessness of the scenery is increased by the absurd protection and rescue platforms. The absent observer sitting at the supposedly safe window looks at a deconstructed, deserted world and is at the same time part of it.
Susanne Wiegner
studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as a 3D-artist in Munich, Germany. Venues where her work have been shown include group exhibitions at the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Taiwan Museum of Fine Arts, Taipei, Les Rencontres Internationales in Paris, EMAF in Osnabrück, Videonale in Bonn, Schusev State Museum of Architecture, Moscow and festivals all over the world.
