VIDEONALE — within the framework of the video art festival Video Re:view
Our Video Re:view festival in Katowice starts on the 17th May, and is the first large scale video event in the region. It will offer a showcase for the most important phenomena in video art.
A major highlight is the exhibition — in BWA Contemporary Art Gallery — of works originally presented at the 13th Videonale Bonn, which is one of the oldest biennials of video art in Europe, well-known for spotting emerging talent, and for presenting video art in an offbeat fashion.
Another important component of this year's programme is a project alluding to the history of cinema, entitled Video Art Entering the Katowice Railway Station. The Cinema (Re)visited by Video Art. This show was prepared in collaboration with Les Instants Vidéo from Marseilles.
The calendar of events will also include a presentation of the latest film by Santiago Sierra, No, Global Tour. This is an account of a ‘global’ journey, featuring his ‘No’ installation as the main character and traveller. The stopovers include last year's Ars Cameralis Festival.
Another highlight of the festival is the release of the book Labyrinth of Memory. Faces of Evil 1939-2009, which is a summary of the video art exhibition held in Katowice two years ago (partly in BWA Gallery).
The organisers are proud to offer a range of interesting workshops. The art group Mühlenkampf from Cologne has prepared an international exchange programme entitled “The World Expanses. Neighbourhood.” Polish and German youth will have the opportunity to collaborate on research into the influence of media and technology on art and social reality. Another series of workshops has been designed by Georg Elben, the director of Videonale, which are aimed at young curators and dedicated to the issue of presenting video art.
The festival will be accompanied by video screenings in city cinemas and open spaces, as well as meetings with artists, and discussions on audiovisual culture.
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The Videonale Bonn is an international festival and a video art competition. Since its first edition in 1984, initiated by students, the programme of the biennial has continuously evolved. After moving to a new venue, Kunstmuseum Bonn, the organisers of the Videonale, assisted by young architects and designers, have worked out an array of special, single channel forms of projection. Additionally, the programme has been extended with a series of lectures focusing on current issues in video art. At the exhibition held at the BWA Contemporary Art Gallery in Katowice, selected video art from all over the world will be displayed, as well as a selection of works presented during the 13th Videonale in Bonn.
Video art works on display:
Racing Clocks Run Slow: Archaeology of a Racetrack — Shimon Attie, USA, 2008 (18’)
Fresh Cherries — Anna Baumgart, Poland, 2010 (18’)
Vanishing Point — Janet Biggs, USA, 2009 (10’32’’)
Paradise Later — Ascan Breuer, Germany, 2010 (13’20’’)
Birth of Nation — Daya Cahen, Holland, 2010 (10’)
Four Seasons — Keren Cytter, Israel, 2009 (12’)
Feature — Shezad Dawood, United Kingdom, 2008 (55’)
You Are Here — John di Stefano, Australia, 2009 (62’)
Animal Cams — Sam Easterson, USA, 2000-2008 (35’30’’)
Camp — Peter Freund, USA, 2010 (7’)
Silberwald — Christoph Girardet, Niemcy, 2010 (12’)
Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy) — Nate Harrison, USA, 2010 (14’10’’)
The Good Life — Ronny Heiremans i Katleen Veimeir, Belgium, 2009 (16’)
Ein Tag und eine Ewigkeit — Anna Hepp, Germany, 2009 (25’)
Za Żelazną Bramą (Behind The Iron Curtain) — Heidrun Holzfeind, Austria, 2009 (55’)
Dream Water Wonderland — Ute Hörner i Mathias Antlfinger, Germany, 2010 (3’30’’)
Blithe Tragedy — Ran Huang, China, 2010 (14’52’’)
Grand Paris Texas — Teresa Hubbard i Aleksander Birchler, USA, 2009 (54’)
The Woman, The Orphan and The Tiger — Jane Jin Kaisen i Guston Sondin-Kung, Denmark, 2010 (76’)
Artist Statement — Adela Jusic, Bosnia and Herzegovina, 2010 (7’27’’)
99 Beautiful — Tessa Knapp, Germany, 2010 (17’)
Summertale — Katarzyna Kozyra, Germany, 2008 (19’59’’)
Resonanses — Kaja Leijon, Norway, 2010 (11’)
Cocker — Erik Levine, USA, 2010 (16’20’’)
Miss Nice-Looking — Chi-You Liao, Taiwan, 2010 (6’)
Friends He Lost At Sea — Henrik Lund Jørgensen, Sweden 2009 (5’35’’)
Insideout — Tonje Alice Madsen, Denmark, 2010 (25’)
Celebration (Cyprus Street) — Melanie Manchot, United Kingdom, 2010 (10’20’’)
Milk for Lambs — Almagul Menlibayeva, USA, 2010 (11’35’’)
Rapture (silent anthem) — Angelica Mesiti, Australia, 2009 (10’)
I remember — Helena Őhman McCardle, United Kingdom, 2009 (9’04’’)
Otholit II — Otholit Group, United Kingdom, 2007 (47’42’’)
Tale of Heaven — Aroonpheng Phuttiphong, Thailand 2010 (5’40’’)
Storyteller — Nicolas Provost, Belgium, 2010 (7’30’’)
Walking drunk in high shoes — Anahita Razmi, Germany, 2010 (47’22’’)
Black hole — Johanna Reich, Germany, 2009 (2’)
Six Easy Pieces — Reynold Reynolds, Germany, 2010 (10’)
Rebeca — Gonzalo H. Rodriguez, Germany, 2009 (24’)
Projecte E/F — Mireia C. Saladrigues, Spain, 2008 (14’20’’)
As Inside As The Eye Can See — Casilda Sanchez, Spain, 2009 (7’)
Module 002 / Restraum — Meggie Schneider, Germany, 2010 (19’)
Begleiter — Michaela Schweiger, Germany, 2010 (10’)
H2 — Nurit Sharett, Israel, 2010 (27’)
Vargtimmen — After a Scene by Ingmar Bergman — Georg Tiller, Austria, 2010 (6’20’’)
Self-portrait with Mother — Ewa Toboła, Poland, 2009 (1’52’’)
Improvement — Adam Vackar, Czech Republic, 2009 (5’)
Fliegenschwimmer — Claudia Waldner, Germany, 2009 (6’18’’)
Karaoke Wrong Number — Rachel Perry Welty, USA, 2010 (5’52’’)
