Projects by the Fundación Rodríguez
Reviewing and updating our contribution to the book, “Tester,
nodes at work”.
- 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
- 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
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
“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
“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
“…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
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
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
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.
El mitin étnico
, Sukil, nº2,
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.
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
Editor de Pensamiento Digital (Humanidades y Tecnologías
de la Informacion, Junta de Extremadura, 2001.
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.
en Filología Vasca, cursó estudios postgrado
de literatura comparada en Italia. Desde entonces ha desarrollado su
actividad como profesor, traductor, intérprete y guionista.
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
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.
firstname.lastname@example.org · www.isdeo.net
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.
Metabolik have used TESTER to distribute X-Evian
(http://www.x-evian.org), 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.
a CD from an x-evian.iso file-image.
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
- Alephandria. Copyleft File
- 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,
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.
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
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
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
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).
OF LINKS (A.P.O.L.)
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
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
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
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
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.
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.
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.
Marina Grzinic, Aina Smid/ Ljubljana
14 min. produced by Arteleku, San Sebastian,
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
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,
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
Recent projects display an increased interest in narrative design and staging
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.
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.
VCTM VS. VCTM
By ivan & laura/ Vienna & Bratislava
5 min. 2004
VICTIM VERSUS VICTIM is film about identity and mirroring
Margarete Jahrmann (CH) & Max Moswitzer (A), artists.
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, http://linx3d.konsum.net
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
By climax.at, 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 email@example.com,
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
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 :
by Meate (Paulo Alcantara, Nathalie Perrin, Stephanie
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:
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
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
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.
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,
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,
(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.
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
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 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 2005
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
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.
CENTRO AMERICA NOW 7 min. 2004.
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
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
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
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
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
, 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
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
"Eight to four" 2001
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
(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
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
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.
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
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.
Animated Digital Stills
“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
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”
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."
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
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.
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
The Politics of Memory
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
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
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
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
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,
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
1990: Semiotic ghosts
1988: Train of recollection
1987: Substantial shadows
Distribution and Sales www.sixpackfilm.com
ImagiNative / Research as artistic strategy
Text/image CD together with Tim Sharp
House of World Cultures, Berlin
“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,
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;
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,
...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. www.filmvideo.at/filmdb_display.php?id=1212&len=en
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.
“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),
“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 …]
Born 1973, in Mödling, lives in Vienna
Represented by: Galerie Lang Wien, Galerie Unart, Villach, Galerie
University of Applied Art, Vienna
Galerie Lang Wien; Galerie 12, Innsbruck;
Philips-Galerie, Wien; Galerie Unart Villach ...
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;
Ungarn; Galerie Mourratti, Wien; Galerie im Beethovenhaus, Baden;
Expo 2000, Hannover; Galerie I&AC, Graz; Galerie Station 3,
“ - Notes
on Resistance" (9
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
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.
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
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
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
Biennalen, "Komplex Berlin" with Hito Steyerl, Berlin
Minority Report, Århus Artcenter, 2004 DK
Videofestival: "Es ist schwer das Reale zu berühren",
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
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,
Forum-2001 festival in conection of EU- summit in
Gothenburg, 2001, SE
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.
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
2003-04 Erasmus student at Malmoe Art Academy, Sweden (class of Jimmie Durham
and Lars Nilsson)
Thorbjørn Reuter Christiansen / Selected Exhibitions, Performances & Video
2000 HORIZONTAL, Madsnedøfort, Vordingborg, Denmark
2001 "Golden Arch Hotel," photo, digital video stills, and VHS (30
"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
"Medial Dislocated," critique of the US war against terrorism, VHS
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,
MINORITY REPORT, Århus Artcenter, 2004 DK
Die Auflösung der Vereinigten Staaten von
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
2003-05 Studium an Malmö Högskola, Kultur Produktion,
2005 Goldrausch Künstlerinnenprojekt
2003 Filmprojekt/praktik, Haus der Demokratie und
2004 Kuratorin des Skåne Social Art Forum - Utopi
Kuratorin des Screening in der Leerstelle,
Oberschule, Berlin, D
2003 3 von 10, Meisterschülerpreisausstellung,
Just passing through..., ROCKET SHOP/ bgf_mitte,
Network Baltic, Latvian Academy of Fine Art,
2004 The Laureate Exhibition, Grafikens Hus,
Network Baltic, The Trondheim Academy of
Network Baltic, Künstlerhaus Bethanien, Berlin,
Skåne Social Art Forum - Utopi Station, Lund, S
in der Leerstelle, Gustave- Eiffel-
2005 Network Baltic: Mariefred, Talinn, Trondheim,
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.
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
Ausstellungsprojekt mit H. J. Hafner, M. Guentner,
A. Heiszenberger, C. Woditschka, C. Kugler, Zwinger,
Junge Kunst in Nürnberg
Ausstellung der Galerie Lindig in Paludetto
2002 Auswahlausstellung des Cusanuswerks, 2yk-Galerie,
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
Real Presence 3, Museum des 25. Mai, Belgrad, Programm
von Biljana Tomic und Dobrila Denegri, (Katalog)
2004 "Leerstelle", Screening in der Gustave-Eiffel-Oberschule,
cinema ambulant_04, Videoscreenings in Saarbrücken, Metz, Nancy,
Straßbourg, Karlsruhe und Trier
, 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
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,
2003 "Sieverding and students", Haus am Lützowplatz,
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
2004 real-skandal-illegal, videoscreening arena/DreiRaum,
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,
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
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