euskera | castellano  

Reviewing and updating our contribution to the book, “Tester, nodes at work”.

Projects by the Fundación Rodríguez Node
  • Cibergolem (“Hyperpolitics and Fifth-Column”)
  • Kirmen Uribe and Ibon Saez de Olazagoitia. (“Saturrarán”).
  • Hack Lab. Metabolik (Distribution “x-evian”)
  • Jon Mantzisidor and Isabel de Naverán (“Ehun aldiz agur”)
  • Juan Romero. (“A pragmatic of links”)
  • Jorge Luis Marzo. (“Notes for an Exhibition on the Baroque and the Hispanic World”).


It's been a long time since we first set up TESTER. Initially, it was limited to a few ideas forged out of a commitment to our everyday ways of working and a certainty about what we did not want. We tried to incorporate new ideas by bringing new travelling companions on board. The collective work and exchange was one of those basic notions.

Since then, TESTER has set its own path.

The seminar in November 2003 (Koldo Mitxelena Kulturunea, San Sebastian) marked the true beginning of this story. This was the first phase, the first stop on the way.

When we erected a second milestone with the publication of the book, “Tester, Nodes at Work” and looked back and forward, we found a series of “applications” of the project which we put together in the text “Tester as…”.

We saw the TESTER's possibilities as a system, as a sort of autonomous constellation, governed by its own laws, but still subject to the universal tension. In TESTER we also found the capacity to incorporate new possibilities into applications that were already in operation, to make a better use of the resources.

At the same time we saw in TESTER the capacities of a newly-created software, of open code capable of being implemented with collective work and creation. And finally, we understood the potential of a project like this to be a window, to be an interface, with all that means in terms of dialogue, learning and a desire for conveyance.

Now that we have come to the point with the “End of Route” sign hanging over it (Phase 3), we want to go back to that text and—with no particular gravity or celebratory angst—we want to try to underpin some of those ideas, which we still see as being valid today.

“New Streets” (Tester as a System).


In the book “Tester; Nodes at Work”, we compared our project to the work of building and fitting out a new street. (See “New Streets”, Tester as a System).

In this final phase—which is stored in DVD format—we can enlarge on that idea, extending the metaphor of the road by using this new route to allow opportunities for productions that have been performed in this node's area of influence (the Basque Country).

All the roads signposted here run together at this point in the route, following a long-distance commitment like TESTER.

It's a crucial point and a significant moment in that some very different paths now share a common route only to soon branch off in search of their own separate destinations. It is a moment that affords us an overview of certain crossroads and certain connections in artistic practice in the Basque Country.

Just as a motorway has several lanes, all the projects use the same surface that we have tried to provide. An intense flow of ideas, proposals and solutions, which present varied starting points and in which one of the most outstanding features is the vocation to instil a determined pace.

But in addition, these proposals we present seek to project a work beyond the main routes, taking diversions, travelling up secondary roads and stopping wherever exchange and a deeper examination are required.

This type of situation is the confirmation that Tester is working.

Now that the resulting works are being circulated, it is important to say that the new initiatives arising in the area of the visual arts need to have their road safety reinforced, at a time when the privatisation of the “motorways” and other infrastructures of communication make us think that the public authorities are to some extent evading their responsibility to young Basque creators.

“New balls” (Tester as a “plug-in”).


In the book “Tester; Nodes at Work”, we mentioned a circumstance, a specific situation which had occurred at the node meeting. To some extent, that anecdote reflected the way we view the political positioning in a context like ours and in the light of a project such as Tester. Any other type of explanation would have failed to convey our feeling, our “way of being” and thus our way of acting as well.

(See “New Balls” (Tester as a “plug-in”).

Beyond a review of the context and an attempt to extend the adaptation between political circumstance and the Tester project, what we should perhaps emphasize at this point is the way in which the work of the nodes has in itself summarised a way of being involved in politics, through understanding (sometimes forced, sometimes sweetly encountered), which in this case has come up with the solutions needed to allow the material contained here to be provided.

The works presented by the “node” which it is our job to activate range between the perversion of politics as a historical continuity (Jorge Luis Marzo and Kirmen Uribe); the politics of fifth-column activism in the era of projects that are networks (from Cibergolem and Metabolik); the policy on human relations in a new landscape of the city (Jon Mantzisidor and Isabel de Naverán); and the thing one finds by breaking down the political particles comprising the media (as in the work of Juan Romero).

It may perhaps seem like some unconnected panorama, a liquefied purée of contributions, a sponge cake that won't set and whose mix (tasty and energetic though it is) leaks out through the cracks of this and any other mould…, because our curatorial intention does not consist of serving the cake in a designer dish, but of providing ingredients and suggesting recipes— or even of providing the design for the mould—but never of including the cake among the desserts on some “happy meal”.

At least when we make Spanish omelettes we understand it to be an exercise of collective work (see Fundación Rodríguez gallery).

“Utopian Plagiary” (Tester as Software).


In the book, “Tester; Nodes at Work”, we based ourselves on an obvious plagiary of the text, “Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production”, found in Chapter 5 of the Critical Art Ensemble's book, “The Electronic Disturbance” (1*).

We would now like to continue productively plagiarising for everyone, in this case taking as our base some ideas which Florian Cramer sketched out. When we talk about the similarity between the TESTER project and software, we are talking about concepts, about the capacity to move concepts, about the capacity to transform the “conceptual” architecture within which an artistic project moves and, therefore, to transform our area of activity as the nodes that we are within it.

It would appear that any contemporary project has to follow a certain logic, a certain process which, like a sort of toll, legitimises the proposal by fulfilling the “proper” parameters of curatorial liturgy, thematic celebration, political correctness in the payroll of authors or circumspection in matters related to the cataloguing of the disciplines.

Our software does not wish to be a slave to coding. The code which supports any software may be considered as a notation of a conceptual character and thus our attempt is to impact these notations in order to create new possibilities in the formulation of a project. We might be said to have tried to transfer the idea of “open code” to this formulation, without overlooking the fact that this game involves contradictions that are no more than the consequence of a complexity that extends beyond the algorithm.

“…Indeed, the traditional concept of digital arts is as a direct continuation of the Romanticist philosophy which favours aisthesis (perception) over poiesis, (construction); cheapened within the restricted concept of art as that which is only touchable, audible or visible…”

“…The digital arts themselves take part in this complicity when they call themselves, “new media arts”. There is nothing older than “the new media”, a term which is little more than a shallow justification for heaping together a pile of largely unrelated technologies, such as analogue video and computing, simply because they were new at some given point in time. If we define a medium as that which is situated between a transmitter and a receiver, then computers are not only media but also transmitters and receivers, which are in themselves capable of writing and reading, interpreting and composing messages within the limitations of the rule that has been inscribed within them…”

(“Concepts, Notations, Software, Art”, by Florian Cramer - unchecked quote!).

Beyond a kind of art which is purely tactile, audible and visible, as Cramer puts it, the project has taken from the outset the idea of the network as the structure that best enables communication between the different nodes, sensitive to changes in real time and with a generative and regenerative capacity, because we have worked above all by building an idea of project.

“Local Scenarios-Global Audiences” (Tester as an Interface).


In the book “Tester ; Nodes at Work”, we remarked on the need to connect the work made in small communities, to establish links between small projects that, by talking about the local, we speak globally. And in mentioning this type of need (policies) we gave Tester the role of an interface, a window of connection that opens up a gap in the wall of the castle (an ivory tower in which today's art is sometimes placed).

In this sense, and in view of the work brought together, we can say that local and global appear to us as being without borders and without that distance involved in the difference between one and the other. There is a clear crossroad of contexts in the proposals as a whole and in the possibility that by allowing them all to travel together, some aspects on the origin or the authorship will become blurred, strengthening others that relate to common aspirations or similar problems.

In the case of the Euskal Herria node, many of the projects are collective ones (Metabolik, Cibergolem, etc.), which are looking for new relations, offering bridges and tunnels between disciplines and formulas of creative work.

Through this selection we have also looked for an interface with the other projects from the interface that is TESTER itself, trying to find our “territory”, an intelligent window which could incorporate us into the international panorama that really interests us.

Offering a window, but also calling on someone to lean out…

And that is where the last and final stage of this project begins.



(published by Autonomedia,1994 POB 568 Williamsburgh Station, Brooklyn, NY 11211-0568 USA and translated into Spanish by Paloma García Abad).

Iñaki Arzoz Pamplona, 1966.
Estudios de Bellas Artes en la Universidad del País Vasco. Pintor y escritor sobre temas de arte y antropología. Actualmente ejerce como profesor de dibujo y pintura y colabora asiduamente en el suplemento cultural “Mugalari”, del diario Gara.
Publicaciones recientes:
El mitin étnico , Sukil, nº2, 1998.
La Hiperesfera reticular , Artyco, nº8, 2000.

Andoni Alonso. Vitoria, 1966.
Doctorado en filosofía por la Universidad del País Vasco con la tesis Wittgenstein y el arte . Entre 1996 y 1999 fue visiting scholar en Penn State University, donde se especializó en filosofía de la tecnología y CTS. Actualmente es profesor titular de filosofía en la Universidad de Extremadura.
Publicaciones recientes:
Coordinador con Nicanor Ursúa e Ignacio Ayestarán de Para comprender Ciencia tecnología y sociedad , Verbo Divino, Estella, 1996.
The Basque Peasant and the Computer en Technology and Culture, 1998.
Editor de Pensamiento Digital (Humanidades y Tecnologías de la Informacion, Junta de Extremadura, 2001.

(“Hyperpolitics and fifth columnism”).

Cibergolem has been working on the theoretical presentation of ideas related with Hyperpolitics and fifth columnism via conferences, articles and other actions. However, one of the characteristics both for the development of Cibergolem as well as its proposals on hyperpolitics is community assistance with its ideas, texts and actions, given that fifth columnist hyperpolitics is meaningless without active participation. So in order to achieve this, Cibergolem is asking the friends of Cibergolem to provide a short passage or symbolic piece on fifth columnist hyperpolitics in order to create an initial dossier for the provisionally titled Cibergolem library, which will be included on the Tester DVD as a conclusion of their work.

The authors selected by Cibergolem are:

Kirmen Uribe. Ondarroa (Bizkaia) en 1970.
Licenciado en Filología Vasca, cursó estudios postgrado de literatura comparada en Italia. Desde entonces ha desarrollado su actividad como profesor, traductor, intérprete y guionista.
Ha publicado ensayos, cuentos, poemas, cómics y crónicas en diferentes medios. Además ha escrito letras para diferentes grupos de música. También ha traducido al Euskara poemas de, entre otros, Raymond Carver, Silvia Plath, Anne Sexton, Mahmud Darwix y Wislawa Szymborska.
Entre sus últimos trabajos, tres a destacar: En primer lugar, Bar Puerto, un espectáculo que reunía literatura, música y vídeo. Este proyecto se llevó a cabo en colaboración con Josu Eizagirre, vídeo, y Mikel Urdangarín y Bingen Mendizabal, música. En el trabajo audiovisual se recogían imágenes, textos y testimonios reales de la gente. El segundo trabajo, Ekidazu, guión para la obra escenificada por Kukubiltxo y Oskorri. El tercero, el libro de poemas Bitartean heldu eskutik, premio de la crítica 2001. La traducción al castellano de este libro será publicada por la editorial Visor y algunos de sus poemas aparecerán en las revistas The New Yorker y Open City de Nueva York. Ahora mismo acaba de llegar de Estados Unidos después de dar varios recitales.

Ibon Sáenz de Olazagoitia · Vitoria-Gasteiz, 1972
Licenciado en BBAA por la Universidad del País Vasco en las especialidades de Técnicas Gráficas y Escultura. Fotógrafo, diseñador y veejay. Su trabajo se centra en el uso de la imagen fotográfica como medio narrativo y documental. En la actualidad colabora con diferentes músicos y disc jockeys con propuestas de video en directo. ·

Video / poetry (3 x 3 min.)

When writing about his poems from wartime Robert Graves remembered how Siegfiried Sassoon and he used to define war making definitions of peace. Children he met and played with during the Great War and memories of his own childhood are mostly present in those poems. All these thoughts of his I once read inevitably came to my mind at the moment of writing one of my poems, a poem about children and a beach where you can no longer find any trace of the female prison that stood there during the Spanish Civil War.

Metabolik es el Hacklab (laboratorio hacker) Udondo gaztetxea, el centro social ocupado autogestionado de Leioa (en la periferia bilbaína). Surgió hace ya más de cuatro años, cuando en 2001 se celebró en Udondo el segundo hackmeeting del Estado. Al término del encuentro, varios de los participantes de la zona decidimos organizarnos y formar un grupo permanente dentro del gaztetxe que nos permitiése seguir experimentando y aprendiendo con la tecnología y sus aspectos sociales. Influenciados por el gaztetxe que nos abrió sus puertas y el hackmeeting que nos dio la oportunidad de conocernos, comenzamos nosotros también a organizarnos asambleariamente y a cooperar de forma completamente horizontal.
  • X-evian
    Metabolik have used TESTER to distribute X-Evian (, a complete freeware operating system, Debian GNU/Linux, in Basque, Spanish and English which installs itself automatically from a CD without interfering with resident operating systems. The idea of its creators, Metabolik, a collective from Leioa, Basque Country, is to make the installation and use of free software for social use much easier and to help spread copyleft material (text, images, videos, etc.)1. You can create your very own X-EVIAN LIVE CD. X-EVIAN is a self-initiating distribution with automatic installation from Debian Gnu-Linux.
    Create a CD from an x-evian.iso file-image.
    Located in the ROM folder.

    How to use x-evian
    You can use the X-Evían CD in two different ways: a) as a Debian GNU/Linux integrated operating system or b)as a collection of copyleft files (articles, documents, music, etc).
    In order to consult the copyleft documents collection, insert the CD in the computer and open the "copyleft" folder in your preferred navigator.
    To use X-Evian as an operating system, we have to initiate the computer from the CD. Introduce the X-Evian CD into the CD-ROM reader and wait. X-Evian will begin to detect hardware and install RAM memory (without affecting on the hard disc of your computer).
    Minimum requirements for using X-Evian are:
    Pentium I (Pentium II recommendable), 64 MB RAM (128 recommendable), 1.2 GB hard disc for the installation (2GB recommendable)

  • Alephandria. Copyleft File
  • Anargeek
  • Copyleft
  • Metabolic Biohacklab
  • Somos Copyratas

Jon Mantzisidor Uria. Zarautz 1973
Su aportación más importante en las artes plásticas fue la compra de un par de zapatillas en 1999. Como músico ha grabado dos discos de folk, con la firma Gaztelupeko hotsak. Ha tenido mejor suerte como dibujante de cómics, y sus creaciones han sido publicadas en Euskaldunon Egunkaria, Berria, The balde, Elhuyar, etc.

Isabel de Naverán.
Bilbao, 1976.
Bellas Artes. Actualmente realiza la tesis doctoral “El vídeo como ventana en la nueva danza”.
En 2003 asiste al Taller de Composición Coreográfica, dirigido por M. del Valle y M. Klinger en Bruselas.
Participa en Mugatxoan 2004, dirigido por Blanca Calvo y Ion Munduate en Arteleku con André Guedes, Tino Seghal, Marten Spanberg y Grand Magasin como invitados. Ha colaborado en varios proyectos coreográficos así como en acciones y vídeos.

Ehun aldiz agur
Idea and direction: Isabel de Naverán, Jon Mantzisidor.
Accordionists: George and Nicolai.
Voice off: Mihai Besedovsky
Original music: Jon Mantzisidor
Bilbo, 2003

Synopsis: My name is Nicolai Pintilie. I have been living in Bilbao for two years playing the accordion with my friend George Popovici. We play on the street. One day two young people came up to us and asked us whether they could film us on video.

Diseñador gráfico y postproductor audiovisual localizado en Berlin/Sevilla. Maneja diseño gráfico, interactivo e imagen en movimiento a través de diversos formatos: instalaciones, vídeo, animación, web, sesiones en vivo; explorando nuevas narrativas y estrategias no lineales a través de dislocaciones digitales.
Desde el 2001 dirige ‘Canalretina', un estudio en Berlín centrado en el diseño audiovisual y el medio electrónico, y junto al arquitecto Antonio Romero dirigen desde 2003 ‘MAP' un estudio de arquitectura y diseño de nuevos medios.

Últimas actividades: TRANSMEDIALE_05_03(Berlin) , CYNETart_04areale(Dresden) , INTERNATIONAL MEDIA ART AWARD_04_03(ZKM, SWR_TV), LOCATION ONE_04(New York), WEB-SIDE 2.0_Caixa Forum_04(Barcelona), MOOV_Fest._03(New York), GLOBALICA_Wro Center For Media Art_03(Wroclaw), OFFF_03(Barcelona), ARCO_03_02_01_00(Madrid), ART & ELECTRICITY_02(project by Fundación Rodríguez), NORTHERN LIGHT_01(Manchester), ART FUTURA_01(Barcelona), EUROVIDEO_01(Málaga), Injuve Projectos Audiovisuales_01(Madrid), XVI Muestra Arte Injuve_00(Madrid).

Video. 10 min.
A.P.O.L. is a video project, which attempts to stage a parasitological vision based on images in process, focusing on interference and broken imagery as a central dramaturgical element. The central thema concerns the idea that the significance and authenticity of images can, in the digital flood of images, only be depicted as a pattern or possibility, which can be eradicated again at any moment by a more recent overwriting.
A.P.O.L. is based on the traditional Baroque Western altarpieces, as an altarpiece in motion, encapsulating loops, horror vacui, memento mori and pop culture, within a confused batch of microscopic allegory.
A.P.O.L. explores, through diverse microlandscapes, the nature of the electronic sign.
A.P.O.L. is a multiformat proposal visible as: screensaver, CD-ROM, DVD-video, and live video performances.
Structure and antistructure.

Comisario de exposiciones, escritor y profesor. Sus ultimas actividades comisariales han sido "Tour-ismos", "El corazón de las tinieblas", "Indivisuals", "En el lado de la TV". Algunos libros recientes: "Planeta Kurtz", "Me, Mycell and I", "Fotografía y activismo social". En la actualidad, prepara una exposición sobre el baroco y la hispanidad.
“Notes for an exhibition on the baroque and Spanishness”
Length 30 min.
Camera crew: Nuria Arias, Edgar Clement, Jorge Luis Marzo (editor)
Filmed in Mexico, between September and December, 2004
Aided by the Department of Culture, Generalitat de Catalunya

Spanishness is a civilizatory model, as skeletal as it is complex.
Spanishness used the baroque language as a symbolic tool.
Baroque is to Spanishness, as the dummy is to the ventriloquist.
The images shown here form part of the material gathered over a three month research period in Mexico for the purposes of a forthcoming exhibition that is being prepared on this topic.

Selection of works: videos, animation, film, lecture and movie-games

The programme of selected works under the title “Contaminations” takes as its point of departure the line that separates what counts as political and what counts as technical in art today. The line of demarcation between the technical and the political actually places knowledge inside the field of re-territorialized theory. I want to be very precise here; I want to emphasize the location of theory, because it is crucial not to forget one’s own complicity in the apparatuses of exclusion and inclusion that are constitutive of what may count as the theory/technology of writings and the politics of publishing. Lineage is very important, as is kinship. As Donna Haraway argued, and I will rewrite it for my requirements, only some “writers,” only some “artists” have the semiotic status of authors for any text, or artists for any work, as only some actors and “actants” have the status of owners and inventors 1. The question is not only how to be compatible with theory, or just in sync with a theoretical position, but also how to rethink art and theory as the sites of struggle for an impossible-possible emancipation.

Actually, what is happening in art today is a forming of specific technologies of the de- and/or re-territorialisation of capital that puts into process the re-articulation of (de)hierarchialised structures which also have people as a component, and which integrate and exteriorise them and their practices according to certain institutional models.

I decided to take into consideration those art practices/works that open the path of changing perspectives of understanding of the relation between art and theory, art and the social, art and the cultural. Suely Rolnik, psychoanalyst and Professor at the Catholic University of São Paulo, argues firmly on such a point: “At present, certain artistic practices seem to be particularly effective in dealing with these problems. Their strategy consists of precise and subtle insertions at certain points where the social structure is separating, where tension is pulsating due to the pressure of a new composition of forces seeking passage. It is a mode of insertion mobilised by the desire to expose oneself to the other and to run the risk of such an exposure, instead of opting for the guarantee of a politically correct position that confines the other to a representation and protects subjectivity from any affective contagion. The ‘work’ consists in bringing the forces and the tension they provoke into existence, which entails the connection of the power of creation to a piece of the world grasped as energy-matter by the resonant body of the artist; and it consists at the same time in activating the power of resistance.” 2

I am insisting here as well on a certain cartography; its logic is conceptually akin to Fredric Jameson’s mapping processes, and Brian Holmes’ diagrams; I also insist, via Holmes, that these diagrams display relationships of hierarchy rather than simple networking. According to Suely Rolnik, in order to understand these processes it is necessary to reconnect the power of creation with the power of resistance, and to free both from the pimp, the capitalist system: “We need to place ourselves in an area where politics and art are intertwined, where the resistant force of politics and the creative forces of art mutually affect each other, blurring the frontiers between them.” She proposes that we try to place ourselves in a thoroughly contaminated zone of activity – “first on the side of politics contaminated by its proximity to art, then on the side of art contaminated by its proximity to politics – in order to try to discern strategies of this kind.” 3

I insist on the re-politicisation of art that tries to re-connect creativity and resistance. The capitalist art system and the art market constantly try to divide this dangerous liaison between creativity and resistance. This liaison frightens the capitalist art and the educational machine and this is why the global capitalist machine is constantly trying to dissociate creativity and resistance. We cannot talk about an open democratic project in art and culture without rethinking a possible radical artistic experience that would function as an open source, and would be capable of switching to radical political experience shared by a wider community.

Therefore, this new vocabulary proposed by Rolnik – kidnapped inventions, contamination of art and politics, contagious art practises, radicalised theory – is a vocabulary that was until now rarely used in the field of art and culture. But we can actually see the importance of using such paradigms for naming, differently and precisely, processes of expropriation and exhaustion, abstraction and evacuations that are taking place in contemporary art and culture.

1.Cf. Haraway, Modest Witness @ Second Millennium: Female Man© meets OncoMouse™, p. 24. in: Marina Gržinić, Situated Contemporary Art Practice. Art, Theory and Activism from (the East of) Europe, Ljubljana: ZRC SAZU and Frankfurt am Main: Revolver, 2004.
2. Cf. Suely Rolnik, “Creation Quits Its Pimp, To Rejoin Resistance,” in: Zehar, No. 51, San Sebastian: Ateleku, 2003, p. 36.
3. Ibid.

David Kellner studies art in Vienna. His main interest is animation, films, collaborative performance projects and performative sculptures, displayed as unexpected interventions in galleries and public spaces.
Interview mit Jemand (Interview with Everyman)
Animation, 3 min. 2004

Idea, Animation, Production: David Kellner
Interviewer: AT&T’s Mike

David Kellner stated in the past that he is one of the few unlucky ones who had to experience the fatal pain of an unholy divorce resulting from a fatal exchange of views. This tormented state of being is the main topic of his works.

Marina Grzinic and Aina Smid work collaboratively in the field of video art, performance and installations for 25 years. They produced 40 video works. Grzinic (co)edited 13 books.
By Marina Grzinic, Aina Smid/ Ljubljana
14 min. produced by Arteleku, San Sebastian, Spain, 2005

Screenplay by Marina Grzinic and Aina Smid
Camera by Rodriguez org.
Edited by Automata, Ljubljana
Music and effects by Grzinic and Smid
Participating in the video NODES: Fundación Rodríguez, Marina Grzinic, José-Carlos Mariátegui, Marcus Neustetter, Oliver Ressler, Hito Steyerl; Iñaki Arzoz, Borut Mauhler and Aina Smid.

The video TESTER has been produced within the network collaboration of 5 artists from Berlin, Johannesburg, Lima, Ljubljana, Vienna, and the group Rodriguez org. from the Basque Country, initiator of the project. Five artists and a group meet in order to discuss space, architecture of power and life (including food), and “troubles” with the contemporary art institutions and global capital. Each of the artists and the group operate as a node in the project. It is a video about performative politics, and a fictional story that presents new directions within contemporary documentary strategies.

Carlos Aires. 1974, Ronda, Malaga, Spain. He lives and works between Belgium, Spain, and USA. Selected Studies: Bachelor in Fine Arts. Facultad de Bellas Artes Alonso Cano (Granada, Spain), Master in European Art and Cultures. Leister University (UK) and Fontys Academie (NL), De Pont Atelier. De Pont Foundation (Tilburg, NL), HISK (Antwerp, Belgium), Master in Photography. OSU (Columbus, Ohio, USA).
Mister Hyde I (Darkroom)
By Carlos Aires/Spain
6 min. 2003
The video shows infrared images from two different sources: a horror castle from a fun fair and a gay darkroom from a discotheque, both recorded in Antwerp, Belgium. Through a precise editing process, it is almost impossible to see the dissolving of one kind of image to the other. The sound seems to belong not to the video, but instead, coming from another room close to the projection space. The sound is a constant and distant repetition of the song, a bolero, from Nat King Cole: perhaps, perhaps, perhaps. This gives a constant dance feeling to the video.

Ralo Mayer (*1976) and Philipp Haupt (*1975) have been collaborating for many years in the field between art and politics. Since 2003, both are working in the framework of the Manoa Free University, a self-institution for artistic knowledge production. Their production uses a range of new and not so new media and is based on a stumbling across diverse research practices. Recent projects display an increased interest in narrative design and staging processes.
Gothenburg N.B., lecture
By Ralo Mayer and Philipp Haupt / Manoa Free University/Vienna
18 min. 2005

"The following presentation will be an illustrated trip across some areas of the politics of information visualization. As a guided tour it will connect scattered places at different times, sketching out an overview of our research of the last years. This will necessarily produce fragmentary clusters of fiction and reality - but such a multi-faceted image is the one we are working with ourselves." L'année dernière à ...Gothenburg /film script. Wire-frame preview. Protests at a summit, a multitude of voices. Situationist motifs. Laser trajectories. NebelMaschine. "Jeder Augenblick der Zukunft ist ein Gedanke an vorher". VR-models. Schaukästen im Naturhistorischen Museum. Fade to: ÜberwachungsDiagramme. But my experience from the streets was so different from this." Time Crystal. /Render.

Ivan Jurica is part of the artist duo ivan & laura. He was born in 1972 in Bratislava, Slovakia. From 91-92 was living in Austria, 92-94 Germany, 94-95 Czech rep., 95-97 Austria again, 97-2000 USA and since then in Austria. Since 2003 he studies art in Vienna.
By ivan & laura/ Vienna & Bratislava
5 min. 2004
VICTIM VERSUS VICTIM is film about identity and mirroring of bodies.

Margarete Jahrmann (CH) & Max Moswitzer (A), artists.
ArtServer: founded in 1996. In the recent five years they used game-technologies and interfaces for interactive installations in the arts field and as cultural intervention, i.e. the game-console works LinX3D, , now at the permanent ZKM collection. Awards: 2004 Software Arts Award, Transmediale Berlin, nomination; 2003 Prix Ars Electronica, award of distinction. International lectures and publications: 2005 in Kunstforum International on
games and arts and in the data browser issue Economising Culture.
toolZ-teazer, a demorun through the anti-war-shooter
By, Margarete Jahrmann& Max Moswitzer/Vienna
3min. 05sec, 2004

<<Nybble-Teazer>> is a machinima-movie, a life record of a modified online shooter game. The artwork is the modification, the so-called <<mod>> itself. Its game target is to shoot anti-war mails to, which is clearly an agency that transfers the defined boundaries of a gaming
environment. All the signals are as well represented inside the game as transferred to other servers. So the art game can be seen as a public online demonstration tool. We would call this a <<Real Game>>.

Meate is a web interface. It is committed to critical thinking and to the development of collaborative works and interactive projects through the Internet space that we understand as a virtual, cyber networking and public space.
We are standing at the border between art and curating, mixing the fields between authors and promoters, building up collaborations between us and other authors, between individual creation and creation of a meta language. We want to perform this position that we understand as a development of a heterogeneous, hybrid and non-authoritarian trend.
We feel concerned about the art production and about the structure of power in the conventional networks of art production systems, which reproduce the sexual and economic boundaries. By involving the digital public space, we want to perform a new area of production and distribution, which is not tied up to art production history and its structures of power, and then would ideally articulate a new relationship between artists, authors and a new way of work distribution.
The site produces dynamic spaces where texts and researches, headlines, discussion, interface for web projects and art web projects, linked websites, can exist. It is organized onto multiple platforms.

meate team :
Paulo Alcantara
Nathalie Perrin
Stéphanie Prizreni

Meate meets Tester
by Meate (Paulo Alcantara, Nathalie Perrin, Stephanie Prizreni), Geneva/Lausanne
5 min. 2005

The group Meate is a collaborative group of artists that took part in the exhibition project at Polyphony Collaborative Practices, Part 2, at Shedhalle, Zurich, 2005.
For this purpose Meate invited Marina Grzinic to be a dialogue partner and a -co-curator in the project by Meate, included in the exhibition. Grzinic proposed to act as a node in the project and therefore connected meate with another collaborative and networking project: TESTER. José-Carlos Mariátegui took as well part in the opening event with a Skype intervention from Lima live on Tester.

This section gives video-life to works that were part of the TESTER BOOK project. Though the majority of the works were not necessarily coincided for the DVD-Video, like in the case of Ivan Lozano, but more as installations or web projects, the artists had made a ‘video proposal’ out of them. Giving life not only to the concept that was presented initially in the book, but also giving their work a multi-format strategy, a notion quite usual today in relation to new media hybrid instability.

(Lima, 1977)
Studied Art in National School of Fine Arts in Lima. The theme of his works is related with the mass media and consumerism society. His iconic images gather in compact symbolic units that reflect a iconographic fetishist way of society. Has done works of video as well as animation, interactive installations and net art projects. His works have been exhibited in different collective exhibitions, as well as in festivals in Brazil, USA, Mexico, The Netherlands, Spain, Argentina and Peru, where he lives and works.

SUBURBANA. 1 min, 2005 .
Video-flyer of the work proposed in the TESTER book. This short ad-flyer is a preview to the work that would be showcased soon in TESTER as part of the ongoing online projects.

(Lima, 1980)
Born in Lima in 1980, studies Fine Arts at the Escuela Superior Corriente Alterna (1999 - 2003). Participates in several exhibitions and international festivals such as Blanco y Negro y de Color in the Museo Reina Sofia, Videoex in Zurich, L.A Freewaves in USA and World Wide Video Festival in Amsterdam. He obtained the First Place in the Primera Bienal de Cine y Video (Lima, 2004). Lives and works in Lima, Peru

GALLERY DOGS, 2:30 min, 2005.
In order to analyze the confrontation of interests between artists and curators, from a global point of view, the initial sequence of the film "Reservoir Dogs" is used, dubbing it’s characters dialog, turning them into curators and locating them within the artworld, analyzing and ironically questioning their decision making and their real function in general, creating a parallel between these and the criminals, protagonists of the film.

Studied Cinema and Hypermedia at the Universidad del Cine in Buenos Aires, at the Universidad de Santiago de Compostela and at the Université Paris 8. Her works won several prizes in international Festivals: Tokyo Video Festival Award 2002, Special Mention Locarno Video Art Festival 2001, First Prize Biennale Bridgestone 2000 and at the International Media Award (video) Zentrum fur Kunst und Medientechnologie, Germany, 2003. She has also been resident at several centers, more recently Fellow at the Academy of Media Arts, Köln (Germany, 2002 – 2003). Since 2004 she artist in residence at Schloss Balmoral, in Bad Ems, Germany, in which she worked the 3-channel installation “Del Otro Lado de la Tierra” which is part of the project BESTIAS.

BESTIAS 11:30 min. 2004
The gestures of despair. The action to survive.
A woman slips of the hands of a police, a man resists, crying on the floor to escape of other two men who drag it. Another one, in an almost inhuman position, dragged of the hairs, tries to free its head of the claws of the beasts.
Some images very insistently are impregnated in the memory.
This images were shoot during the demonstration of the 19th and 20th December 2001 in Buenos Aires, Argentina. Those days people went out to pronounce themselves against the policies of the government. The police brutally repressed and the result was 30 dead people. After this the president De la Rúa had to leave the government.
The sound was also registered in the demonstration. So, these very strange sound came from the people, from the shouts of the people.

The use of new media technologies in society is leading to a renewed sense of what space and workgroup collaboration is supposed to mean. These short selection tries to show how groups or collectives are being developed, but not in a static state: they appear to work just for a moment or a special circumstance. From the tiniest cities of Central America, to the huge Sao Paolo, different groups and collectives working on experimental and new media art are more and more relating it with their social context. In some sense the idea is to see how there are always networks of people working in different places and re-defining the 'tester network'. On the e-space level, the collaboration of people from all over the world could also bring spaces and people concurrently. In both scales, a sense of collaboration is what maps the ideas that confront the workers with their context and their social obligations/articulations.

Gilda Mantilla (Lima, 1967)
Graduated from Painting in the Art Faculty of the Pontificia Universidad Católica del Perú (1990). Her work appears in the publication Puntos Cardinales. 4 Artistas Visuales Peruanos, in the book Franquicias Imaginarias and in the magazine ART NEWS. Participates at the Primera Bienal Nacional de Lima, and in the projects Emergencia Artística and Terreno de Experiencia 1. Her third individual La sinfonía del trapeador was presented at the Sala Luis Miró Quesada Garland (2001). She was part of the Peruvian representatives in the 50.ª Bienal de Venecia in the Pabellón Latinoamericano and has showed her work in Bogotá, Cali, Miami and San Juan. Resident in the program Fortaleza 302 of M&M Proyectos en Puerto Rico (2003) with the project Hangueando - Periódico con Patas in collaboration with Raimond Chaves, that also took place in Italia for the exhibition Going Public (Festival de Filosofía de Módema). Has participated in Arco 2004 and the Trienal Poligráfica de Puerto Rico. Lives and works between Lima and Barcelona.

Ciudad* Postal is a collection of images presented as postcards, ready to be sent or downloaded. It’s constantly growing and open to collaborations.

Ernesto Salmerón (Managua, 1977). Studied at the School of Social Communication, Facultad de Artes Integradas, Universidad del Valle (Cali, Colombia). He won the Second Central American Video Creation Award “Inquieta Imagen” (2003). Lives and works in Nicaragua.

E.V.I.L. (Ejercito Videasta Latino) 4min. 2004
Video showing the censorship applied to the organisers of the first Central American Anticorruption Conference in Nicaragua, where a group of artists (under pseudonyms) were invited to present work for a piece entitled “Yo no jui” and where the work was heavily censored.

A collective of five artists of different generations and disciplines led by Regina Aguilar (sculptor) and integrated by Alejandro Duron (graphic designer and video editor), Eduardo Bahr (writer, scriptwriter and actor), Roger Rovelo (actor and theater director), Roberto Buddhe (journalist). The collective responded artistically to the repressive government by developing situations intended for massive popular participation.

The enormous impact of mass extermination of youths and children, as well as the paid executions carried out in a Honduras during the last few years and the recurrence of such, has not only stained Honduran society in blood but also the ruthless organisers of these controlled murders
The tendency for far right government forces to punish underprivileged children even for the pettiest of misdemeanours provides no specific solution whatsoever to the enormous problem of unemployment, lack of education and the lack of opportunities nor for public safety in the least privileged areas, which are increasingly more prevalent in our society.
In 2003, one fell swoop killed 162 young prisoners in the La Ceiba city gaol. They burnt to death because the cells were padlocked shut to prevent them from escaping the flames. This happened a few months after 102 children and youths were riddled with bullets and visually beaten to death in another gaol in the city San Pedro Sula. So far this year, 2005, more than 60 youths have died in similar circumstances across the country. Nobody speaks of these deaths and the identity of the perpetrators is left unknown. It is suspected that these killings are backed by a private company in cahoots with the government.
“Regina Aguilar artistically re-enact the everyday stories experienced in Honduras.

The "Projeto feitoamãos" looks to investigate, produce and reflect on the language of electronic art. Is a process of collective accomplishment that stimulates and forms new producers through co-productions and workshops. F.A.Q. is an initiative of the "Projeto feitoamãos", dedicated to the manipulation and performance of live images and sounds.

Veja as instruções primeiro > 2002 > 50' > Performance
Inspired by the Bestiaries (a medieval compilation of verses and tales about real and imaginary animals), these images are recreated in a three dimensional environment which also aims at creating a contemporary bestiary.
Participants: André Amparo, Chico de Paula, Cláudio Santos, Lucas Bambozzi, Marcelo Braga,Ronaldo Gino and Rodrigo Minelli. Guest musicians: André Melo, Gérson Barral and Paulo Thomás.
Guest artists: Adriano Paulino, André Brasil, Caco Souza, Carlos Magno, Daniel Todeschi Déborah Silva, Ô DMS 3, Eder Santos, Eduardo Recife, Fabíola Goiaba, Júlio Dui, Júlio Pinto, Inês Cardoso, Letícia Capanema, Luiz Duva, Marcus Nascimento, Milene Migliano, Patrícia Azevedo, Patrícia Moran, Tom Andrade, Ricardo Portilho and Vanessa Lamounier.

Monstruário ilustrado > 2002 > 50' > Performance and workshop
Inspired by the Bestiaries (a medieval compilation of verses and tales about real and imaginary animals), these images are recreated in a three dimensional environment which also aims at creating a contemporary bestiary.
Participants: André Amparo, Chico de Paula, Cláudio Santos, Lucas Bambozzi, Marcelo Braga,Ronaldo Gino and Rodrigo Minelli. Guest musicians: André Melo, Gérson Barral and Paulo Thomás.
Guest artists: Adriano Paulino, André Brasil, Caco Souza, Carlos Magno, Daniel Todeschi Déborah Silva, Ô DMS 3, Eder Santos, Eduardo Recife, Fabíola Goiaba, Júlio Dui, Júlio Pinto, Inês Cardoso, Letícia Capanema, Luiz Duva, Marcus Nascimento, Milene Migliano, Patrícia Azevedo, Patrícia Moran, Tom Andrade, Ricardo Portilho and Vanessa Lamounier.

Nodo.South Africa, Marcus Neustetter (the trinity session).
Johannesburg: a transforming city. A city born out of a gold rush, evolved under the rules of apartheid, affected by the abandonment of businesses from the inner city and reinvented by previously disadvantaged communities.

Johannesburg today is a city that, through its change of residence and business space users, has been run down, challenged and transformed. The community that is now taking ownership was historically marginalized and forced out of the city. On its return, the implied history, the public icons and the memories of an apartheid space are being erased and the city system and grid is being injected with diversity and alternatives.

These alternative systems are a result of the friction of the first world approach of the city built mainly around western influence and the appropriation of space by a new, post-apartheid South African search for identity and culture and a third world need for development, entrepreneurship and inventiveness.

Cultural explorations and artistic documentation start to illustrate both the process and result of this friction. Artists are motivated by the very diversity and tension that exist in the process by exploring the potential, asking questions of identity, place and history and projecting their own experiences and challenges. These are also emphasised through the constant confrontation by a history of racial issues, political unrest, gender inequality, crime and fear, poverty, homelessness, HIV/Aids and health crises, urban decay, illegal immigrants from neighbouring Africa countries and corruption. This being in opposition to the developmental, optimistic, transformative nature of many of the current urban initiatives and programmes.

The selection of work for the compilation, Johannesburg in no particular order , presents a range of artworks that have chosen the Johannesburg context as their subject for investigation. Johannesburg is being presented in response to a personal engagement and perspective on the city. While most of the works speak for themselves, collectively they start to site some of the contemporary production about this space and a handful of its issues.

As an introduction to the selection of moving image artworks, an insert titled Digi-Arts Joburg presents a selection of activities focused on developing the relationship between art and technology in Johannesburg. Digi-Arts Joburg is the collective effort of local institutions, projects and websites that are pushing the boundaries within the South African context. This introduction features three brief interviews representing some of the institutional responses to the shift towards more technological inclusion in art production, profiles two recent local web-projects and the documentation of two interactive art installations.

The selection of works presented in Johannesburg in no particular order start to illustrate some of the pertinent issues in the local context, both using the medium as a tool, but also alluding to the critical use of the medium in the local context.

Allison Kearney's The Portable Hawkers Museum: Newtown June 2003 , presented here, is a video documentation of her performances taken from surveillance cameras in the city. While her performances deal with critical issues of hawking and social interaction in the inner city, her use of the process of documentation and representation through surveillance technology, emphasises the viewer's position as a voyeur, but also eludes to issues of security and surveillance in Johannesburg.

Ismail Farouk's Rock Sale and Yeoville 2004: The Network Approach , however, uses surveillance concepts beyond the documentation of activity and processes, He captures social and behavioural research for impacting on the development of a regeneration of the run-down areas of Johannesburg.

As already evident in the two works introduced, the selection for this compilation are considered for their responses to personal experiences and involvements in the city and therefore present diverse perspectives. In comparing the work of Robin Rhode and Richard Penn, both are responding to a very specific position in their contexts – suburbs of Johannesburg – but both works illustrate very different experiences. While the subject matter of his Cartheft performance documentation clearly picks up on the issues of crime in the Johannesburg context, Robin Rhode's interaction with his drawings, reflects back on his experience at high-school in Johannesburg where this was part of a sub-cultural initiation and therefore illustrates a more pertinent point around direct application of personal experience in the Johannesburg context. In opposition to this, Richard Penn, having experienced a different suburbia, presents some of the issues that have become clear in his encounter with the society in his animations Resident 1 & 2 . While also presenting crime he highlights the anxieties and tensions that are part of Johannesburg suburbia.

Moving from suburbia to the city, personal accounts by Usha Seejarim and Abrie Fourie start to illustrate key aspects of that movement. Forced removals and relocation under Apartheid have resulted in many South Africans needing to travel daily from place of home to place of work. Usha Seejarim travels a fixed route daily on the M1 South between Lenasia, where she lives and Johannesburg, where she works - she has explored how her present day routes exist as a result of a specific history and as a result of socio-political agency. Abrie Fourie responds to this movement in a different manner, capturing moments and reflections of contemporary South African psyche as he drives by, documenting the environment through still images, which he then uses in animation sequences.
Robin Rhode was born in Cape Town in 1976, he currently lives and works in Berlin, Germany. He holds a Diploma in Fine Arts from the University of Johannesburg. While he has been extensively exhibiting in group exhibitions, his international solo exhibitions and performances include Fresh , South African National Gallery (Cape Town), Perry Rubenstein Gallery (New York), Living in Public , Market Theatre Gallery (Johannesburg) , BUSTED: New Works, New Langton Arts (San Francisco).

Car theft (live performance)
Digital Video documentation of live performance
5min 42sec
In his performance work, Robin Rhode blurs the usually clear-cut boundaries between illusion and reality by attempting to interact three dimensionally with a two-dimensional drawing. His process of interacting with drawing reflects back on his experience at high-school in Johannesburg where this was part of a sub-cultural initiation. Similarly his subject matter of his drawings and performances, such as Cartheft, also eludes to the issues such as crime that impact on experiences in the Johannesburg context.

"I have been working extensively with video and performance art by alluding to formalism while actually engaging with very gritty and personal subject matter. I am as serious about my subject - a personal experience of rough Johannesburg neighbourhoods and its criminal subculture - as I am about making art. These experiences have inspired me to commit myself to the processes required in the making of contemporary art."

Usha Seejarim was born in 1974 in South Africa. She currently lives and works in Johannesburg. She obtained a National Diploma, and then a B-Tech degree in Fine Arts from Technikon Witwatersrand and is currently completing a Masters Degree in Fine Arts at the University of Witwatersrand (Wits). Seejarim worked as gallery coordinator at Camouflage art culture politics in 2000 and has a strong commitment to Arts Education having worked for the Curriculum Development Project (CDP), Technikon Witwatersrand, and Visual Arts And Crafts Academy (VACA). She has had three solo exhibitions and continues to participate in various group exhibitions and art projects locally and internationally. She works in various mediums including video, photography, installation and printmaking.
"Eight to four" 2001 Digital Vídeo 8 min. 14 seg.

Forced removals and relocation under Apartheid have resulted in many South Africans needing to travel daily from place of home to place of work. As Usha Seejarim travels a fixed route daily on the M1 South between Lenasia, where she lives and Johannesburg, where she works - she has explored how her present day routes exist as a result of a specific history. She has been exploring the activity of commuting as a result of socio-political agency - in various art projects - influenced by her own mode of transport.
Eight to four documents the shadows of the cars in early morning traffic on the M1 South into Johannesburg and back to Lenasia in the afternoon. In her video the changing position of the sun affects the length of the shadow of the car’s movement - making the shadows themselves mobile. The intention is to illustrate a view that everything is in a state of flux - nothing is constant - as every moment becomes a memory at the very advent of the next moment - where the present is temporary and history is made.
(Video courtesy of the artist and Gallery Momo, Johannesburg)

Alison Kearney was born in 1978 in Johannesburg. She completed her Diploma in Fine Arts at The Johannesburg Art Foundation in 1998 and her Bachelor of Arts in Fine Arts at the University of the Witwatersrand in 2002 where she has recently completed a Masters Degree in Fine Arts. She has received a number of awards, including the Maude Catherine Bird Scholarship (2000-2002), the E.J.A. Loerincz Scholarship (2002), and the Standard Bank History of Art Award (2002). In 2003 she was a finalist for the MTN New Contemporaries Award. In 2004 she was awarded an artist in residence at The IAAB artists studio's in Basel Switzerland. Alison Kearney works part time as a Design Theory lecturer at Johannesburg University. She has participated in a number of group shows in South Africa and abroad, and recently held her first solo exhibition at The Johannesburg Art Gallery.

The Portable Hawkers Museum: Newtown June 2003, 6 min.
Surveillance camera documentation of live performance
6 min 8sec

Alison Kearney explores issues concerning the hawkers of Johannesburg, with a focus on the impact of the government’s attempts to rejuvenate the inner city for the people who live and work there. Her work articulates issues concerning both the value and the politics of looking within the institutions of art. The Portable Hawkers Museum is an investigation into these issues enacted through the construction of a portable museum of contemporary urban culture in Johannesburg. The Museum consists of non-perishable items that cost R10 or less, all of which are bought from the hawkers in Johannesburg. During her public presentations of the Museum performances, she presents herself as a volunteer museum worker, showing off the collection and talking about museum practice. The video documentations of these performances, presented here, are silent and are taken from surveillance cameras in the city. The decision to deny the viewer access to these conversations and to use the surveillance footage, emphasise the viewer’s position as a voyeur, watching an event from which they were excluded - outside the city context.

Ismail Farouk is an urban geographer working in major urban renewal projects in Johannesburg. He provides specialised urban project research - focusing on spatial, social networks and processes of participation as an alternative methodology to the rigid economic regeneration model adopted by the City. Ismail's interest in urban dynamics stems from his Geography and Fine Art backgrounds at the University of the Witwatersrand where he explored creative responses to the unfair logic of exchanges which characterises the developing world today. His creativity is strongly linked to an inherent social consciousness which is defined by a holistic understanding of global city dynamics.
Rock Sale 2002 / Animated Digital Stills. Endless Loop
Yeoville 2004: The Network Approach 2004 / Digtial Montage
2min 9sec

As an urban geographer working on major urban renewal projects in Johannesburg, Ismail Farouk applies his visual art skills to set up performances and experiences that start to create an alternative analysis of a specific environment and uses technology to capture and highlight some of his findings.
The instituted economic regeneration model has no regard for the informal sector which makes a significant contribution to the South African economy and as such the traders of Braamfontein have been pushed off the streets, resulting in a socially exclusive urban environment. Farouk set up his stall, which consisted of a bag of sand and rocks of varying sizes, placed pamphlets under some of the rocks and priced everything at R150. "The objectives of my actions were to raise awareness to the unequal playing field created by the regeneration programme." Rock Sale is a documentation of this experience.
Following the success and interaction of the audience, the process was then developed to tailor-make an experience and analysis for the Yeoville area, a neighbourhood in Johannesburg. He has set out to conceptualise Yeoville's identity crises in an innovative and organic manner to evaluate public space by drawing on theoretical knowledge and personal experience. The result is a range of moving image documentation, here compiled as Yeoville 2004: The Network Approach, and its analysis, which is being applied for the further development and upgrade of public space in the area.

Abrie Fourie was born in 1969 in Pretoria where he continues to live and work. He obtained a National Diploma in Fine Art from Technikon Pretoria in 1992. Fourie's work is included in the collections of BHP Billiton, the MTN Art Institute, Sasol, Vodacom and the Danish Ministry of Culture. Abrie Fourie's work is a lucid collection of photographic images of urban South Africa. These images highlight both the immediate context and overlooked beauty of the urban environment. His works exude a meditative effect whether they are presented as screensavers, lightboxes, photographic prints or flipbooks.
Run 2002-2005
Between 2002-2005

Animated Digital Stills
Endless loop

“If your enemy is hungry, give him food to eat;
if he is thirsty, give him water to drink”
What are these walls, and fences and razor sharp defences for? What are we running from? Is my enemy you, or is it me? Is my home a haven, or a prison? How much freedom should I sacrifice for safety? So many ironies embedded in our urban and suburban landscapes. Our fiercely defensive lifestyles promote fascinating and frightening contradictions, fierce boundaries: us and them, protection becomes aggression, the entrance to our own home becomes an obstacle course for even ourselves. I am interested in all these reflections of contemporary South African psyche, yet there is another level of irony to this series: the metamorphosis from the practical to the aesthetic. These barricades have become so commonplace they begin to mutate into the scenery, shiny tangles, loops and patterns, flowing and jagged, they run alongside houses, streets following one wherever one goes, threatening, dangerous yet from another perspective expressing an interesting, mesmerising aesthetic.

Travelling on the highway between Johannesburg and Pretoria, I noticed how the barrier dividing lanes going to and from becomes a running film reel, an abstract canvas marked with the scrapes, scratches and scars where accidents happened. These are alternative gestural marks, where expressions of impatience, rage, recklessness and other emotions impacted lives, interrupting the journey, not hastening but perhaps forever postponing return, and in the process engraving the collision on the barrier between.

Richard Penn is a self-taught animator with an Honours Degree in Fine Arts from the University of the Witwatersrand in Johannesburg, South Africa. In 1997 he was awarded 3rd place in the PPC Young Concrete Sculptor Award. After completing his degree in 1998, majoring in painting with distinction he developed and taught an animation course for 1st and 2nd and 3rd year learners in the Fine Arts Department at Wits University. In the years leading up to 2004 he has been a finalist in the ABSA Atelier, The Kempton Park Art Competition and The Sasol New Signatures Art Competition. In 2000 he collected and compiled a 2 hour animation programme for the Klein Karoo National Arts Festival and Urban Futures. In 2004 he was awarded the overall winners prize in The Sasol New Signatures Art Competition. Currently he is the head of the Animation Department at AFDA Johannesburg (The South African School for Motion Picture Medium and Live Performance) and is studying for his Masters degree through Wits University. He has co-animated and co-directed 2 short films with Mocke J Van Vuuren, and has directed and animated 3 short films of his own.
Resident 1 2000 - 2002 6'48” Animación

Resident 2 2000 - 2002 7'01” Animación
Addressing the suburban context of Johannesburg, Richard Penn highlights some of the anxieties and loneliness of suburban living. Statistics of crime and violence have resulted in people living behind high walls, locked and alarmed doors and in gated communities.

"Both of these films deal with the problem of crime and violence in Johannesburg. In Johannesburg, on Sundays, old men go to play bowls armed with guns. For some people, especially the elderly, leaving their homes on their own is a process filled with tension and anxiety. When they do, they often land up in Australia. The white rabbit in Resident 1 is a personal emblem: For me, South Africa has no equal."

Marcus Neustetter
With a Masters Degree in Fine Arts and based in Johannesburg, Marcus Neustetter has been developing projects addressing the relationship between art and technology. These take the form of mobile, installation, and web artworks tackling the translation of data through different online and offline platforms. In this process he has been exploring the digital and analogue ways of representing virtual experiences. Marcus Neustetter has exhibited and has been actively involved in developing opportunities and platforms for local digital art through projects in South Africa and Europe, these include ARS Electronica (Austria), Transmediale.03 (Germany) and E-tester (Spain). As director (with Stephen Hobbs) of The Trinity Session and sanman (southern african new media art network) and The Gallery PREMISES, Marcus Neustetter is actively involved in developing cultural strategies through a range of projects.

The Trinity Session
Directed by Stephen Hobbs and Marcus Neustetter, the trinity session is a contemporary art production team that investigates the strategies and relationships between art and business, collaborative practice, network development and creative contextual response. As Hobbs' personal artistic interest is the urban environment and Neustetter's the digital and virtual, the thematic focus of the trinity session revolves around these subject areas. Heavily informed and influenced by context, the trinity session defines its approaches from a position within Johannesburg, South Africa, thus determining its attitude to local and global debates, networks and partnerships for survival and sustainability of the visual arts industries. By acting as correspondents and consultants, and approaching the work process from a network and ‘accommodation and exchange of information' angle, the purpose of the working dynamic is to produce in a cross-platform multidisciplinary way with artists, institutions and corporate brands and services. Interests lie in interdisciplinary working methods, conceptualizing and interacting with like-minded partners.

Focus: Johannesburg

Part 1: Johannesburg: Activities in the digital art arena
Digi-Arts Joburg presents a selection of activities focused on developing the relationship between art and technology in Johannesburg. Digi-Arts Joburg is the collective effort of local institutions, projects and websites that are pushing the boundaries within the South African context.
15 min 20 sec

Part 2: Johannesburg: Artistic responses through moving image

Johannesburg in no particular order is a series of curated works that take a historic and contemporary look at some of the investigations and commentary made by artists in this transforming city.

The Politics of Memory
Oliver Ressler

The works I chose for the Tester DVD have been realised by artists working in the overlapping fields between art and politics. Most of them live and work in Vienna, the city where I am also based. With some of the artists I collaborated on former projects or presented works in the same contexts, and with all I share a lot of interests and ideas.

All the videos I selected are very reflective in regard to the visual strategy they use, and textual elements in the form of interviews or spoken text are of big importance. Naturally, artists working with video and engaged in political questions need some time to present their ideas in their videos. That means that the majority of video or film works I am interested in are usually longer than just a few minutes. So in order not to exceed the 60 minutes of my video section, “The Politics of Memory”, on the DVD, all but one video are excerpts from longer videos. At the beginning of each of the videos the information is provided on how to get access to the full versions.

All videos are related to different aspects of memory and remembering; they recognize individual and collective memory as important forms of knowledge.

The video, “Black and White. The Back of the Images“ (5 min. A/GB 2003) by the artists group Klub Zwei (Jo Schmeiser and Simone Bader) raises questions about which things or events are being remembered. How is the Shoah remembered? What role is played in this remembering in the way in which images are dealt with? The short video is a highly reflective work about the photographic memory and addresses the problematic nature of these questions on a formal and contextual level. It does so through the radical removal of the images discussed in a voice-over. While the director of a photo archive poses questions regarding memory, images and history, we see texts solely in black and white. Especially for Tester Klub Zwei realized a Spanish and Basque version of their video.

The Speculative Archive is a collaborative project by the U.S. artists Julia Meltzer and David Thorne. Speculative Archive projects engage specific archival materials to produce documents as possible elaborations of “the historical record.” Although Speculative Archive works with archival materials (declassified U.S. government records on cold war interventions in Guatemala or Chile, for instance), they situate their work in a current political context. Their video, “It's not my memory of it” (USA 2003, full version 25 min.), is a documentary about secrecy, memory, and documents. Mobilising specific historical records as memories, which flash up in moments of danger, the tape addresses the logic of the bureaucracy of secrecy in the current climate of heightened security. The excerpt for the DVD is based on audio recordings with Ed Cohen, the Director of the office of Information Management at the CIA, who is responsible for classification, declassification and document release programmes. Which sorts of information do states keep secret, which documents get classified, what effects does the disappearance of memory have, are the main questions of this visually complex, structured video.

Other aspects of memory and retrospection are discussed in Lisl Pongers film, “Phantom Foreign Vienna” (Phantom Fremdes Wien - a 6 minute excerpt from an originally 27 min. film, 2004). In 1991 and 1992 Ponger undertook a multi-cultural journey round the world during which she never left the city of Vienna, where she is currently living. Ponger meticulously collected Super-8 sequences of celebrations, weddings and dances. The initial concern was with making the cultural multiplicity visible, a phenomenon which, from the point of view of their public presence in the city, simply didn't exist. In 2004 she decided to make a new film with this old material, which precisely calls that act of visualization into question. “What am I really seeing?”, asks the commentary, spoken by Ponger, being very conscious with regard to the problems of how ethnicity is treated.

For Isa Rosenbergerer, a journey was also the starting point of a video. In “Sarajevo Guided Tours” (full version 30 min., A 2002), the artist shows eight different locations in Sarajevo. While the title refers to the format of a tourist's gaze and experience, Isa Rosenbergerer subverts the idea of a guided tour by examining the question of how places are invented. The result are eight consecutive portraits of public spaces and their inhabitants in which private and public history are woven into a fabric of architectural impressions, individual perspectives, ideas and memories, and structural, factual data concerning everyday life in a city still associated primarily with images of siege and destruction.

Martin Krenn & Nina Maron are currently engaged in a long-term film project that investigates forms of resistance against fascism during the 1930's and 1940's in Austria, Spain and France. The main protagonist is Harry Spiegel, who died shortly before the beginning of the shooting of the film. Though he was never interviewed for the film “” (Notes on Resistance), he tells parts of his life via audio-tapes illustrated with drawn sketches and animations. Additionally the film consists of filmed interviews that were carried out with resistance fighters who were in contact with Harry Spiegel, talking about him and their activities. The film tries to find a way to combine fictional material (sketches, animated storyboards) with non-fictional stories (narration) of a generation of resistance fighters. For the Tester-DVD Krenn and Maron made a short preview video of their unfinished documentary film.

In my own artistic practice I focused a lot on resistance movements and practises over the past few years. One of the videos I carried out focuses on the militant women's group, Rote Zora, that carried out over twenty attacks and various other actions in Germany in the 1980's. Rote Zora formed a radical political opposition to the existing power which they carried out through a politics of property damage. The central element of the video “Rote Zora” (Oliver Ressler, full version 28 min., A/D 2000) is an interview with Corinna Kawaters, the only woman from the Rote Zora who was sentenced by a court for “membership in a terrorist organisation”. The video offers room for the personal stories and memories about the militant activities and perspectives of the women, allowing a picture of social revolutionary “terrorism” to arise which distinguishes itself from the hegemonic media representations with their feigned objectivity.

Klub Zwei's work since the collaboration was formed in 1992 has centred around the politics of representation. That implies the question of whose voices are heard in European democracies and the analysis of how political issues are represented in the mass media. Their works on video and in public space have focused recently on the experience and the perception of migration, on women's experience and legacy of the Holocaust. (Anthony Auerbach)

“Black and White. The Back of the Images“, 5 min, A/GB 2003
The video raises questions about which things or events are being remembered. How is the Shoah remembered? The short video is a highly reflective work about the photographic memory and addresses the problematic nature of these questions on a formal and contextual level.

The Speculative Archive is a collaborative project by U.S. artists Julia Meltzer and David Thorne. Speculative Archive projects engage specific archival materials to produce documents as possible elaborations of the historical record. Although Speculative Archive works with archival materials (declassified U.S. government records on cold war interventions in Guatemala or Chile, for instance), they situate their work in a current political context. Their video, It's not my memory of it (USA 2003, full version 25 min.), is a documentary about secrecy, memory, and documents.
Mobilising specific historical records as memories which flash up in moments of danger, the tape addresses notions of disappearance and the tenuousness of historical fact in the current climate of terror. The excerpt for the DVD is based on 12 pages of CIA documents about an Iranian man who the CIA attempted to recruit in Teheran prior to the 1979 revolution. Which sorts of information do states keep secret, which documents get classified, what effects does the disappearance of memory
have, are the main questions of this visually complex, structured video.
“It's not my memory of it”, 25 min (10 min. excerpt), EE.UU. 2003

The video is a documentary about secrecy, memory, and documents. The excerpt for the DVD is based on 12 pages of CIA documents about an Iranian man who the CIA attempted to recruit in Teheran prior to the 1979 revolution.

Visual Artist (film, photography), lives and works in Austria.
Attended School of Graphic Arts in Vienna, photography
1998/99 and 2001/2002 Visiting Professor for Art Photography at the University of Applied Arts, Vienna.

2004 Galerie Charim
2004 Dak’art Off Dakar, Senegal
2004 Wien Museum, Karlsplatz
2001 AK Galerie, Vienna
1999 Musée d’ethnographie, Genève

2005 Die Regierung, Secession, Vienna
2004 Ethnic Marketing, Centre d’art contemporain, Geneva,
2004 Nomads & Residents, BAK, Utrecht
2004 Black Atlantic,House of Cultures, Berlin
2004 Minority Report, Aarhus, Denmark
2004 Formate, MNAC, Bukarest
2004 Shake, OK,Linz
2004 Shake,Villa Arson, Nizza
2004 Trading Places, Pumphouse Gallery, London
2004 Gegenpositionen, Museum für moderne Kunst,Passau
2004 Tour-ism,Tapies Foundation, Barcelona
2004 Salzburger Kunstverein mit Destiny Deacon
2003 The Bourgeois Show, Dunkers Kulturhus, Helsingborg, Sweden
2002 Organisational Forms, Galerie Skuc, Ljubljana
2002 Routes, Grazer Kunstverein / Steirischer Herbst
2002 Double Bind, ATA Galerie, Sofia
2002 Documenta XI, Kassel
2001 Du bist die Welt, Künstlerhaus Vienna

2004: Phantom Foreign Vienna
1999: Dejá- vu
1996: Passagen
1990: Semiotic ghosts
1988: Train of recollection
1987: Substantial shadows

Distribution and Sales
ImagiNative / Research as artistic strategy
Text/image CD together with Tim Sharp
House of World Cultures, Berlin
Black Atlantic

“Phantom Fremdes Wien” (Phantom Foreign Vienna), 27 min ( 6 min. excerpt ) , A 2004
In 1991 and 1992 Ponger undertook a multi-cultural journey round the world during which she never left the city of Vienna. Ponger meticulously collected Super-8 sequences of celebrations, weddings and dances. In 2004 she decided to make a new film with this old material, which precisely calls that act of visualization into question.

Geboren 1969, lebt in Wien und arbeitet an Projekten zum Thema Raum/ Heimat /Identität. Ausstellungen und Screenings u.a.: Trading Places, Pump House Gallery, London;

Video as Urban Condition, Austrian Cultural Forum, London; Transit Home, CPH:DOX Copenhagen International Documentary Festival, (2004);
Schöne Aussicht, Kunstverein Langenhagen; (based upon) TRUE STORIES, International Filmfestival Rotterdam; trautes heim, Galerie für zeitgenössische Kunst, Leipzig; Es ist schwer das Reale zu berühren, Kunstverein München; play global, Transmediale Berlin; trans/archive. Schleifen des Bedeutens, Galerie 5020, Salzburg; (2003);
Sarajevo Guided Tours, Sarajevo International Airport/ SCCA; touristische blicke / touristic gazes, Kunstverein Wolfsburg; duisburger filmwoche - festival d. deutschsprachigen dokumentarfilms; Hot Destination (Marginal Destiny), Art Workshop Lazareti, Dubrovnik, (2002);
...Wirklichkeit..., Kunstverein Wolfsburg; Kristina Leko / Isa Rosenbergerer, <rotor> association for contemporary art, Graz; REkonstruktion_heimAT, Forum Stadtpark, Graz, (2001).

“Sarajevo Guided Tours”, 30 min (11 min. excerpt), A 2002

Sarajevo Guided Tours shows eight different locations within a city, the individual urban excerpts organized into brief, discrete segments. While the title refers to the format of a tourist's gaze and experience, Isa Rosenberger subverts the idea of a guided tour by examining the question of how places are invented. [...] The result is eight consecutive portraits of public spaces and their inhabitants in which private and public history are woven into a fabric of architectural impressions, individual perspectives and ideas, and structural, factual data concerning everyday life in a city still associated primarily with images of the siege and destruction.

Martin Krenn

Born 1970 in Vienna, lives in Vienna
Krenn examines and discusses in his work sociopolitical topics. He uses different media such as photography, video and internet to develop projects that are realized in exhibitions, the web and in public space. His projects focus on strategies and methods of resistance against unequal power relations.

Projects (selected)
“City Views”, [NGBK, Berlin (D), 2003, Fotogalerie Wien, Wien (A), 2003, Dunkers Kulturhus, Helsingborg (S), 2003, Austriacky Forum Kultury, Warsaw (PL), 2004, Centre d'art Passerelle, Brest (F), 2004, Mala galerija/Cankarjev Dom, Ljubljana (SI), 2004, Forum Stadtpark, Graz, 2004 (A), Pumphouse Gallery, London (GB), 2004, “Exciting Europe”, Galerie für Zeitgenössische Kunst, Leipzig (GER), 2004 , “Territories”, Malmö Konsthall, Malmö (S), 2004 …]
“European Corrections Corporation” (with Oliver Ressler), [real*utopia, <rotor> & "Graz 2003” (A), Festival der Regionen, Wels (A), 2003, Kunstraum München, Munich (D), 2004]
“Demon strate! ”, [ Salzburger Kunstverein, Salzburg (A), 2000, <rotor>, „andauernder Widerstand gegen Machtverhältnisse“, Graz (A), 2001, W139, „Neubauten“, Amsterdam (NL), 2001, Centre d'art Passerelle, Brest (F), 2001 …]

Nina Maron
Born 1973, in Mödling, lives in Vienna
Represented by: Galerie Lang Wien, Galerie Unart, Villach, Galerie Raab, Berlin,
•  University of Applied Art, Vienna

Solo Exhibitions (selected)
Galerie Lang Wien; Galerie 12, Innsbruck; Philips-Galerie, Wien; Galerie Unart Villach ...

Group exhibitions (selected)
Galerie Fichtegasse 1, Wien; Raab Galerie, Berlin; IG Bildende Kunst, Wien; Künstlerhaus, Wien; Galerie Lang Wien; Basis Wien; Art-Position 2003, Wien; Art-Club, Wien; Rollettmuseum, Baden;
Kunsthalle Szombathely, Ungarn; Galerie Mourratti, Wien; Galerie im Beethovenhaus, Baden; Expo 2000, Hannover; Galerie I&AC, Graz; Galerie Station 3, Wien…

“ - Notes on Resistance" (9 min. excerpt)
The long-term film project investigates forms of resistance against fascism during the 1930’s and 1940’s in Austria, Spain and France. The main protagonist is Harry Spiegel, who died shortly before the beginning of the shooting of the film. He tells parts of his life via audio-tapes illustrated with drawn sketches and animations.

Born in 1970, lives and works in Vienna. Ressler is an artist who carries out projects on various socio-political themes. Since 1994 he has been concerned with theme specific exhibitions, projects in public space and videos on issues such as racism, migration, genetic engineering, economics, forms of resistance and social alternatives. His ongoing project “Alternative Economics, Alternative Societies” was realized in solo-exhibitions in Galerija Skuc, Ljubljana, 2003; Kunstraum der Universitaet Lueneburg, G, 2004; Centro Cultural Conde Duque, MediaLabMadrid, Madrid, 2004; Platform Garanti Contemporary Art Center, Istanbul, 2005). Many of Resslers works are realized as collaborations, such as “European Corrections Corporation” (container-installations in Wels, Graz and Munich, 2003/2004, with Martin Krenn), “Boom!” (with David Thorne, since 2001) and Venezuela from Below (video, 67 min., 2004, with Dario Azzellini).

Ressler has taken part in group exhibitions such as ”Making Things Public”, ZKM, Karlsruhe; Prague Biennale 2, 9th international Festival of Video/Arte/Electrónica, Lima; “fly utopia!”, Transmediale.04, Berlin; “The Interventionists”, MASS MoCA – Massachusetts Museum of Contemporary Art; “Emoção Art.ficial II”, Itaucultural Institute, Sao Paulo; “Minority Report”, Aarhus Festival of Contemporary Art 2004, Aarhus; “Banquete”, Centre of Contemporary Art Palau de la Virreina of Barcelona, Conde Duque Cultural Centre, Madrid; “Attack!”, Kunsthalle Wien, Vienna; “Empire/State: Artists Engaging Globalization”, Whitney Museum of American Art, New York; “Exchange & Transform”, Kunstverein Muenchen, Munich; “<hers>”, Steirischer Herbst, Graz.

He has also taken part in several video festivals in Europe and North America. In 2002 his video “This is what democracy looks like!” won the 1. prize of the International Media Art Award of the ZKM.

“Rote Zora”, 28 min, A/D 2000 (9 min. excerpt)
The militant women’s group, Rote Zora, carried out over twenty attacks and various other actions in Germany in the 1980’s. The central element of the video “Rote Zora” is an interview with Corinna Kawaters, the only woman from the Rote Zora who was sentenced by a court for “membership in a terrorist organisation”.

In my selection I cooperated with Thornbjoern Christiansen. The selection is primarily based on a programme he curated for a screening in an abandoned school building in Berlin. This space represents just one of the symptoms of the neoliberal degradation of public space and education in a crisis-ridden Post-Wall Germany. The inclusion of parts of this programme into tester aims at evoking this original local context of the screening within a much larger international framework, in which issues of privatisation, precariousness, the dismantling of public services, security scares and the rise of racism and antisemitism are echoing in other forms. Therefore this selection does not aim at giving a representative sample from a specific location but displaces a screening within a specifically charged location in Berlin into a larger context.


Ethnic Marketing, Centre dárt Contemporain, Geneva, 2004
Berlin Biennalen, "Komplex Berlin" with Hito Steyerl, Berlin 2004
Minority Report, Århus Artcenter, 2004 DK
Videofestival: "Es ist schwer das Reale zu berühren", Kunstverrein-München
Av-Arkki, Helsinki 2004
The Electric Visions Festival Erimitaget, St. Peterborg 2003
Re/Aktion, Art maganzin by Kristina Ask, 2003, DK
Copy Cat, Lars Bang and Brett Bloom, 2003,
Billboard, Copenhagen. 2003, DK
Moment:konst , Konstveckorna Stockholm, 2003, SE
Charlottenborg " New Order Fundamentalism - Platform", Copenhagen, 2002, DK
Ingrepp Modern Art from Denmark, Uppsala Konstmuseum 2002,SE
Rooseum, Olof Olsson, Museum of Contemporary Art, Malmö, 2001,SE
Mother earth Massive Propaganda, Södra Teatern Stockholm, 2001, SE
Forum-2001 festival in conection of EU- summit in Gothenburg, 2001, SE

"Danish Election" 3'44”. 2001. Germany
Short intervention of a veiled woman singing the Danish anthem on the night of the Danish elections in front of the parliament building.

"Gothenburg" 2'50”. 2001. Germany
Intervention at a demonstration against the EU summit meeting in Gothenburg, 2001.

"One Dollar" 4 min. 2001. Germany
Performance in which a veiled woman tries to give away one dollar bills in a shopping mall in Berlin.

Thorbjørn Reuter Christiansen born 1974 in Næstved, Denmark.
Thorbjørn Reuter Christiansen / Education
1994-95 Fatamorgana - The Danish School of Art Photography, Copenhagen, Denmark
2001-06 Student at the Academy of Art, Berlin, Germany (class of Professor Katharina Sieverding)
2003-04 Erasmus student at Malmoe Art Academy, Sweden (class of Jimmie Durham and Lars Nilsson)
Thorbjørn Reuter Christiansen / Selected Exhibitions, Performances & Video works
2000 HORIZONTAL, Madsnedøfort, Vordingborg, Denmark
2001 "Golden Arch Hotel," photo, digital video stills, and VHS (30 min.)
"Mr. Green Ear & The Burning Dollar Bill," performance with Jason Liebert, Galerie Doris Day Dream, Berlin, Germany
"Opløsningen af de Forenede Stater af Amerika," performance with Jason Liebert, Gallerie Doris Da Dream, Berlin,Germany
"Det brændende flag," (Burning of the American flag), VHS (30 min.),
"Medial Dislocated," critique of the US war against terrorism, VHS (10 min.)
2002 AUSLAND, 100 color photos of embassies in Berlin, Germany
"World Border - Embassy - Refugee - Death Penalty," TRANSVISIT (Baltic Art), Madsnedøfort, Vordingborg, Denmark
"border crossing," Galerie Doris Day Dream, Berlin, Germany
OIL ARCHIVE, Haus am Lützowplatz, Berlin, Germany
2004 "Asylum Box," Skåne Social Art Forum - Utopi Station, Stortorget, Lund, Sweden
MINORITY REPORT, Århus Artcenter, 2004 DK
Die Auflösung der Vereinigten Staaten von Amerika (2001)
The dissolution of the United States of America

After Sept.11 the US army bombed Afghanistan. When I saw the bombed hospital in Kandahar, my reaction was clear: It is a crime against humanity and the US is not being held accountable.
By burning the US flag I wanted to provoke a reaction from the spectator.

1973 Born in Tranås, Sweden
1996-02 Studium an der Universität der Künste in Berlin, Bildende Kunst
2002 Meisterschülerin der UdK
2003 Deutsche Stipendiatin, Network Baltic
2003-05 Studium an Malmö Högskola, Kultur Produktion, S
2005 Goldrausch Künstlerinnenprojekt

2003 Filmprojekt/praktik, Haus der Demokratie und
Menschenrechte, Berlin, D
2004 Kuratorin des Skåne Social Art Forum - Utopi Station, S
Kuratorin des Screening in der Leerstelle, Gustave- Eiffel-
Oberschule, Berlin, D
2003 3 von 10, Meisterschülerpreisausstellung, UdK, Berlin
Just passing through..., ROCKET SHOP/ bgf_mitte, Berlin
Network Baltic, Latvian Academy of Fine Art, Riga, LAT
2004 The Laureate Exhibition, Grafikens Hus, Mariefred, S
Network Baltic, The Trondheim Academy of Fine Art,
Trondheim, N
Network Baltic, Künstlerhaus Bethanien, Berlin, D
Skåne Social Art Forum - Utopi Station, Lund, S
Screening in der Leerstelle, Gustave- Eiffel-
Oberschule, Berlin, D
2005 Network Baltic: Mariefred, Talinn, Trondheim, Warsaw

Du- Demo vor dem Roten Rathaus de Caroline Lund. 6’30”. 2003

Demonstration in front of the Red City Hall (2003) (2003)
The film shows a demonstration against the closing down of the art academy in Weissensee.

In Between Countries 3’50”.2002
Point of departure for this work is the question about the validity of certain national feelings and their identification. Can life between worlds or between countries become a principle of life? Interviews with foreigners living in Berlin answer the question: How does it feel to live between countries? Words, images and sounds fuse into a “reality” - a space in between.

Solo exhibitions:
2001 o.T. (Performance im Milchhof), Galerie Lindig in Paludetto, Nürnberg
2001/2002 bridges between disciplines, Projekt am Hbf Nürnberg (mit Frauke Boggasch)
2002 falsche möbel (echte kunst), Installationsprojekt mit Frauke Boggasch und Daniela Huber im zumikon AC, Nürnberg
2004 performing the video, Kunstverein Kohlenhof, Nürnberg

group exhibitions:

2001 SuperVision
Ausstellungsprojekt mit H. J. Hafner, M. Guentner,
A. Heiszenberger, C. Woditschka, C. Kugler, Zwinger, Nürnberg
Junge Kunst in Nürnberg
Ausstellung der Galerie Lindig in Paludetto
2002 Auswahlausstellung des Cusanuswerks, 2yk-Galerie, Berlin
science n´ art summercamp, lothringer 13/LADEN, München
2003 GRAUZONE, lothringer13/LADEN, München
p + t (Positionen und Tendenzen), Kunstverein Nürnberg, Kunsthalle Nürnberg, Kunstbunker Nürnberg, Institut für moderne Kunst, (Katalog)
Real Presence 3, Museum des 25. Mai, Belgrad, Programm von Biljana Tomic und Dobrila Denegri, (Katalog)
2004 "Leerstelle", Screening in der Gustave-Eiffel-Oberschule, Berlin
cinema ambulant_04, Videoscreenings in Saarbrücken, Metz, Nancy, Straßbourg, Karlsruhe und Trier

Security , 4:00 min., 2004
Different electronics shops in privatised shopping malls are accessed with a recording camera until the security service intervenes and forbids the shooting.

born in Neumarkt/ Germany
studies of art at the Academy of Fine Arts Nürnberg, in the classes of Prof. Werner Knaupp and Ottmar Hörl
2001 grant of the Danner-donation (class-competition)
2001 scholarship of the Bavarian State Ministry of science, research and art for the International Summer-Academy of Visual Arts Salzburg
2001 studies of art and visual culture at the University of Arts Berlin, in the class of Prof. Katharina Sieverding
2004 graduate at the University of Arts Berlin
2004 scholarship to support young artists and scientists of the artistic universities of the ministry of science, research and culture Berlin, NaFöG

since 2004 master degree studies at the University of Arts Berlin in the class of Prof. Katharina Sieverding

Exhibitions and Videoscreenings
2001 SuperVision, exhibition-project with Hans-Jürgen Hafner, Claudia Kugler a.o., Marientorkeller, Nürnberg
2002 WIR HIER, Galerie Lindig in Paludetto, Am Kornmarkt, Nürnberg
2003 "Sieverding and students", Haus am Lützowplatz, Berlin
2003 In-between countries / Zwischen Ländern / Mellan länder, filmprogramme linked to the show of Caroline Lund, Haus der Demokratie und Menschenrechte Berlin
2003 Positionen und Tendenzen, videoscreening, showroom für junge Kunst, Nürnberg
2003 museale03, Deutsche Kulturträgergesellschaft in cooperation with SPK/SMB (Stiftung Preußischer Kulturbesitz/ Staatliche Museen zu Berlin), videoscreening Kulturforum Berlin
2003 REAL PRESENCE 3, Museum of the 25th Mai, Belgrad, programme of Biljana Tomic and Dobrila Denegri
2003 wg/3zi/k/open house, videoshow with Heike Bollig a.o. Künstlerverein Malkasten/ Jacobihaus Düsseldorf
2004 shift, show with Markus Freidl, Gesellschaft zur Förderung von Kunst und Kultur in Europa e.V. Nürnberg
2004 performing the video, Videoscreening at the Kunstverein Nürnberg Kohlenhof e.V.
2004 sreening in der leerstelle, summercamp at the Gustave-Eiffel-Oberschule, Berlin
2004 real-skandal-illegal, videoscreening arena/DreiRaum, Wien
2004 cinema ambulant_04, videoscreenings in Saarbrücken, Metz, Nancy, Straßbourg, Karlsruhe and Trier
2004 graduate show at the Universität der Künste Berlin
2004 forum medial, videoscreening at the Schlossplatz, Berlin
2004 solidarity unlimited, rum46, Arhus, Dänemark
2004“ Das Kino und seine Phantome“, video- and filmprogramme curated of Madeleine Bernstorff in “The Art of Programming“, Filmstudio, Hochschule der Künste Braunschweig

Office 2, 4'48”

The camera is lead along the man-sized windows of an office building in berlin-hennigsdorf. the lens of the camera is put in direct contact to the window-glass, which now functions as a tripod. the lens is moving in direct contact with the surface of the window-glass and is located at the point of intersection, in which the membrane of the window-glass distinguishes the semi-public/ private room of the office from the public space outside.

Filmmaker and author. The works are located on the interface between film and fine arts, and between theory and practice. PhD. Work in the art field as professor, commentator and critic. Further activities include work as political journalist, film critic, catalogue and book author and the compilation of feminist film programmes. The films have received international awards. Participations in international symposia on postcolonial studies, media studies and cultural globalisation.
November. 3'50” excerpt