I like that the process was technical, loud, involving engines, radios, bird repellers and men like wrestlers. But all the effort resulted with an ephemeral line drawn in an intangible space supposed to separate something immesurable from something equally vague. pilot: Roberts Andrejevs, aircraft: L39C Albatros, speed:400 km/h, altitude: 300 m, 75 l paraffin oil, 400 l aviation fuel
The original film documents the continuous flight of a Carrier pigeon over the city of Nice, France. Dropped along the coastline, the Carrier pigeon having a mini camera attached, flies all the way back to the hinterland. The images make us gain insight into new natural and urban landscapes.
The Veil of Scheherazade, the ambivalence and allure of hiding and making visible, and the sensual relationship between image and perception.
A figure in a darkened room, who seemingly shoots herself from below. Next, a close-up superimposed to a grid: she pins up her long hair, as a light strip moves upward across a glass pane of what seems to be a common scanner device. Is that still her we see on the scanner screen, or is it the reflection of a video rendering?
The film is based on a real life experience and is reconstructed with non-actors in the original locations, consciously playing on the ambiguity between a documentary mode and a staged event.
On abandoned planets and lost posts, on orbits around nothing: the giant green head and snowmen, the backpack and wheel people, the algae-covered, golden, sweating figures, the snail-like, insect-like, tightly-wound creatures from Marc Aschenbrenner’s cosmos move within unstoried spaces.
A woman is holding a book in her hands that conceals her face. A landscape is monotonously passing by in the window behind her. Asleep, the book falls on the floor.
When life becomes too much to bear, you should lie down in a hole in the ground and ask someone to bury you. Spend some time in there and absorb the energy of the earth. When you crawl out, take on a new name and go on living as if nothing had happened.
A woman, a man and a child move in the isolation of a wilderness, in a swampland with shaky ground. The rituals of modern contemporaries appear as absurd attempts to survive in the wasteland. A mood arises that vacillates between prehistory and post-apocalypse.
The fish factory workers, with their sturdy white boots and hairnets, are reminiscent of people in quarantine. The fisheries worker appears like a samurai with drawn sword; a perfect archetype of psychologized masculinity.
Aichmophobia is a fear of sharp objects such as knives or needles. Exposure therapy is the most common treatment for aichmophobia, i.e. slowly exposing oneself to the object of fear until becoming desensitised.
The source of this text is from a weather forecasting stone I found by chance on the street. The filming took place in the vicinity of the two buildings of the German Weather Service in Hamburg.
A woman moves in a pitch-black room. She goes up and down invisible structures, switches between floors, moves material back and forth, while one tries to discern the dimensions of the room or guess the hidden goal of her work.
The camera as the distance-bridging eye of our species is carried into territories that humans have left - or never reached.
The work with the cherry tree avenue and the fading cherry blossom as a motif is a metaphor of this volatile and uncertain world.
I fastened wandering figures and sequins on the painted forests and mountains. "The World" is a piece of video art, in which these pictures are melting, so the fastened objects fall down and disappear. This piece questions our perception, how we think we "know" something in our lives today in the information society. It questions the existence of the reality of all of us, who are living in this vague world.
Winter in Alfter, where I live, is exceptionally dark. I was unconsciously attracted to the sunny places. In this work, I began to transform myself into a blackbird. The blackbird is a native bird with a bright orange beak and a pitch-black body. It walks around outside even in winter. It looked like the night was chasing the sun, but the distance never got shorter. I continue to walk with my beak in winter Alfter. I trusted to always walk close to the sun.
When I was walking on the North Sea coast, I noticed that all the people were walking slowly and looking down. They were looking for amber on the beach. There were similar situations in the city. They were looking down and searching for something in their mobile phones. I thought you looked lifeless and like wandering zombies. In this video performance I tried to walk on the beach and through the city of Kiel while flying an invisible kite. When you play with a kite, you have to raise your hand to the sky and look up. It was like I was looking for something in the sky.
Places mostly convey credible bodily experiences to us. The desert, the steel mill or the jungle...
The wallpaper on the wall slowly swells and then melts away. The color of the melted pattern fills the room, little by little. This is no computer-generated special effect, the wall with the melting pattern was real. This combination of the room and the one-shot video allows the viewer to feel as if the "wall" was melting. Color becomes materiality, from 2D to 3D, and invades the room, as if it wants to prove how inaccurate our eyes watch the world every day.The "wall", which constructs our space, is melting, the room itself is melting.
This is a joint work by Junya Fujita and Kiki Park. We moshed each other in front of the 76er Denkmal, a war memorial at Hamburg's Dammtor. Afterwards, I added the prose from Kiki's daily diary to this huge picture.
The intersection in Shibuya is crossed by up to 15,000 people per traffic light phase. But since it is a so-called "all-go" intersection, a clear, meaningful rhythm is created - the pulse of the big city.
People in Tokyo often have a long commute between work and home. They are exhausted and use the time in the metro to catch up on their sleep.
A shadow moves in regular succession across the trees at the edge of the forest. A woman walks through the picture and is rhythmically hit by the shadow. This reference figure is the standard of the idyllic-romantic picture, which refers to a reality outside its own boundaries.
Ever since I was a child, I suspected that the things around me had their own lives, memories, feelings and desires, could move and communicate with each other as soon as I turned away.
This landscape with a bench in the water is, despite its absurdity, a place where one can find peace. In this place, where you become part of nature in the rhythm of the incoming waves, you would not think of water as a strong force that can bring chaos and destruction.
Babylon was shot in Moscow in the extreme heat of summer 2010. Half-naked construction workers erect a multi-storey building. They are migrants from the countries that were Soviet republics before perestroika. Their parents spoke Russian, but these guys only speak their mother tongues. They work for a common cause, but do not understand each other.
One by one, rings, necklaces, pearls, brooches, bracelets and watches emerge from a jewellery box. An old lady takes out her jewellery, touches and examines each piece, tries on some of the things. This tactile and visual examination may evoke in her memory events and feelings associated with each piece. In some cases it does, in others it may already not.
The gardener takes care of the plants, does everything to make them comfortable, prosperous and grow quickly.
The video invites the viewer to enjoy the beauty of an ordinary piece of textile. It is structured like a book - layers of textile are flipped through like pages.
The video "Land of Happiness" is about the search for one's home. It begins with finding the place.
Human always tends to avoid any kind of unexpected changes in his life, even if he wants them - it is always a painful and uncomfortable process which can last from one week to one year or even more. What if someone gives us an opportunity to watch how our own apartment turns into ashes? Maybe it could give some other quality to it.
... there are lessons about faithfulness and justice that are taught to us by chance and by the people we happen to meet. Everything is in everything. (Fernando Pessoa: The Book of Unrest)
A white line oscillates endlessly so that the screen changes from black to white and then from white to black.
Atmospheric Forest is a video that visualizes the complex relationships between a forest, climate change and the atmosphere. It is the result of a three-year artistic research project on the Pfynwald, an ancient alpine coniferous forest.
The video is dealing with our relations with nature and technology, biological and social systems, human and microorganism worlds. MFC (Microbial Fuel Cell) technology generates electrical energy by using microorganisms – bacteria found in the soil, sediments of the pond or sewage.
The video visualizes the electrical energy generated by an outdoor microbial fuel cell (MFC) over a seven-month period, from September 2014 to March 2015. The work is part of the Biotricity project series, an ongoing art and science research project that explores the dynamics of local ecosystems to design the renewable energy grids of the future.
The animated still life composition is portraying the so-called “self-care“ community, that has formed online based around specific aesthetic and lifestyle choices. The author has gathered objects that visually represent this community and arranged them in shrine-like compositions.
The animated still life composition is portraying the so-called “self-hate“ community, that has formed online based around specific aesthetic and lifestyle choices. The author has gathered objects that visually represent this community and arranged them in shrine-like compositions.
Through play, children learn social rules. By playfully causing an accident, they understand the serious reality of the accident scene.
The starting point for the video "Face of Paradise" are two books by the Gottorf court librarian and scholar Adam Olearius (1599-1671), "Neue Orientalische Reise," the description of a trading expedition of Frederick III's of Schleswig-Holstein legation to the Persian court in Isfahan, and "Persianischer Rosenthal," the translation of Sa'adi's "Golestān."
Apg 15:16: After this I will come again and rebuild the tent of David that was torn down; I will rebuild what was torn down. I will restore it
Viscum album, mistletoe, was the magic plant of the druids, and in Latvia is also called “wind besom” or “wind broom”. At summer solstice the main priest would cut it off the oak/ birch/pine with a golden sickle/knife/sword. The mistletoe would fall on a snow-white sheet held by two to four virgins. According to the druids, the plant could cure any malady.