Catalogue > Search

The key work, The Single Screen, provides an insight into the series of performances that Joëlle Tuerlinckx and her ‘That's it!’-team brought to the world-renowned museum Dia Beacon (US) between 2015 and 2018 invited by Jessica Morgan (Nathalie de Gunsberg Director, Dia Art Foundation). As such, the artist confronts, in a conceptual and humorous way, the experience of time and space at a museum with that of a cinema. On a projection screen, the space expands, overflows, unfolds its topics, double and multiple. A co-production by Escautville, Dia Art Foundation, the Flanders Audiovisual Fund (VAF) and S.M.A.K. (Ghent, BE).

Since the 1990s, and mainly after her participation in Documenta 11 in 2002, the artistic journey of the Belgian artist Joëlle Tuerlinckx (°1958) has gained momentum, with solo and group exhibitions in major institutions around the world (including the Museo Reina Sofia in Madrid in 2009, the Haus der Kunst in Munich in 2013, the Hermitage in Saint Petersburg in 2014 and her participation in Skulptur Projekte Münster in 2017). Today Tuerlinckx is among the most internationally renowned Belgian artists of her generation.

Hong Kong marked 20 years since its hand over; half way through the planned 40 year `one country, two systems` transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.

Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops.

"World Tree" is about the contemporary notion of 'information'. We hang onto written texts in the belief that we can extract all their meaning. We keep masses of written and printed material that we will never read, giving us a false sense of security. "World Tree" plays with this phenomenon, presenting glimpses of texts which are puzzling but which also disintegrate before our eyes. The fragments drift like poorly-remembered facts or stories. Knowledge is promised, but always eludes us. The juxtaposition of the sole-authored text (forming the trunk and canopy of the tree) with text from the wider universe (forming the flowers and petals) is designed to highlight tensions between our subjective sensations and a universe accessed through digital communication (gathered from various websites, eg. amateur astronomy, tissue culture and cell technologies). "World Tree" ushers in the visual tongue of 'information', knitting it into a synthetic experience of the physical world. We understand the world systematically, that is, with our whole body, not just our eyes or ears or fingers or nose or tongue. The metaphor is the Tree which is a whole biological system through which the world is known. "World Tree" is a standalone application written in REALBasic.

Colin Beardon's work spans the creative arts and computer sciences, and concentrates on the interaction of technical expertise and the creative process. He developed the software 'Visual Assistant' for prototyping 3D environments, and has built innovative multimedia systems for museums. He is now interested in developing styles of programming that resemble sketching. He is a founding member of 'Computers in Art & Design Education' and is co-editor of the journal 'Digital Creativity'. After working in Australia, the UK, and Sweden, he returned to New Zealand in 2003 and currently holds a visiting professorship in the Department of Computer Science at Waikato University. Raewyn Turner's work is concerned with cross-sensory perception and technologies that are shaping an extrasensory perception of the world. Her works include video, colour, smell and sound for screen, installation, and live performance, including concerts for the hearing impaired with a symphony orchestra. Her works have been shown in numerous national and international exhibitions, including NZ Film Festival, Te Papa; Los Angeles MOCA; Canada; Germany; and Australia. She has an extensive background working with coloured light with contemporary performance on international tours in Britain, USA, Canada, Australia, and Europe. Her work is published in 'Art, Culture and Biotechnology', EAF, Australia, and 'Performance Research'(On Smell), UK.

Un moment inattendu lors d’une séance avec un patient confronte un psychologue à son propre monde intérieur. Aliéné par l’isolement de sa vie citadine apparemment parfaite, le psychologue se heurte à une incapacité à comprendre et embrasser sa propre nature humaine. Son désir irrépressible pour son client l’amènera à découvrir qui il est vraiment.

Oporovak proposes a methodology for what it calls ‘information recovery and the solving of â integrity problems. Taking its inspiration from data recovery solutions and the language of achieving complete visibility via forms of HD technology and big data the film is part alternative software training video and part the voice of a subversive hybrid machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which apparently can operate at molecular level. The film utilises the voice of an unreliable narrator who acts to draw the viewer in and raise their awareness of inbuilt human desires for clarity and visibility and the desire to develop new forms of technology that can manipulate all sorts of digital and physical materials. The final section of the film looks towards a `sensing mechanism` that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.

Charlie Tweed is an artist and academic based in Bristol, UK. He has a PhD in art practice (Kingston University) and an MFA in art practice (Goldsmiths College). His video, text and performance based works interrogate the affective qualities of digital technologies and their use in the control and management of populations and environments. He employ strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline subversive plans for enhancing and escaping control mechanisms and renegotiating relations between human and non human.

Impossible architecture, an ancient burial ground and a lure for psychotic janitors were the building blocks of Overlook Hotel in Stanley Kubrick’s The Shining. In this story vignette, chaos animators Pink Twins add zero gravity and a rupture in space-time continuum to the mix and serve a taster of subtle cosmic horror.

Pink Twins is a duo of visual artists and electronic musicians, brothers Juha (b. 1978) and Vesa Vehviläinen (b. 1974), based in Helsinki, Finland. Active as Pink Twins since 1997, their videos work on the crossing of visual art and music. Live Pink Twins deliver improvised digital soundscapes, often combined with video screenings. Pink Twins have shown their works in exhibitions and festivals in all continents and performed audiovisual live shows through Europe, Americas, Asia and Australia.

Giant features leading junior team gymnasts of Romania. The film is shot in two boarding schools for artistic gymnastics in Onesti and Deva. A soundtrack of interviews with the gymnasts accompanies images of them training and of empty gymnasiums. Archive film footage starting from 1970s and clips from a feature fiction film shot in the same locations reveal not only a continuity in picturing this sport, but also the structures of recording it.

Salla Tykkä (born 1973) is a visual artist who works with film and video since 1996. She graduated from the Academy of Fine Arts in Helsinki 2003 and participated in the Venice Biennale 2001. Her solo exhibitions include: BALTIC Arts Centre, Gateshead 2013; EX3, Florence, 2011; Hayward Gallery Project Space, London, 2010; Norrköping Art Museum, Norrköping, 2009. She has participated in numerous group shows in museums and public institutions among others: Making Space. 40 Years of Video Art, Musée cantonal des Beaux-Arts, Lausanne, 2013; La La La Human Steps, Istanbul Museum of Modern Art, Istanbul, 2013; 17th Biennale of Sydney, Museum of Contemporary Art, 2010; Momentum, Moss, 2010. Salla Tykkä’s films have been shown at international film festivals like: 36th International Film Festival Rotterdam, Rotterdam, 2007; 21st Brest European Short Film Festival, Brest, 2006; Tribeca Film Festival, New York, 2003; International Short Film Festival Ober- hausen, Oberhausen, 2003 and 2002.

Hole is the Bubble i Blew is a hybrid-documentary combining video, generative animation and composite imagery. It is a choral history of shared intimacy where days and nights loop as an apartment window emerges from a burning tunnel; from this window a small group of people share stories of platonic and erotic love through space and time that separate like oil on the surface of water. "Movements pulse into the void, actions become sentient, consequences wait for the morning that will never be."

christopher tym (UK) is an artist-filmmaker based in The Netherlands that explores the (dis)locations between 'virtual+natural' environments. By combining film and animation he creates hybrid spaces where humxns bend time as they navigate their relationships with each other and their evolving world/s. His current projects focus on eco-centric moving image where new insights of form and time challenge our preconceptions of the Anthropocene. christopher teaches hybrid-animation and is a core tutor at the Gerrit Rietveld Academie, Amsterdam.

a.o.k is about the experience of making pop videos and pop music. Using only behind the scenes and B-roll footage altered with animations, it is a painting of the emotional experience behind and in front of the camera. It is as much about the content as it is about the making of it. The project revolves around a series of music videos created to original tracks but the end results are neither seen nor heard; what remains visible, however, are the sensations of the contributors during the production. It is a journey that cramps with discomfort at the beginning but opens up, softens and releases into something tender and compassionate. The result is relentless and unforgiving but it is an ode to the loving images we create of ourselves.

Christopher Tym (UK) is a Visual Artist based in Amsterdam. His practice includes Film-making, Animation and Audio-Visual Installations. He creates liminal spaces in moving image using unreliable framing, affective editing and by exploring the relationship between the camera and the body. He graduated from the Gerrit Rietveld Academie in 2012 and the Royal College of Art UK in 2017. He teaches Animation and tutors at the Gerrit Rietveld Academie, Amsterdam.

UBERMORGEN Red Coin (Chinese Blood), 2015 Red Coin mining has recently made the People`s Republic of China the world`s largest Bitcoin producer. Mining requires exertion and it slowly makes new currency available at a rate that resembles the rate at which commodities like gold, copper, diamonds, nickel, rare earth, silver, uranium and zinc are mined from the ground. One of the reasons for the fast growth is the buildout of hydropower in the west of the country. The first petahash mining farms were built in Shanxi and Inner Mongolia where coal was cheap and plentiful, but cheap coal can’t compete with free water and now the farms are migrating en masse towards the west. uuuuuuuntitled.com/chinesecoin uuuuuuuntitled.com/chinesecoin/ChineseCoin_Text.pdf Video & Sound: Mike Huntemann Commissioned by NEoN (North East of North), 2015 Optimized for Dolby Surround 5.1 # Dolby 5.1 available upon request: officeR@ubermorgen.com #

UBERMORGEN lizvlx (AT, b. 1973) and Hans Bernhard (CH/USA, b. 1971) are European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press-releases and actions. CNN described them as `maverick Austrian business people` during their Vote-Auction action and the New York Times called Google Will Eat Itself `simply brilliant’. Their main influences: Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken`s Coconut Shrimps Deluxe. The have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo, Gwangju Biennale and were commissioned by Serpentine Galleries London & Whitney Museum New York. UBERMORGEN currently holds the Professorship for Digital and Net-based Art in the Faculty of Art at the University of Art and Design Offenbach/Frankfurt http://ubermorgen.com https://en.wikipedia.org/wiki/Ubermorgen

In China there are over 2000 Online-Gaming Workshops that hire people (over 500.000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called ?Chinese Gold Farmers". The future is now!

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixelpainting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?.

First there was silence, but then the cities were built... then there was data but there was no story... just images and sounds... But... Ebay became the largest marketplace on earth, with very local marketspaces as well. Now Ebay is not as romantic and seductive as the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but a million times bigger, more effective and thoroughly commercialized. We do love it! The Sound of Ebay is our contribution to the soundtrack of the new peer-to-peer hyper capitalism. What do we do: everyday we send out millions of bots to analyze the market and create songs. The sound is cool, the machine produces masses of songs and replicates millions of times throughout the networks ? flooding the net, a bubbling sea of artifical songs. You push the button triggering the helium-pop entertainment-blackbox, similar to a c64-cyberart-Jukebox ? a macromusic universal city. Every user has a signature which corresponds with another users signature. Chains of transactions, a swarm of bots, each song is memory and has it?s own history. Synaesthesie songs... can you reverse engineer the string? But forget the technology, its entertainment, baby! http://www.sound-of-ebay.com

UBERMORGEN.COM [A/CH/USA, *1999] UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities ? controversial and iconoclast ? of the contemporary European techno-fine-art avant- garde. Their open circuit of conceptual art, drawing, software art, pixel- painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one?s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). ?Ubermorgen? is the German word both for ?the day after tomorrow? or ?super-tomorrow?. www.ubermorgen.com

Migrant shipyard workers on the Adriatic coast spend their daily routine in their dormitory. In the evening, one of them visits a nearby town.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule für bildende Künste Hamburg) and a “Meisterschüler” degree in Arts and Media from the Berlin University of the Arts (Universität der Künste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

__________

________

A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps. Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

How can we escape our bodies from the isolation of our homes, from the canonical costumbrist modes of the home as a place of peace, refuge, and security? This immersive video piece, created during the context of planetary incarceration due to the COVID 19 pandemic, immerses us in a memento mori, an invented, amniotic space riddled with vulnerable, mutating recesses, questioning the limits of the living, of the human, the horror of the everyday, and the expansiveness of inhabiting. Through performance essays carried out in isolation, the artist digitizes various objects, captures his home with homemade photogrammetry, and creates an incubating postbiological laboratory that expands and unincarcerates the limits of the body, granting unimaginable possibilities to hybrid creatures in communion with the nonhuman. Drawing inspiration from Amazonian worldviews, they imagine ways to escape, emancipate themselves, and resist systems of control and domination.

Visual, new media, and performance artist. Graduated from the National Autonomous University of Fine Arts of Peru (UNABAP) in 2016 with a specialization in Sculpture and Integrated Arts. Her training includes workshops, artist residencies, and ongoing self-directed learning. Her practice constructs alternative systems of reality that function as critical and poetic tools aimed at subverting the politics of control that affect bodies. Using the body, installations, and hybrid media, she works at the intersection of personal experience and sociopolitical dimensions, exploring themes related to migration, displacement, technologies of control, the epistemic boundaries between human and non-human, and gender and sexual dissidence, reinterpreting ancestral knowledge from Peru and Latin America in light of current conflicts. Her works have been exhibited in Peru, several Latin American countries, and Europe.

WAR DISASTER NUM. 33 ¿Qué hai que hacer hacer más? (What else can be done?) It´s a contemporary local video version of the thirtythird etching of the well known Goya´s War Disasters. A speech made by a Colombian Senator describes in a brutally clear way the raw violence praticed in this chronic Colombian war. The recontextualization and layout of the piece tends to be an statement about the human rights critical situation in colombia, where politics are an out of control matter of life and death. All rights violated.

ANDRÉS FELIPE URIBE CÁRDENAS. 1982. Bogotá D.C, Colombia. Works and Lives in Bogotá. Born and raised in some kind of nice broken family. Teached by Catholic priests in science, literature, philosophy and calligraphy. Expelled because of saying No at certain point in that Inquisitionlike highschool. Recieved by a german-colombian highschool where he had his first Metal Rock band and completed elemental studies. Inmediatly after he entered the National University of Colombia where one and a half year later he retired due to an almost serious paranoic state of mind. Took a break for six months studing not too fruitfully music grammar and auditive training. Then joined the University of Bogotá where he graduated from Fine Arts with a merit final work and thinks to continue now with a Master in Semiotics. He likes to skateboard somehow in Bogotá and writes all the time (not necessary on the walls). Believes blindly in the power of the expanded writing concept opposed to the ficticious reality which mass media brings everyday. Pretends to live in a peaceful place someday.

‘Remote Occlusions’ draws on excerpts from a camera manual, which details what the manufacturer expects from the camera, while the film presents cases where the camera rejects these intentions and expectations. The images that make up Remote Occlusions come from cameras that are not password-protected, available on internet directories that publish live feeds from these cameras. It is in this ethical grey area that directories act as mediators, making private feeds public. __ No flickering. No noise. No artefacts. No hard lights that cast shadows. No fog, clouds, trees or buildings. No conditions of slow-moving or stopped people for long periods. No moving objects whose appearance is similar to the target in the areas of interest. No waving objects that cause the continuous modification of the image in the area of interest, for example a meadow with tall grass. The target must have a minimum height of 30 pixels, which is at least 1/10 of the image height. The body of the target must be visible for at least 3/4 of its height. The target must have a minimum area of 100 pixels and stay in the interested area for a time of at least 1 second. The target must also maintain a sufficient dissimilarity from the background, which means at least a colour difference of 5% or a brightness difference of 10%. The image must have a resolution of 640x360, 640x480, 320x180 or 320x240 pixels and must be in landscape orientation with 16:9 aspect ratio. The camera must be mounted at a height between 3 and 5 metres and the camera lens must not be dirty, wet or steamy. The accuracy to be expected is under ideal environmental and installation conditions. Recall: 95%

Utkarsh is a filmmaker and writer from Delhi, India. His work has recently been programmed at EXiS, Seoul (Korea), 2024; Festival ECRÃ, Rio De Janeiro (Brazil), 2024; FICUNAM 14 - Umbrales/Threshold, Mexico City (Mexico), 2024; Berlinale - Forum Expanded, Distant Connections, Berlin (Germany), 2024.