In Video Palace, his ambitious installation series, Joep van Liefland invited us since the end of the 90's into an intimite universe where one could resist or embrace the filmic appeal. For Videoart at Midnight, with his 43rd edition of Video Place, the artist puts us under a new kind of (de)pressure. Will you endure the claustrophobic fornication with the screen?
Since 2012 the Berlinische Galerie has been acquiring the Videoart at Midnight Edition for its collection. To mark Gallery Weekend 2016, the Berlinische Galerie now presents Videoart at Midnight, using it's IBB Video Space to screen a versatile selection of those high-calibre works from the collection.
Dafna Maimon’s work constitutes an exploration of small-scale communities that challenge stereotypical constructions. Mainly cinematic and performative, her work focuses on understanding and studying the unclear limits of identity, the body and human emotional landscapes.
Jeremy Shaw works in a variety of media to explore altered states and the cultural and scientific practices that aspire to map transcendental experience. Often combining and amplifying strategies from the realms of conceptual art, ethnographic film, music video, mystical and scientific research, Shaw proposes a post-documentary space in which disparate ideals, belief-systems and narration are put into crisis.
After the Islamic revolution in 1979 the young contemporary art scene in Iran has developed beyond what was considered compatible with the new Islamic order. But right now - despite continuing limitations - the Iranian art scene is flourishing, all signs in the middle east art scene seem to point to Tehran.
Christian Falsnaes‘ “There and Back Now” wird am Freitagabend bei der 71. Ausgabe von “Videoart at Midnight“ im Babylon Kino gezeigt. Den Film entwickelte der Künstler beim Stöbern in seinem Video-Archiv. Nur dieses eine Mal soll ein Publikum ihn zu sehen bekommen. Falsnaes’ Werke treten mit den Zuschauern in Kontakt, ...
In his performances, Christian Falsnaes tests collective obedience by giving instructions to his audience. Thereby, Falsnaes’ performances form analytical and social experiments that demonstrate how easily an initially hesitant audience can, through instructions and group dynamics, be emotionally and critically affected.
As conclusion of this year’s program - an exuberant clash of film, live concert and performance!
As in Zeyen’s video, the narrative found itself enhanced through its containment into a closed space. Here, not only are the characters absent but so are the bright colours of the furniture : leaving only the anthropophagic white emptiness. It is the space itself that reflects the filmic emotions.
An dieser Stelle bietet sich endlich die Gelegenheit auf das Projekt Videoart at Midnight hinzuweisen. Die Initiatoren Olaf Stüber und Ivo Wessel geben uns einmal im Monat die Möglichkeit im Babylon in Mitte bei freiem Eintritt (oh ja!) Videokunst in Kinosesseln zu sehen, anstatt im Vorbeigehen im Museum oder in ...
Olaf Stüber, a leading proponent of moving-image art in Germany, is co-founder of the monthly showcase Videoart at Midnight. A cult event among Berlin art enthusiasts, it invites artists to present their work in a free and open forum that welcomes not only video but performance and conversation. After introducing this program, Stüber will be joined by Ulu Braun, an artist who has been featured in Berlin.
Amie Siegel, who is back in Berlin to premiere a new work for the exhibition Wohnungsfrage at the HKW presents at Videoart at Midnight The Architects (2014), one of her very recent works, followed by The Sleepers (1999) an earlier work shot on 16 mm.
Shingo Yoshida considers the world as his studio and therefore a place of constant creation. Travelling around the globe, he finds myths, legends, people and places which are easily over looked and matches them to his creative micro world. Yoshida just comes back from Siberia to premiere his latest film.
Combining documentary and subjective viewpoints, Filipa César's films are concerned with the relationship between history, memory, image and narrative. Their freedom of tone and form is reminiscent of the form of the cinematic essay, in which the image serves as a starting point for open narratives, developed like a stream of thought. In her films the artist concentrates on points of historical crystallization, on facts situated on the margins of official history but liable to reveal its mechanisms, ideologies and hidden dimensions.
Erik Bünger's work revolves around the human voice and its contradictory relationship to the body, to language, music and technology. The voice is not addressed as a phenomenon, which gives rise to personal, human presence and interpersonal communication but rather as the very thing that allows something other, radically inhuman, to enter and take control of the human body.
Ein weitführendes Gespräch über Videokunst und den Rest der Welt: … Kaum eine Ausstellung zur zeitgenössischen Kunst kommt ohne einen Beitrag aus dem Bereich der Videokunst aus, die Düsseldorfer Sammlerin Julia Stoschek baut eine Videokunstsammlung auf, es gibt internationale Videofestivals oder hier in Berlin mit Videoart at midnight eine außergewöhnliche ...
The core interest of Dani Gal's work is memory, recollection, recording and the methodology of writing history. He takes historical events as his point of departure, examining their forms of representation within the ‘official’ version of history.
Ulu Braun has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997. He is one of the key figures who have transferred painting into video art and have played a significant role in defining and further developing the genre of video collage.
Chto Delat (What is to be done?) was founded in 2003 in Petersburg by a working group of artists, critics, philosophers, and writers from Saint Petersburg, Moscow, and Nizhny Novgorod with the goal of merging political theory, art, and activism. The group’s name recalls the first socialist workers’ self-organizations in Russia, which Lenin portrayed in his “What is to be done?” (1902).
The work of Yael Bartana largely reflects on rituals and the relationship between individual responsibility and collective actions. In her new work Pardes (Orchard) Bartana takes a very personal look at how Westerners seek personal enlightenment by appropriating traditional rituals.