Ed Atkins selects his video-art favourites from Julia Stoschek’s…



Ed Atkins selects his video-art favourites from Julia Stoschek’s 750-strong collection

Campbell Patterson’s video and sculpture exhibition ‘‘call…



Campbell Patterson’s video and sculpture exhibition ‘‘call sick’’ explores the experience of escapism.

Radicalism Comes From Content: Steven Parrino In Dallas.The…



Radicalism Comes From Content: Steven Parrino In Dallas.

The exhibition takes its title from a video piece shot by Parrino in 1999. The video features a leather-clad woman dancing upon a platform of black-enamel aluminum. She then looks to the lens, turns around, and bends over in a porn-esque provocative pose. A wall of distortion grows audible off camera, and the dancer’s body forms a V. We then see Parrino cutting into a piece of aluminum. The video works as a metaphor for Parrino’s larger art practice. Parrino claimed to have “necrophilliac feelings for painting,” in that while he believed it was dead, that there was still strong work to be done in the aftermath of its demise. The woman in the video is sex, or life, or painting towards the end of its relevance. Then the camera cuts, and Parrino is finding new life for the dead medium in his destruction of the aluminium.

Preserving old new media: Digital art from the Thoma Foundation

Preserving old new media: Digital art from the Thoma Foundation:

Preserving old new media: Digital art from the Thoma Foundation

EC3 And Artspace Bring Hunter Street Alive With Canada 150-Themed Video Art Productions

EC3 And Artspace Bring Hunter Street Alive With Canada 150-Themed Video Art Productions:

EC3 And Artspace Bring Hunter Street Alive With Canada 150-Themed Video Art Productions

Bill Viola Elected Honorary Royal Academician Amid Year of…



Bill Viola Elected Honorary Royal Academician Amid Year of Retrospectives

Julia Stoschek Collection celebrates 10 years with generation…



Julia Stoschek Collection celebrates 10 years with generation spanning video show

Exhibition curated by Ed Atkins includes work by Bruce Nauman, Jordan Wolfson and Lucy Raven

Guggenheim Bilbao celebrates video art pioneer Bill…



Guggenheim Bilbao celebrates video art pioneer Bill Viola


Catherine’s Room, 2001. Colour video polyptych on five flat panel displays, 18:39 minutes. Performer: Weba Garretson

LPR Presents at Knockdown Center: VISUALS VISUALS Video Art + Music Residency

LPR Presents at Knockdown Center: VISUALS VISUALS Video Art + Music Residency:

LPR Presents at Knockdown Center: VISUALS VISUALS Video Art + Music Residency

The Knockdown Center

- Queens, NY, USJune 16 @ 9:00 pm - 11:00 pm | $12 - $15

with George Clanton, Pictureplane, Nicky Sparkles & Projections by Kathryn Chadason

DetailsDate:June 16Time:9:00 pm - 11:00 pmCost:$12 - $15Event Category:

18+

Venue

The Knockdown Center

52-19 Flushing Ave

Queens, NY United StatesPromoter

Le Poisson Rouge

Electronic Civil Disobedience: Screenings of Video Art 1993-2017, Res.

Electronic Civil Disobedience: Screenings of Video Art 1993-2017, Res.:

Electronic Civil Disobedience: Screenings of Video Art 1993-2017, Res.

Description

Sunday 25 June + Sunday 9 July 2017, 5-7pm

Free admission, no booking required

Featuring works by: Danielle Dean, Guillermo Gómez-Peña & Adriene Jenik, Branda Miller, Anna Mikkola, Paper Tiger Television, Molly Soda, Cornelia Sollfrank

Electronic Civil Disobedience presents two screenings based on the practice of curator Kathy Rae Huffman–a pioneer of media art, cyberfeminism, net.art, broadcast and television art–whose collection of rare books and catalogues is held at Res. This intergenerational programme, developed by Goldsmiths MFA Curating student Katie Yook, includes video spanning 1993 to 2017.

With optimism for a democratising digital revolution in the early years of the Internet, artists in the ‘80s and ‘90s were quick to explore the creative and political potential of the new rapidly-proliferating personal devices and communication technologies that began shaping one’s time and social interactions. Cyberfeminists like Cornelia Sollfrank staked a claim in a male-dominated tech industry, whilst Critical Art Ensemble (CAE) advocated an activist approach to hacking. By appropriating various elements of the media, from the language of advertising to online dating, the participating artists determine their mediated identities for themselves. At the same time, technologies from the camcorder to the webcam give unprecedented opportunities for image-making and self-representation.

The event title comes from Critical Art Ensemble’s bookElectronic Civil Disobedience and Other Unpopular Ideas, which suggests that power lies in information-capital and as such, we need “new methods of disruption invented that attack power (non)centers on the electronic level” - Critical Art Ensemble, Electronic Civil Disobedience and Other Unpopular Ideas, Autonomedia, 1996, p.9.

SUNDAY, 25 JUNE | TV or Not TV

5:10pm: Paper Tiger TV, Staking a Claim in Cyberspace (1993)

5:40pm: Danielle Dean, Hexafluorosilicic (2015)

6:00pm: Guillermo Gómez-Peña, Adriene Jenik, Roberto Sifuentes, El Naftazteca: Cyber-Aztec TV for 2000 A.D. (1995)


SUNDAY, 9 JULY | Phobias and Fantasies

5:10pm: Molly Soda, Come To My Window (2016)

5:40pm: Branda Miller, U & I’dOt cOm (1999)

Hannah Black, Bodybuilding (2015)“Anyone who examines the work…



Hannah Black, Bodybuilding (2015)

“Anyone who examines the work of Hannah Black is simultaneously confronted with their own physicality. Her videos and texts work like large-scale mirrors and reflect our own social and societal development. The artist and writer, who lives in Berlin, is primarily interested in focusing on the human body as a response to social and political structures and their surprising encounters, which lead to identity formation. She follows a postmodern physical tradition, according to which no physical body exists in a natural form, but rather is always bound up in social processes.”

Johanna Billing, Project for a Revolution (2000)“Billing’s piece…



Johanna Billing, Project for a Revolution (2000)

“Billing’s piece is made in reference to the introductory sequence of Antonioni’s film Zabriskie Point (1969) that shows revolutionary debate among students and a ‘call to arms’ in a university. With this reference, Billing stages a comparison between the expressive turmoil of opposition to military violence in the USA during the Vietnam war period and the ‘safe’ haven’ of the Scandinavian welfare state of the late 1990s. The piece moves between the interior of two educational institutions: one close to clashes of violence, the other infused with security and between two international groups of students; one that is boiling with the search for arguments, accusations and reconciliations, while the other is submerged in lethargic consensual silence.”

Barbara Hammer, Sanctus (1990)“Sanctus by Barbara Hammer is a…



Barbara Hammer, Sanctus (1990)

“Sanctus by Barbara Hammer is a film of the rephotographed moving x-rays originally shot by Dr. James Sibley Watson and his colleagues. Making the invisible visible, the film reveals the skeletal structure of the human body as it protects the hidden fragility of interior organ systems. Sanctus portrays a body in need of protection on a polluted planet where immune system disorders proliferate.”

Klaus vom Bruch, Alliiertenband (1982)“German artist Klaus vom…



Klaus vom Bruch, Alliiertenband (1982)

“German artist Klaus vom Bruch engages in a provocative analysis of personal and national identity in relation to cultural mythology and history. Vom Bruch constructs rhythmic, repetitive confrontations between the self and collective memory, presented as a theater of appropriated media images from television advertising, Hollywood cinema, and military archival films.”

Chris Burden, The T.V. Commercials (1973-77)“The TV Commercials…



Chris Burden, The T.V. Commercials (1973-77)

“The TV Commercials is a recent compilation of Burden’s four legendary television interventions, which date from 1973 to 1977. For each of these conceptual projects, Burden purchased commercial time on broadcast television and aired his own subversive ads. Within the context of ‘Generation Loss,’ this work is a work of punk. It marks a change in the perception of artists’ moving image.”

TheaterJones | Film Notes 1.3

TheaterJones | Film Notes 1.3:

In his June column, Video Association of Dallas founder Bart Weiss mourns the loss of Dallas’ Premiere Video.

“Moving Things”: Cuban #VideoArt in the US Southwest



“Moving Things”: Cuban #VideoArt in the US Southwest

Calling On Muslim Canadian Youth to Submit A Digital Video For The Exhibit “Combating Hate, Advancing Inclusion” Deadline July 5 2017

Calling On Muslim Canadian Youth to Submit A Digital Video For The Exhibit "Combating Hate, Advancing Inclusion" Deadline July 5 2017:

Calling On Muslim Canadian Youth to Submit A Digital Video For The Exhibit “Combating Hate, Advancing Inclusion” Deadline July 5 2017

Paik Nam-june’s video installation “Stag”…



Paik Nam-june’s video installation “Stag” (1996) was sold for a record price fat Seoul Auction’s 22nd Hong Kong sale

TRANSMISSION ART FESTIVAL 2017 invites everyone to submit videos…



TRANSMISSION ART FESTIVAL 2017 invites everyone to submit videos to the 2nd edition of the Festival, which takes place simultaneously in Karlsruhe (DE), Warsaw (PL) and Kassel (DE) in July 2017. Both established artists and new talents are encouraged to submit works on the theme “We Are All in this Together – A Road Map Through a Post-Truth Art World”.