Catalogue > Search

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Birnbaum manipulates off-air imagery from the TV game show Hollywood Squares in Kiss The Girls: Make Them Cry, a bold deconstruction of the gestures of sexual representation in pop cultural imagery and music. Minor celebrities (who Birnbaum terms "iconic women and receding men") confined in a flashing tic-tac-toe board greet millions of TV viewers, animating themselves as they say "hello." Birnbaum isolates and repeats these banal and at times bizarre gestures of male and female presentation — "repetitive baroque neck-snapping triple takes, guffaws, and paranoid eye darts" — wrenching them from their television context to expose stereotyped gestures of power and submission. Linking TV and Top 40, Birnbaum spells out the lyrics to disco songs ("Georgie Porgie puddin' and pie/kissed the girls and made them cry") with on-screen text, as the sound provides originally scored jazz interpolation and a harsh new wave coda. The result is a powerful, layered analysis of the meaning of the gestures of mass cultural idioms.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Commissioned by VideoGram International, Ltd., for a videodisc of music by Jimi Hendrix, Fire! uses the stylized visuals and pacing of a music video to critique the representational economies of sexuality and consumerism. Translating the psychedelic fervor of the Hendrix song into a contemporary visual vernacular, Birnbaum similarly recasts the lyrics' meaning. A young woman is the "protagonist" of a fragmented narrative in which Birnbaum re-frames images of American consumerism and commodities — fast food, cars, the exchange of money. Birnbaum calls attention to the woman's relation to the advertising image: she is consumed as she is consuming.

For four decades, Dara Birnbaum's pioneering works in video, media and installation have questioned the ideological and aesthetic character of mass media imagery, and are considered fundamental to our understanding of the history of media practices and contemporary art. Dara Birnbaum was born in New York City in 1946 where she continues to live and work. Dara Birnbaum received a B.A. in architecture from Carnegie Mellon University in Pittsburgh, a B.F.A. in painting from the San Francisco Art Institute, and a certificate in video and electronic editing from the Video Study Center at the New School for Social Research in New York. Dara Birnbaum was one of the first artists to develop complex and innovative installations that juxtapose images from multiple sources while incorporating three-dimensional elements - large-scale photographs, sculptural or architectural elements - into the work. She is known for her innovative strategies and use of manipulated television footage. Birnbaum's work has been exhibited widely at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at Serralves Foundation, Porto, Portugal (2010) and S. M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna, Austria (2006); and The Jewish Museum, New York (2003). His work has been exhibited at Documenta 7, 8 and 9. Birnbaum has won several prestigious awards including: John Simon Guggenheim Memorial Foundation Fellowship (2021); The Rockefeller Foundation Bellagio Center Arts Residency (2011); the Pollock-Krasner Foundation Grant (2011); and the prestigious United States Artists Fellowship (2010). In 2016, she was recognized and honored for her work by The Kitchen, New York, at their annual gala. She was the first woman in video to receive the prestigious Maya Deren Award from the American Film Institute in 1987. In February 2017, Carnegie Mellon University's School of Art established the Birnbaum Award in her honour.

Neuland - 7min 22sec - 4:3 - dv_pal - 2009 A dutch landscape. The video-work `Neuland` (Virgin Soil, Unknown Territory) belongs to a series of landscape studies. The definition of the `Argument` and the `By-work` is questioned. It remains unclear if the `Argument` refers to the subject aimed by the camera or the one passing by. The attention is turned to an artificial landscape which stands for modernity and progress. Routine reveals itself as mechanical ritual. Seen from this perspective there is no place for the individual.

Biography José Miguel Biscaya, born in Lisbon in 1973, is a Mixed-Media Artist and Curator living and working in Amsterdam. He graduated at the Sandberg Institute where he received his Master-degree in Fine Arts (MFA). His work has been shown in numerous international festivals and group-exhibitions. He co-curated and produced several shows, including Volume and Hiscox Art Award. In 2007, he created in association with Jonathan Sullam and Tom Hillewaere the Mobile Institute in Brussels. As a jury member of the Media Art Friesland commission in 2009, José co-curated and lined up the Friesland International Media Art Competition program. Currently he is working on a new series of video-works.

A selection of inhabitants from the township New Crossroads (Cape Town), attempt to change the location with a not functional working intervention. In a public field, they build a tower of 5 meters by stacking beams of wood, painted in a vivid green. When the structure is at its highest point, other residents are invited to come and dismantle it, to take the materials to use for their own purposes. The ?tower? finds its meaning only after it is taken down and fragmented. The image of the tower like a unique symbol and reference point of the township fades away in the horizontality of the neighborhood.

The collaboration between the two artists Rossella Biscotti (Molfetta, Italy, 1978) and Kevin van Braak (Warnsveld, The Netherlands, 1975) started with the project in the township of New Crossroads in Cape Town (South Africa). It is based on their common interest for the exiting relationship between the real, pure or idealist environment and the fictional, man-created context inside of the contemporary society. In their work these aspects come together. The collaboration started with the movie New Crossroads filmed in a township in Cape Town (South Africa). They worked together in different projects involving photography, installations and sculpture. In 2006 they directed a second movie, The renovation of the empty bath, about a renovation of a swimming pool in Rome, built during the fascist period. Together they have exhibited in the Fonds BKVB in Amsterdam (NL), in the American Academy in Rome and in Fondazione Adriano Olivetti in Roma (IT). As independent artists they have exhibited also in different galleries and museums.

Inside a 1940?s film-noir set the FBI agent Joseph D. Pistone a.k.a. Donnie Brasco is questioned by the artist about his six years long undercover operation inside the American Mafia (1976-1982). Pistone was the first FBI agent able to infiltrate the New York mafia and report ?inside? information back to the FBI. His undercover role was so convincing that he was able both to involve some of the mafia members with criminal activities that were entirely set up by the FBI (The King?s Court Bottle Club) and also to introduce other FBI agents as ?criminal partners?. He created a complete fictional context that acted as a trap for the Mafia. In The Undercover Man, Joseph D. Pistone is not only a character but a living memory, the only person that knows what happened and contains all the information. Cinema, with all its devices of form and construction, is used as a reference point for what is real. The film is shoot in a specially designed and constructed film-set that revisit the noir aesthetic from the 1940s. The myth of the underworld, the double face of reality (dark and light, investigator and investigated) connects the story by Joseph D. Pistone both with the history of gangsters and with our knowledge of it given by the American cinema.

Rossella Biscotti (Molfetta, Italy, 1978; lives and works in Rotterdam, Holland) is famous for her videos regarding the traces of lives of others, that are usually anonymous in history. They are sources that stimulate a reflection on the situation of (collective and personal) identity and memory, in present time. Her recent exhibitions include the solo shows: The Undercover Man, Wilfried Lentz Rotterdam (NL); You have to be focused, prometeogallery, former church of San Matteo, Lucca (IT); Everything is somehow related? site-specific project for Museion in Bolzano (IT) in 2008. Group shows: Cabinet of imagination, Netwerk, Aalst (BE); Peripheral vision and collective body, Museion, Bolzano (IT); Dai tempo al tempo, Fondazione Sandretto Re Rebaudengo, Torino (IT) in 2008; Looking for the Border, De Garage, Mechelen / Cultuurcentrum Strombeek (BE); Premio NY, Italian Academy at Columbia Univesity, NY, (USA); Nessuna paura, Centre for Contemporary Art Luigi Pecci, Prato (IT); Work_show in progress, Galleria Civica di Trento (IT) in 2007; Sense and Sensitivity, TENT Rotterdam Center for the Arts, Rotterdam (NL) in 2006; Adam, Smart Project Space, Amsterdam (NL) in 2005. In 2007 her video The Sun Shines in Kiev won The City of Geneva Grand Prize at the 12th Biennial of Moving Images, Centre pour l?image contemporain, Geneva (Switzerland), and the Golden Cow at Gstaadfilm, Gstaad (Switzerland).

Interweaving stories inside a multi-storey car park.

This is a film poem about love. A Lebanese-American filmmaker photographs a woman in Paris: as a trapeze artist, a model, a lover, and a child. The film attempts to capture that moment between wakefulness and dream. It carries within it melancholy and loneliness, sadness and joy, adulthood and childhood. It evolves out of the metaphor that life is a circular journey whose end is "to arrive where we started / And know that place for the first time" (T.S. Eliot, Little Gidding).

Hisham Bizri is a Lebanese-American filmmaker born in Beirut. He has made several short films and has had retrospectives and screenings at Anthology Film Archives and MOMA in NYC, Centre Georges Pompidou and the Cinémathèque Française (Paris), Cairo Opera House (Egypt), among others. He has worked with Raùl Ruiz and Miklós Jancsó and was a jury member at several international film festivals, including the Chicago International Film Festival. Hisham has won several awards such as the Guggenheim and the American Academy Rome Prize. He is currently working on his feature "Until Morning" with producer Andrew Fierberg.

Asmahan is a visual and cinematic meditation with an avant-garde motif. Based on Asmahan's, (the Syrian/Egyptian singer 1912 - 1944), last film "Gharam Wa Intiqam" (Passion and Revenge, 1944), the film's cinematic form merges her songs with plot and actions to reveal an insight into the relationship between the star's tragic life, colonial Egypt, and the nature of cinema.

Hisham is a filmmaker from Lebanon. He has studied in the US with filmmakers Raoul Ruiz and Miklós Jancsó and lectured on filmmaking in the US, Lebanon, Ireland, Korea, France, and Japan. Much of his work may be viewed as meditations on the themes of exile and melancholy. These visual meditations are shaped by his personal experience of interceding between the Middle East of his Arab-Muslim upbringing and Anglo/European art and culture. Emerging from this personal context, his work reflects political and social concerns with contemporary Arab politics and culture and aesthetic concerns with painterly values and the poetics of modern life. His work has been shown in the Arab world and internationally, including at the Louvre (France), Cairo Opera House (Egypt), Biennale Des Cinema Arabes (Paris, France), Milan Film Festival (Italy), Walker Art Center (Minneapolis), Institut du Monde Arabe (Paris), Harvard Film Archives (Cambridge), and the Museum of Modern Art (New York), among others.

Asmahan is the story of a woman who takes revenge on the man she thinks killed her husband, but falls in love with him in the process. During the filming, the actress in the film who sings the two beautiful songs on the soundtrack, dies in a car accident and the ending had to be changed so that her character would die also. Asmahan is a real person who was the quintessential figure of sin and freedom to the women in the Arab world. She left her home and husband in Syria in the 1930?s to pursue fame in Egypt. She was murdered in 1944 and her murder remains a mystery for she was believed to be a double agent, working for the British and Egyptian governments. Asmahan?s life was shrouded in myth and intrigue and several stories about her modern attitude towards life, her smoking and drinking, and her romantic liaisons continue to generate the aura around her even after her death. My film shows her aura through a cinematic language inspired by her music and life.

Hisham is a filmmaker from Lebanon. He has studied in the US with filmmakers Raoul Ruiz and Miklós Jancsó and lectured on filmmaking in the US, Lebanon, Ireland, Korea, France, and Japan. Much of his work may be viewed as meditations on the themes of exile and melancholy. These visual meditations are shaped by his personal experience of interceding between the Middle East of my Arab-Muslim upbringing and Anglo/European art and culture. Emerging from this personal context, his work reflects political and social concerns with contemporary Arab politics and culture and aesthetic concerns with painterly values and the poetics of modern life. His work has been shown in the Arab world and internationally, including Louvre museum (France), Biennale Des Cinema Arabes (Paris, France), Milan Film Festival (Italy), Walker Art Center (Minneapolis), Institut du Monde Arabe (Paris), Museum of Modern Art (New York), among others.

"Song for the Deaf Ear" is a film meditation on the insanity of war and violence in my country, Lebanon.

Hisham is a Lebanese filmmaker. He studies in the US with filmmakers Raoul Ruiz and Miklos Jancso and has lectured on film in the US, Lebanon, Ireland, Korea, France and in Japan. A big part of his work can be considered a meditation on the themes of exile and melancholy. His work has been shown throughout the Arab world and internationally, most notably at the Louvre Museum in Paris, the Arab Film Biennale in Paris, the Milan Film Festival, the Walker Art Center in Minneapolis, the Institute of Arab World in Paris, the Harvard Film Archives in Cambridge, the Reina Sofia in Madrid, the Museum of Modern Art in New York, the French Cinematheque in Paris, the Pompidou Center in Paris, and the Caire Opera amongst others.

Land Bodies, Decomposing Mass is an audiovisual collaboration between Ingrid Bjørnaali, Maria Simmons and Fabian Lanzmaier, focusing on preserved peatlands and their interpretation through various recording and 3D computing technologies. Through the use of photogrammetry, a technology that relates to satellite mapping and archiving of anthropocentric spaces and monuments, the biotope is interpreted bit by bit in an intimate, close-up interaction. The work explores specific peatlands in Finland, Norway and Canada from various perspectives, focusing on the idea of natural landscapes as sources as opposed to resources, and their capability or not to be translated to binary code.

Ingrid Bjørnaali is a multidisciplinary artist based in Oslo who records specific biotopes in various states of their ongoing world-building processes. Her works explore the omnipresence of the digital in our experience of the world as well as the inability of technology to articulate matter’s complexity. Recent exhibitions include Screen City Biennial, Berlin, Fabbrica Del Vapore, Milan, Charles Street Video, Toronto and Contemporary Art Museum of Estonia (EKKM). Fabian Lanzmaier is a musician and sound artist living in Vienna. In his practice he explores perception and ideas of natural / artificial sounds, fluid and ambiguous environments. He works with real-time audio synthesis utilizing digital/analog physical modeling techniques and feedback networks to explore aspects of texture and structure of sound as well as its presence within space. Recent projects include: Artist in Residency at Wave Farm – NY, composition commission through INA - grm - Paris, AV - Performance at Fridman Gallery - NYC and Artist in Residency at EMS – Stockholm. Maria Simmons is a Canadian symbiontic artist who investigates potentialized environments through the creation of hybrid sculptures and installations. Her work embraces contamination as an act of collaboration. She collects garbage, grows yeast, ferments plants, and nurtures fruit flies. She makes art that eats itself. Recent solo exhibitions include the Visual Art Centre of Clarington, Trinity Square Video, and Centre3.

The short film UNCERTAINTY is like Ouroboros, has no beginning and no end. The important aspect of the plot is constant change of the perspective between the observer and the observed person. This endless inversion and slow close-ups create the atmosphere of uncanny epidemic. Uncertainty is the effect of being infected by a microbe which forced a victim to intense observation of the surrounding world. The final aim is to not get concentrated on any specific element or quality but to exceed the cognitive habits. The suspended certainty of the existence forces all observers to look through the images of so-called reality. Their behavior may look absurdly, although it’s based on the promise given by our culture: there must be something beyond the visible world.

Born in 1980 in Wroclaw, Poland where he lives and works. Since 2004 studied at The Academy of Fine Arts and Design in Wroclaw. Received MA Degree in Media Arts in 2011. Founder and director at EMDES gallery which existed between 2009 and 2011.

An animated exploration of the popular fast food culture of North America, mixing the absurd with the obsessional and addressing other themes, such as the sensorial overload and the omnipresence of the interactivity in the media.

Trained in cinema and fine arts at Concordia University (Montreal, Canada), Philippe Blanchard worked for a few years in Latin America and the Middle East. He eventually followed a training program in special effects at Seneca College (Toronto). He currently works for the animation studio 'Head Gear Animation' in Toronto.

The project ?The proll thing? comprises an animated video on two screens, and a video recorded with a handy phone. The idea is to distribute the narrative into different media, and see how this information acquires diferent levels in the exhibition space. My starting point was the Kino International restaurant in East Berlin. This building?s current ?image policy? prohibits taking photographs inside of it (although it is open to the public during film screenings). I thought about animation as the medium to depict the inside of the building, since it would be possible to recreate the interior in such a way as to mix reality and fiction. To make this setting, I integrated different elements, some of them real, others imaginary, creating new situations. The drawings for the video?s sets were based on a series of postcards which are sold as souvenirs at the entrance to the cinema. I was interested in the relationship between my own experience (looking in from an outside entrance to the building, from which I could see the tables closest to its picture windows) and the visual information contained in the postcards. Now, what is happening in a city like Berlin is that the recent past maintains a presence through many symbols (the monuments to Russians fallen in World War II, the telecommunications tower, the wide boulevards) I am interest in the moment, right now, when these symbols? usages are changing very quickly. The old Café Moskau, where the communist elite used to pamper itself, is now a gay disco; the old Palace of the Republic, used for skateboard competitions. Although at first, these where spaces created to establish doctrines, today, with the rapid adjustment of these uses and symbols, they are producing new meanings, maintaining their nature as social places, for meeting or exchange.

Vicente Blanco was born in Cee (A Coruña),Spain, and graduated in Fine Arts at the Faculty of Pontevedra (University of Vigo). He has been awarded the following grants, among others, a scholarship to further his training at the CGU in Los Angeles (U.S.A.), a Generation 2000 project grant awarded by Caja Madrid and the Unión Fenosa Grant and Beca Endesa, which allowed him to live in Berlin. He has taken part in numerous group exhibitions, most notably in Transfer 2000-2001, which, following a spell at the CGAC, toured various Spanish and German cities, Monocanal at the MNCARS, in the year 2003, Enlaces at the Museo Patio Herreriano in Valladolid, in 2004, as well as in a variety of shows in 2006, such as, Urbanitas in MARCO (Vigo), ¿Viva pintura! In Salzburg (Austria) and 16 x 16, 16 proyectos de arte español, curated by María de Corral for ARCO?06. His main solo exhibitions were held at the CGAC in 2003 (Lo que se espera de nosotros) at the Espacio Uno of the Reina Sofía Museum ?MNCARS? in 2004 (Alguna vez pasa cuando estáis dormidos) and at the Elba benitez Gallery (Otra vez algo nuevo), 2006.

End of Level is a short animated piece, fusing 2D pixels with 3d animation. The grande battle between an street artist and art director progresses to the soundtrack of beats created with a Nintendo Gameboy. The pixelated men battle for supremacy through reproduction, subversion, adbusting and recuperation. Reconfiguring the city`s system of signs is an epic battle which will never end.

Victor Blanke was born in Stockholm, Sweden in 1980. A graduate of Central Saint Martins College of Art and Design and the Stockholm Filmschool, his work has been shown at the Stockholm Film Festival, the Subörb Festival and publications such as The Face and Adbusters Magazine. His commercial work includes numerous music videos and adverts for artists such as Paul McCartney, Shelly Poole, Håkan Lidbo and mutagene.

SYNOPSIS Hither come down on me Ansuya Blom 2007 Hither come down on me is the third and last film in the series ?Cowboys and Indians?. Just as in the two previous parts, Chapter Three and Nervous, anxiety is the main focus. It is through a ?touch by language? that experience is guided in an auditory way. In Chapter Three the view of the ?first person singular? is distorted through the experience of the space, while in Nervous the soothing environment of nature can be seen as a doubble negative, whereby it isboth familiar and the unfamiliar. In Hither come down on me anxiety is evoked through the confrontation with the external world of the city, quite literally what is outside the domestic. The protagonist experiences what he sees and hears as a direct form of communication, speaking directly to him and ordering him. As opposed to previous parts the main character can be seen, if only in a fragmentary way through the reflection of a mirror. He observes himself just as he experiences the outside world. The title of the film comes from an anonymous Native American poem, in which there is a plea for protection and change. In Hither come down on me the main character prepares himself mentally and physically for leaving his room, his controlled zone. His preparations consist of dressing meticulously. Everything is executed in a precise manner: buttoning a shirt, doing his cuffs, his trousers: a kind of mental ?warming up?. When the moment arrives to leave, a ritual is set in place in order to tame the situation. Once outside it is evening and he enters a world which is visually shadowy and auditorally dissociated. Language becomes more abstract, at times incomprehensible. The city becomes the voice speaking to him in a language into which he merges.

Ansuya Blom has been working as an artist since ?77, with drawing and film. In her work her focus is on the individual and his relation to his internal as well as the external world. ?The first person singular? is used by way of thinking about the individual and his relation to the world. In her films the world is seen through the protagonist?s eyes and heard through his voice. In her work Ansuya Blom?s interest lies within the strategies the individual adopts in order to deal with anxiety. Her work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work including both drawing and film have held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened.

A short film based on the story by Robert Walser. He describes his state of mind, which floats somewhere between optimism and hopelessness. Thoughts are read out loud during a walk in the country. Slowly nature turns into inner nature.

Ansuya BLOM (Groningen 1956) studied from 1973-74 at the Royal Academy in The Hague and from 1974-76 at the Ateliers `63 in Haarlem. Her paintings have been put on show at the Stedelijk Museum in Amsterdam, among other museums. She has also taken part in various international group exhibitions.

SPELL is a short video documenting the thoughts of a man who seems to be in a state between sleep and wakefulness. The sounds he hears within the space where he lives seem to invade his thoughts and get amplified. They mix with associative sounds from his past. Meanwhile the reality around him appears to deform at times. In this in-between world he tries to het a grip on his state, contemplating early beginnings but at the same time mocking his own state, the futility of actions and the daily rituals of existence. The images for this film were shot in the Doesburg Foundation in Meudon, during a residency in 2010 - 2011. The house, with it`s historic past bore many traces from history and the people that had stayed there. This absent presence was a motivating factor in making this film. The words of Franz Kafka speak for themselves and it was the strange mix of humour and despair that attracted me.

Biography Ansuya Blom Ansuya Blom works as an artist using the media of drawing and film. Her work focuses on the individual and the relation to the internal as well as the external world. ?The first person singular? is used by way of thinking about the position of the individual. Ansuya Blom is interested in the strategies this individual adopts in dealing with anxieties that are induced by alienation. In her films the world is seen through the protagonists` eyes and heard through their voices. Ansuya Blom`s work has been exhibited extensively in both galleries and museums in the Netherlands as well as abroad. Solo-exhibitions of her work have been held at Camden Art centre, London, Douglas Hyde Gallery in Dublin, and the Stedelijk Museum in Amsterdam. The Museum of Modern Art in New York has been among the venues where her films have been screened. She is an advisor at the Rijksakademie van beeldende kunsten in Amsterdam.

A Video improvisation with two Kodak Ektagraphic III E Plus slide Projectors with pax and transpax; connection for external control, FM oscillators with light sensors, square wave generators, FM receivers, a video projector, a digital recorder and a video lens operated by Maria Blondeel; green incandescent lamps, different light bulbs, a fluorescent tube, microphones, pick ups and various electric devices performed by Michael Vorfeld. Recorded at Hyde Park Art Center, Outer Ear Festival of Sound, ESS, Chicago, Illinois USA 2002 Produced by Blondeel/Vorfeld 2005

As a performing duo, Blondeel/Vorfeld has been operative since 1996: one an electronic sound artist and the other a percussionist, one projecting light and the other using light sources almost as objects. What one hears and sees is a contrapuntal dialogue between light controlled square waves and analogue, electric sounds accompanying or accompanied by a visual happening of light projected onto and into light, bright white and incandescently coloured yellow, blue or red. Maria Blondeel is an intermedia artist based in Ghent, Belgium. She has made sonic light installations, and site-specific works for vehicles, telephone and radio, participated in concerts and performances in collaboration with musicians, and produced works for CD and video. Her work has been shown in galleries, museums and festivals in Europe, the U.S.A. and Asia. Michael Vorfeld, based in Berlin, is a musician and visual artist. He plays percussion and self designed stringed instruments and works in the field of experimental music, improvised music and sound art. Realisation of electro acoustic sound pieces. His visual work concentrates on the use of light. He realizes light installations and performances with light, often site specific and in combination with instrumental or electric sounds. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA, Asia and Australia.

`CONTINUE PLAY?` is part of an ongoing series of gaming inspired projects and presents to you the popular 80`s arcade classics `BREAK-OUT` `ELEKTRAGLIDE` and `PONG` with enhanced AV accompaniment. JAYGO BLOOM`S particular `gameplay` technique provides the structure and tempo for an alternative Audio Visual response, one that is constructed from equally misguided and randomly downloaded `home music tutorials`.