Selected Courses on Digital Art-UOWM

12 Ιανουαρίου 2015

Ray Johnson

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS,ΚΕΙΜΕΝΑ — admin @ 05:53

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The Art World’s Holy Fool

CreditRay Johnson Estate/Richard L. Feigen & Co. 

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Twenty years ago next week, the artist Ray Johnson jumped off a low bridge in Sag Harbor, N.Y., and backstroked placidly out to sea. Two teenage girls saw him plunge into the frigid water and tried to alert the police, but when they found the station closed they went to see a movie instead, a detail many of Mr. Johnson’s friends said would have delighted him.
Why he took his life at the age of 67 — when he was healthy, had money in the bank for the first time and was one of the most revered underground artists of the last half of the 20th century — is a question none of those friends have been able to answer. (The poet Diane di Prima wrote angrily: “I can’t imagine what you thought you were doing/what was the point of jumping off that bridge/after so many years of playing it cool.”) But in many ways Mr. Johnson conducted his death exactly as he had conducted his life and his work — enigmatically, defiantly on his own terms and with an intense privacy that somehow coexisted with a compulsively public persona.
Mr. Johnson heralded several art movements, almost simultaneously. He was making work that looked like Pop in the 1950s, years before his friend and sometime rival Andy Warhol did. He was a performance artist before there was a term for such a thing. He mined ground later occupied by Conceptual art (whose pretensions he loved to razz: “Oh dat consept art,” says a figure in one of his collages.) And he was the father of mail art, spreading his collages and Delphic text works through a vast web of fellow artists, friends and complete strangers, making him a one-man social-media platform for a pre-Internet age.
But every time mainstream recognition approached, Mr. Johnson — who lived as frugally as a monk and played the art world’s holy fool — seemed to dance away. Courted in the 1990s by the pinnacle of commercial acceptance, the Gagosian Gallery, he turned even that courtship into farce by demanding a million dollars each for collages then selling in the four-figure range; they’ve since advanced only into five figures.
“He was a guerrilla fighter against materialism and fame, and in a sense he’s still fighting today,” said Frances F. L. Beatty, president of Richard L. Feigen & Co., the gallery that represents Mr. Johnson’s estate.
But the art world may be finally starting to conquer Mr. Johnson’s will to resist it. A spate of booksexhibitions and museum acquisitions has come along in recent months, as his work has been discovered, yet again, by a generation of younger artists, like Matt Connors, Hanna Liden, Adam McEwen and Harmony Korine. This time, as money and power loom ever more powerfully in art circles, it seems to be Mr. Johnson’s role as a heroic-comic Bartleby that makes him particularly attractive to younger artists. But the shape-shifting ways in which he operated outside art’s normal channels — through the post office, street performances and artist’s books — also resonate for 21st-century artists whose work fits uneasily into the conventions of museums and galleries.
Performa, the performance-art biennial, is organizing a tribute to Mr. Johnson for its 2015 iteration, which takes place in November. One aspect will be the dissemination — through ads, mailings and websites — of Johnson material, like a silhouette of his profile that he mailed out during his lifetime and asked people to alter and send on. The idea, said RoseLee Goldberg, Performa’s founder and director, is to stimulate a similar kind of free-form exchange now, online, on paper, and through other means, with Mr. Johnson as presiding spirit.
“We want to start it very early, so it will have time to grow extra arms and legs and heads,” she said.
As correspondent and collagist, Mr. Johnson was manically prolific. Even now, bins, binders and file folders full of unseen and largely unstudied material reside in closets — and an unused bathroom — at the East 69th Street townhouse of the Feigen gallery, “the Ali Baba’s cave of Ray’s archive,” as Ms. Beatty calls it. (Some of that work is on display in a show at the gallery through Jan. 16, “Ray Johnson’s Art World.”)
Waiting recently for a visit from curators from the Metropolitan Museum of Art, who were interested in seeing some Johnson works for acquisition, Ms. Beatty flipped on a closet light to show floor-to-ceiling stacks of light-blue archival boxes.
“You could happily, as far as I’m concerned, spend the rest of your life right in here,” she said. (A small army of doctoral students and scholars is indeed at work now sorting through his vast output.)
Raised in a working-class family in Detroit, Mr. Johnson hit the ground running as an artist before he was out of his teens. In 1945, he ended up at Black Mountain College, the Modernist hothouse near Asheville, N.C., where he studied with Joseph Albers and Robert Motherwell and began friendships with John Cage, Jasper Johns and the sculptor Richard Lippold,with whom he was romantically involved for many years.
After moving to New York and working as a studio assistant to the painter Ad Reinhardt, he began making works that he called “moticos” — possibly an anagram of the word “osmotic” — filled to overflowing with the pop-culture imagery from magazines, advertising and television that was starting to saturate society. Elvis Presley and James Dean surfaced repeatedly, like twin deities, and Mr. Johnson often took this work to the streets, displaying it on sidewalks and in Grand Central Terminal to generally perplexed passers-by.
“Some people just didn’t get it, and other people like me thought he was an absolute genius,” said the painter James Rosenquist, with whom Mr. Johnson corresponded for years, often asking him to forward mailed artworks on to Willem de Kooning.
“Sometimes I did what he asked and sometimes I just couldn’t part with them,” Mr. Rosenquist said, adding: “I really miss him because I accumulate all these strange things that I’d like to mail him, but I can’t because he’s not there.”
Influenced by ideas of chance and Zen Buddhism, Mr. Johnson came to develop a hieroglyphic-like language in which image and word melted into each other, a language so complex it cried out not for curators but military code-breakers.
William S. Wilson, one of Mr. Johnson’s closest friends and a leading scholar of his work, recalled the almost religious gravity with which Mr. Johnson viewed not only making art but also putting it into the world. Mr. Wilson once drove Mr. Johnson to see the publisher Harry Abrams, who was interested in buying work. Mr. Johnson emerged from Mr. Abrams’s office in a fury with his briefcase of collages, Mr. Wilson said, “and flung himself on my lap crying because Abrams had asked him to throw in a 13th collage for free if he bought a dozen, as if Ray was selling eggs.”
Of course, such a stance meant that developing a market for Mr. Johnson’s work during his lifetime was next to impossible, and in many ways his critical stature still suffers because of this. “He kind of landed by default in the book and ephemera world, and to a large extent that’s really where his work has been living,” said Brendan Dugan, owner of the NoHo bookstore and gallery Karma, which organized an exhibition of late Johnson work last fall.
Mr. Dugan said he had been drawn to Mr. Johnson in part because of his avid following among younger, punk-influenced artists but also those whose work seems to have little affinity with Mr. Johnson’s, like Mr. Connors, an abstract painter who is featured in “The Forever Now: Contemporary Painting in an Atemporal World” on view now at the Museum of Modern Art.
In an email, Mr. Connors said: “I am always very excited by artists who create their own very specific codes, languages and grammars. He’s speaking his own language and talking to and about specific people, but he also loves to share it with you.” The effect is “kind of like a queer and gossipy downtown Joseph Beuys.”
For the show at Karma, Mr. Dugan was allowed to pore over reams of paper works in the Feigen archive, made by Mr. Johnson mostly in the last decade of his life, “and what I saw was a total discovery to me, because a lot of it was very raw and very punk,” he said. “Here was this guy in his 60s, and he’s still up to it, to the very end, pulling in new material from the culture and making this very weird stuff that feels very contemporary now.”
Ms. Beatty, who struggled for years to get Mr. Johnson to agree to a major exhibition at the Feigen gallery, remembered that he called her three days before he died. “And he said, ‘Listen, Frances, I’m planning to do something big and after that, you’ll finally be able to do your show.’ And I had no idea what he was talking about, but I thought maybe he was actually giving in, after playing cat and mouse for so long.
“Well, of course, little did I know, and that’s how it always was with Ray — how little did we know,” Ms. Beatty said, adding, “It was a lived-for-art life, 100 percent, all the way to the end.”
Correction: January 9, 2015 
An earlier version of this article omitted part of the title of the show at the Feigen gallery. It is “Ray Johnson’s Art World,” not “Ray Johnson’s World.” 

NEXT IN ART & DESIGN

21 Δεκεμβρίου 2014

“The Cut Ups,” (1966) William S. Burroughs

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 16:07

[youtube https://www.youtube.com/watch?v=Uq_hztHJCM4&w=420&h=315]

10 Δεκεμβρίου 2014

Aires and in Baden by BLU, made in Buenos

 
                                                                                                 by BLU, made in Buenos Aires and in Baden.
 
 
 
 

                                                     the new wall-painted animation by BLU

 
 

 

 

 

Blu is the pseudonym of an Italian artist who conceals his real identity. He was born in Senigallia. He lives in Bologna and has been active in street art since 1999.

His early career involved the practice of shared artistic actions. Artists such as Dem, Sweza, Run and, above all, Ericailcane,[1] were his companions during nocturnal raids where an anonymous creative participation overcame the need of signing their pieces. Also, during those years, Blu started experimenting with digital animation, and he created short interactive video clips that were used as a visual contribution to the live musical performances of the collective OK NO.[2]

The collaboration with Ericailcane had its best results from 2003 to 2006. The two personalities complemented each other; while Blu was painting his characteristic human figures Ericailcane made his typical animals. The two artists, friends in real life, continue to work together, although less often.

Starting in 2004, some art galleries noticed Blu’s artistic value and invited him to take part in both one-man and collective shows. Yet Blu, throughout his entire youthful career, attempted to limit his presence within the official art world, preferring other kinds of territories.

Since his major pieces outside of his videos have been immovable murals, the survey below of Blu’s work is geographical rather than chronological.

Blu is evolving street art. One of the most incredible stop-motion animations I’ve seen. Painted on walls in Buenos Aires and Baden over this past winter.

https://youtu.be/Ch-wEUMXSn8

9 Δεκεμβρίου 2014

παρουσιάσεις video artists

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:41

Vito Acconci 

Eija-Liisa Ahtila 

John Baldessari —http://www.vdb.org/titles/i-am-making-art

Peter Campus –https://www.youtube.com/watch?v=Ar99AfOJ2o8

Douglas Davis -https://www.youtube.com/watch?v=rXWvSEXfIag
Stan Douglas-
Stan Douglas. Photographies 2008-2013″ : Documentaire de l’exposition-https://www.youtube.com/watch?v=wbIR3m3mT0o
https://www.youtube.com/watch?v=tGMk4ROOE-s

Douglas Gordon

Gary Hill -http://www.sfmoma.org/explore/multimedia/videos/219

Mary Lucier

Paul McCarthy

Steve McQueen

Bruce Nauman

Shirin Neshat

Tony Oursler 

Yoko Ono

Nam June Paik

Pipilotti Rist 

Don Ritter

Martha Rosler

Bill Viola 

Wolf Vostell

Krzysztof Wodiczko

Man With a Movie Camera ” by DZIGA VERTOV

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:39

//player.vimeo.com/video/25840161
” Man With a Movie Camera ” by DZIGA VERTOV – 1929 from Eve Reewear on Vimeo.

3 Δεκεμβρίου 2014

color

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 23:22
http://muyueh.com/greenhoney/

ΣΥΝΕΡΓΑΣΙΑ ΜΕ ΤΟΥΣ ”CICADAS”

CICADAS – KASHMIR

Ένα instrumental cover απο τα 2 μέλη του συγκροτήματος, το στήσιμο της ιδέας και το Video Shooting έγινε απο τον Παντελή Τραϊανού.

  • Μέλη συγκροτήματος
    Πέτρος Δινάκης-κιθάρα
    Εριφύλη Ζήση-φωνή
    Κυριάκος Πέτρου-βιολί

   

  • Αναλυτική περιγραφή
    Οι CICADAS είναι το συγκρότημα που γεννήθηκε το καλοκαίρι του 2012 κάπως…τυχαία. Με μόνα σύνεργα τις περίτεχνες μελωδίες της blues κιθάρας του δεξιοτέχνη Πέτρου, την ιδιαίτερη φωνή της Έρης και τα εξαιρετικά σόλο του Κυριάκου στο βιολί, θα αποπειραθούν να σας ξεναγήσουν σε απρόβλεπτες διασκευές του ελληνικού και του ξένου μουσικού στερεώματος.

Directed by Carl E. Rinsch

Filed under: NOTES ON CINEMA,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 10:49

                                                                                                                                       Directed by Carl E. Rinsch

 
 
 
 
                                                                                                             Directed by Carl E. Rinsch
https://youtu.be/DRNv-V7jV-g

2 Δεκεμβρίου 2014

Hans Richter (artist)

From Wikipedia, the free encyclopedia
Hans Richter
Born 6 April 1888
BerlinGerman Empire
Died 1 February 1976 (aged 87)
MinusioSwitzerland
Occupation Painter, graphic artist, avant-gardist, film-experimenter, producer
Years active 1914–1961
Hans Richter (April 6, 1888 – February 1, 1976) was a German painter, graphic artist, avant-gardist, film-experimenter and producer.[1] He was born in Berlin into a well-to-do family and died in Minusio, near LocarnoSwitzerland.

Germany[edit]

Richter’s first contacts with modern art were in 1912 through the “Blaue Reiter” and in 1913 through the “Erster Deutscher Herbstsalon (de)” gallery “Der Sturm“, in Berlin. In 1914 he was influenced by cubism. He contributed to the periodical Die Aktion in Berlin.[2] His first exhibition was in Munich in 1916, and Die Aktion published as a special edition about him. In the same year he was wounded and discharged from the army and went to Zürich and joined the Dada movement.
Richter believed that the artist’s duty was to be actively political, opposing war and supporting the revolution. His first abstract works were made in 1917. In 1918, he befriended Viking Eggeling, and the two experimented together with film. Richter was co-founder, in 1919, of the Association of Revolutionary Artists (“Artistes Radicaux”) at Zürich. In the same year he created his first Prélude (an orchestration of a theme developed in eleven drawings). In 1920 he was a member of the November group in Berlin and contributed to the Dutch periodical De Stijl.
Throughout his career, he claimed that his 1921 film, Rhythmus 21, was the first abstract film ever created. This claim is not true: he was preceded by the Italian Futurists Bruno Corra and Arnaldo Ginna between 1911 and 1912[3] (as they report in the Futurist Manifesto of Cinema),[4] as well as by fellow German artist Walter Ruttmann who produced Lichtspiel Opus 1 in 1920. Nevertheless, Richter’s film Rhythmus 21 is considered an important early abstract film.
About Richter’s woodcuts and drawings Michel Seuphor wrote: “Richter’s black-and-whites together with those of Arp and Janco, are the most typical works of the Zürich period of Dada.” From 1923 to 1926, Richter edited, together with Werner Gräff and Mies van der Rohe, the periodical G. Material zur elementaren Gestaltung. Richter wrote of his own attitude toward film:
“I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.”

USA[edit]

Richter moved from Switzerland to the United States in 1940 and became an American citizen. He taught in the Institute of Film Techniques at the City College of New York.[5]
While living in New York, Richter directed two feature films, Dreams That Money Can Buy (1947) and 8 x 8: A Chess Sonata in 8 Movements (1957) in collaboration with Max ErnstJean CocteauPaul BowlesFernand LégerAlexander CalderMarcel Duchamp, and others, which was partially filmed on the lawn of his summer house in Southbury, Connecticut.
In 1957, he finished a film entitled Dadascope with original poems and prose spoken by their creators: Hans ArpMarcel DuchampRaoul HausmannRichard Huelsenbeck, and Kurt Schwitters.
After 1958, Richter spent parts of the year in Ascona and Connecticut and returned to painting.[5]
Richter was also the author of a first-hand account of the Dada movement titled Dada: Art and Anti-Art[6] which also included his reflections on the emerging Neo-Dada artworks.

//player.vimeo.com/video/42339457
Hans Richter – Film Ist Rhythm: Rhythmus 21 (c1921) from Avant-Garde Cinema on Vimeo.

[youtube https://www.youtube.com/watch?v=ZXrjrr6ifME]

[youtube https://www.youtube.com/watch?v=jemM9o3EvKQ&w=420&h=315]

26 Νοεμβρίου 2014

παρουσιάσεις-Maya Deren

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 15:04
Maya Deren (April 29, 1917 – October 13, 1961), born Eleanora Derenkowskaia (Russian: Элеоно́ра Деренко́вская), was one of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer and photographer.
The function of film, Deren believed, like most art forms, was to create an experience; each one of her films would evoke new conclusions, lending her focus to be dynamic and always-evolving.[1] She combined her interests in dance, voodoo and subjective psychology in a series of surreal, perceptual, black and white short films. Using editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren creates continued motion through discontinued space, while abandoning the established notions of physical space and time, with the ability to turn her vision into a stream of consciousness.
Perhaps one of the most influential experimental films in American cinema was her collaboration with Alexander Hammid on Meshes of the Afternoon (1943). She continued to make several more films of her own, including At Land(1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946)  – writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, as camerawoman. She also appeared in a few of her films but never credited herself as an actress, downplaying her roles as anonymous figures rather than iconic deities.

[youtube https://www.youtube.com/watch?v=YSY0TA-ttMA]

23 Νοεμβρίου 2014

Selina Miles παρουσιαση καλλιτεχνη

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 20:24
Η Selina Μiles γεννημένη στο Brisbane της Αυστραλίας, εργάζετε και μένει στην Adelaide. Eίναι 26 χρόνων και με ασχολείτε με την φιλμογραφία τα τελευταία 5 χρόνια. Αγαπημένη της θεματολογία, η δράση ενος(και οχι μόνο) graffiti artist Sofles.

 

[youtube https://www.youtube.com/watch?v=Pv-Do30-P8A]

[youtube https://www.youtube.com/watch?v=-r-MxfJe2gw]

19 Νοεμβρίου 2014

william kentridge

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 19:34
«Η διαφορά ενός σχεδίου από μια φωτογραφία είναι πολύ σημαντική. Με το σκίτσο φτάνεις σε μια εικόνα μέσα από μια διαδικασία, δεν είναι μια παγωμένη στιγμή στον χρόνο όπως η φωτογραφία. Υπάρχει ρευστότητα. Μπορεί να έχεις μια αόριστη ιδέα για το τι θέλεις να ζωγραφίσεις, αλλά τα όσα προκύπτουν μέσα από τη διαδικασία μπορεί να αλλάξουν ή και να θέσουν σε αμφισβήτηση αυτά που νομίζεις ότι ξέρεις. Έτσι, το σκίτσο είναι ένα τεστ ιδεών. Ένας συλλογισμός σε αργή κίνηση. Δεν φτάνεις σ” αυτό αμέσως, όπως με τη φωτογραφία. Ο αβέβαιος και ασαφής τρόπος κατασκευής ενός σκίτσου είναι μερικές φορές ένα μοντέλο για το πώς κατασκευάζουμε νόημα. Αυτό που καταλήγει στη σαφήνεια και καθαρότητα, δηλαδή στο νόημα, συχνά δεν ξεκινά με αυτόν τον τρόπο».  

 

[youtube https://www.youtube.com/watch?v=DRLS4qhloUY]

[youtube https://www.youtube.com/watch?v=Cs6GkV4SfWE]

https://www.youtube.com/watch?v=Cs6GkV4SfWE

18 Νοεμβρίου 2014

GULDIES ΠΑΡΟΥΣΙΑΣΗ ΚΑΛΛΙΤΕΧΝΗ

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 04:31

17 Νοεμβρίου 2014

brachage-markopoulos

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 16:35
[youtube https://www.youtube.com/watch?v=XaGh0D2NXCA]

[youtube https://www.youtube.com/watch?v=L8r9t135_xY]

Stan Brakhagea

From Wikipedia, the free encyclopedia

James Stanley Brakhage (/ˈbrækə/ brak-əj; January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film.
Over the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld cameraworkpainting directly onto celluloidfast cuttingin-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality,[1] sexuality,[2] and innocence.[2]
Brakhage’s films are often noted for their expressiveness[2][3] and lyricism.[2][4]





http://www.the-temenos.org/gm_bio.htmExcerpts from MAGUS OF MEMORY by Kirk Alan Winslow

Born Giorgios John Markopoulos on 12th March, 1928 in Toledo, Ohio (died 12th November, 1992 in Frieburg, Germany), he was the son of Greek immigrants from the Peloponnesus and spoke only Greek until the age of six. The ancient legends and orthodox spirituality of that tradition would prove a grounding matrix for the rest of his life. The concomitant isolation and displacement he surely felt, being homosexual and son of foreigners marooned in the vast American heartland was equally important to his aesthetic evolution. He could sense the world as a ‚heap of fragments’, intuit life as a ‚perrenial exile.’ Having produced his first 8mm film at the age of twelve, as a brilliant young high school student he considered pursuing medical training, with an eye to surgery, but applied instead to several film production schools, even one in Russia, finally enrolling at the University of Southern California, Los Angeles, just at the end of WWII. There, he attended the master classes of Josef von Sternberg and was a student-observer to studio productions directed by emigrés Lang, Hitchcock, Curtiz and Korda. He also met future Sci-Fi director Curtis Harrington at this time, sharing with him an interest in the uses of exotic color and the hypnagogic literature of the ‚poetes maudits’. He was fascinated by the idea of synesthesia, the confusion and correspondence between impressions of different senses that had pre-occupied many Romantic artists, among them Wagner, Rimbaud and Scriabin.
In 1947 he completed his first important color film Psyche, inspired by an unfinished Pierre Louÿs novella of lesbianism. This and two subsequent films made on his return to Toledo, after only three semesters at USC, formed a trilogy entitled Du Sang, de la volupté, et de la mort a profound, platonic/romantic meditation on the nature of art, emotion and the enigma of homosexuality. He was no doubt painfully aware at this point that his ambitious sensibility could be entirely shut out of the commercial scene by his own high cultural standards and the unspoken barrier of the ‚gay black list’. But he had received sustenance from Californian Avant-Garde circles, where Maya Deren, Sidney Peterson, and Kenneth Anger were all flourishing in the neo-baroque post-war American atmosphere receptive to Surrealism and psychoanalysis.
The half-hour long unfinished (and later rediscovered), silent Markopoulos film The Dead Ones was shot on outdated Kodak black-and-white Nitrate stock for its special antique, dreamlike effects, and dedicated to modern French myth-master Jean Cocteau. In an orphic quest for redemption, Markopoulos would undergo, like Cocteau’s poet heroes, a symbolic ‚death in the mirror’ through the looking glass of cinema.
In 1950, after filming the oneiric Rain Black, My Love (later recut and retitled Swain)which was based on an early Nathaniel Hawthorne story and contained surprising foreshadowings of his later editing technique, he embarked on the first of many trips to Europe. (After many struggles, he would eventually settle there.) In France, he met and observed Marcel Carné at work. Returning to the U.S., he found distribution for his films but was required to abridge Swain. This ‚need’ to excise and rework elaborate cinematic projects was to become a discouraging refrain in his saga, and served as a double-edged sword, driving him on to unforeseen levels of creative compression and invention even as it consigned countless moments of great beauty to oblivion. By the mid-Fifties he had completed three more short films and held an exhibition of his abstract paintings in Toledo before leaving, undaunted, for Greece, where he would work for overs six years to bring plans to fruition for a multi-lingual, 35mm feature film of the Greek immigrant experience.
Entitled Serenity, it was based on a novel by Elias Venezis depicting the aftermath of the Greco-Turkish conflict of 1920-21. Revolving around the symbolic image of a rose garden, the film was to take place largely in the memory of its principal female character, the wife of an idealistic young physician exiled in the postwar diaspora. Color shooting finally began in 1958, under trying conditions (some scenes could only be filmed in one take), with a soundtrack recorded in English, Greek, German and Russian. A first version was then edited in Rome. After that a dire, truly Byzantine struggle with the film’s producers ensued that lasted over two years, exhausting and discouraging the filmmaker. During that time he continued to work on scenarios, three of which would be the bases of his major works of the 1960s. A trucated version of Serenity was finally premiered at Spoleto in 1961 and a longer edit was shown three times in the U.S. before disappearing entirely, forfeited by the director in return for his fee. It has not been seen since.
At this point work began on what is cetainly Markopoulos’s materpiece, Twice a Man (1963). A personal elaboration of the Phaedra/Hippolytos/Aesclepius myth, it brought his various concerns with psychodrama, memory, symbolic color and intensive montage to a new pitch. The modern reframing of the story focused on the Byronic melancholy of the Apollonian demi-god Aesclepius, ‚the artist-physician’ (a stand-in for the filmmaker himself) obsessed with the image of the doomed prince Hippolytos, whom he is commanded to revive by the goddess Artemis. Shot in 16mm, with two assistants, on borrowed camera equipment, with unknowns Olympia Dukakis and Paul Kilb in the lead roles, the film was a model of creative economy.
Encouraged by the response to Twice a Man (it won the Prix Lambert in Belgium in 1963), Markopoulos embarked on an even more ambitious, synoptic treatment of the Prometheus myth, entitled The Illiac Passion. He labored on it for more than three years (1964-67).
Filming with an array of artist-performers picked from the glamorous New York scene of the time, he nearly realized a spectacular, three-hour long, triple-format, concentric-image version that would have far surpassed anything he had previously attempted in richness and complexity.Again, financing and crucial time restraints forced him to revise the work at the last moment, and it was cut for its premiere to the 90 minute, 16mm version extant.
At this time, Markopoulos lectured widely and wrote extensively for Jonas Mekas’s Film Culture Magazine, publishing both film reviews and theoretical articles. He became interestd in the multiple-screen and variable speed projection concepts that would later fire the ‚expanded cinema’ movement.
In early 1966, immediately following the death of his mother, Markopoulos began using an ingenious and radically economical method to construct shorter films entirely in-camera, without subsequent editing.
A single roll of film stock was run back and forth inside the camera apparatus, while carefully selected passages of frames were laid down (exposed), sometimes alone, sometimes super-imposed or fadedin and out, at precise positions predetermined by the filmmaker. Thus, a new genre of his film work was born: the ‚portrait’. The ‚sitters’ for these likenesses could be either persons, or individual places, in whatever vicinity the camera/brain might find itself on a particular occasion. The first portrait, Ming Green, was of his own apartment and was executed in a brief time during his period of mourning. A powerful mood piece, it uses only the light and color emanating from the enclosed surroundings and selected objects of his small, elegantly decorated flat. It evokes, without the presence of a single ‚living’ being, the reality of a life or lives, passing yet present, persistent, like a fragrance, reverberating with continued expectation. Markopoulos began using the new technique more and more, making numerous portraits while continuing to seek big-budget support for his other projects. But critical and financial frustrations grew. In 1967, after an unrewarding winter as professor of cinematography at the School of the Art Institute of Chicago, a stint that produced a last attempt at a peopled epic (The Divine Damnation), the artist moved definitively, with his lover Robert Beavers, to Europe. He worked on two television productions in Germany, then making his base of operations in Zürich, Switzerland.
The key work of this liminal phase of Markopoulos’s career is the severe, sublime Gammelion (1968). In an extension of the portrait film method, it explored the ‚genius loci’ of a single site, an Italian castello and its environs in Rieti which Markopoulos had intended from early in the decade to be the setting for his feature-length adaptation of Julien Graq’s Surrealist thriller, ‚Le Chateau d’Argol’. Again, necessity required the filmmaker to invent a new form from existng material (in this case his visual ‚location scouting’ notes: short frame ‚snaps’ of the palace and its decor). By the use of fades of varying lengths, the original 200 feet (five minutes) of 16mm were expanded to fill nearly an hour of film time. The paced winking or pulsing of images that had been employed in the brief in-camera films was copiously varied in the work, as the motionless- or barely sturring- image clusters are suspended in widening galaxies of black or white leader. Fragments of music, poetic text (Rilke, read by the filmmaker) and location sound were mixed to reinforce the impression that elements were both moving away and gathering towards each other in time. As P. Adams Sitney writes, in his towering 1974 study of the American Avant-Garde, ‚Visionary Film’ the new style ‘creates the aura of fiction without elaborating any specific fiction.’
Markopoulos continued in this vein of rich austerity, in such films as The Olympian(1969), a portrait of novelist Alberto Moravia, and the fragmentary Hagiographia(1970), filmed around the old Byzantine monastic churches at Mistra. Single morsels of frames float rhythmically, on the border of legibility, in the vast oceans of black. Time seems to collapse to an edge. Sitney again: ‚…in these later works the filmmaker continues to regard cinematic structures as a model of the human mind, but he no longer accords privileged place to the category of memory within that model.’
In the last ten years of his life, Markopoulos toiled over Eniaios, another, and the ultimate, reworking of his entire earlier film output. It was fully edited and notated, but left unprinted, at the time of his death. A completely silent eighty-hour long, epic re-configuration of his previous works, it contains 100 individual titles arranged in 22 cycles. Edited in the manner of the later, black-leader, films, it is to be seen ideally over several weeks, in a yearly summer-fetival held at the Temenos, a special open-air cinema theatre dedicated to Markopoulos’s works and those of Robert Beavers. 
Markopoulos endeavored to remain and transcend himself, attempting to balance a legion of antithetical forces: the rich hallucinatory allusiveness of Romanticism vs. the unadorned factualness and concrete immediacy of the Modern; the classical ideals of the eternal and archetypical vs. the practical discoveries of the surprising, eccentric and exceptional; the severe nurture of the natural vs. the shielding articifice of the urbane; the archaic magic of theater vs. the ‚futuristic’ science of media. Both bound and redeemed by the terms of a fragile, fugitive, mechanical medium Markopoulos bids us free him and ourselves by intuiting wholeness in the midst of mere instants, held fast by the charm of film time. An encounter with this process is often disconcerting – because one’s unconscious workings are exposed. But it is also bracing, exhilarating- because one at some point takes a leap of faith in the destination of the work. The conundrum of the image- as cipher, snare, mirage or narcotic trap for desire; as mute witness, dead document, or mere token trace- cedes ultimately to the ideals of vision as seed, of perception as illumination, of light as pure joy- a revival of the moment when we are first surprised by beauty:
‚A soul, rubbing its eyes in the next world’ Wedekind
‚Color is Eros’ Markopoulos
(The complete text was originally published in the European Media Art Festival catalogue, Osnabrück 1999.)

http://ubu.com/film/markopoulous_christmas.html
Here, Markopoulos uses fragmentary editing and intercuts between claustrophobic and mundane scenes of domestic life — shaving, vacuuming, setting the table — and images of the carnivalesque, the mysterious, the magical. While a young man gets ready for the day and interacts with his family, Markopoulos cuts in shots of carnival rides, a mysterious ritual taking place in the woods, and a strange dream-like scene in which the man gets out of the bath to encounter a creepy moving toy. The theme seems to be the discovery of the fantastic and the wondrous amid the trappings of the everyday.


Eija-Liisa Ahtila (b. 1959 in Hämeenlinna, Finland. Lives and works in Helsinki.) 
Eija-Liisa Ahtila studied filmmaking at the London College of Printing, UCLA, and at the American Film Institute in Los Angeles. In 1990 she received the Young Artist of the Year Award, Tampere, Finland. Since then, she has received numerous grants and awards, including an AVEK-award for important achievements in the field of audio-visual culture (1997), the Edstrand Art Price (1998), a DAAD fellowship (1999), honorary mention at the 48th Venice Biennale (1999), the Vincent Van Gogh Bi-annual Award for Contemporary Art in Europe (2000), and a five-year grant from the Central Committee for the Arts (2001), as well as the Artes Mundi Prize (2006). She also exhibited in Documenta XI (2002) and the 50th Venice Biennale (2005). 

Despite the fact that Eija-Liisa Ahtila would most likely label herself an artist as opposed to a filmmaker and the situation whereby many of the titles present on this disc also exist as installation pieces, the collective term of “cinematic works” is undoubtedly apt. For Ahtila isn’t merely an artist slumming it in the world of filmmaking – as has been known in the past – but rather one who comes to the medium with a full understanding of its syntax and, more importantly, its powers. Certainly, her approach and thematic concerns mean that we shouldn’t necessarily deem her as someone who is making films for mainstream consumption, yet at the same time it is also true that her efforts don’t prove themselves entirely alien. After all, hers is a body of work told through audacious crane and dolly shots, special effects, and the kind of succinct editorial control we’d expect of a seasoned professional. 

What’s particularly interesting about Ahtila is the fact that she’s built up this body of work – and a highly distinctive one – so soon. The Cinematic Works compiles seven efforts made between 1993 and 2002, and through these we are able to witness the same methods and concerns materialising again and again. Stylistically, she interweaves dense, often rapid fire, voice-overs into her highly cinematic style, the results being works which feel incredibly rich despite their brief durations. In thematic terms we find returning time and again to close knit units (families and couples) as well as the female experience, most notably that of adolescent girls. Indeed, it’s easy to tell that the maker of Me/We, Okay and Gray – the disc’s opening triptych – is the same as the one who produced Love is a Treasure, the set’s concluding offering. In fact, such are the ostensible similarities that each short could serve as a prequel/sequel to those which precede and follow it. 

It’s an aspect which stands out most forcibly when we consider the individual films’ structure. The opening shorts are barely 90 seconds long; meanwhile Love is a Treasure extends to a comparatively epic 55 minutes. Yet Ahtila repeatedly divides her films into vignettes and episodes, thus creating a situation whereby even the longer pieces still effectively feel the same as those earliest efforts. If 6 Was 9, for example, takes a number of teenage girls and gives their own segment of the narrative. Likewise Today and Consolation Service, each of which is succinctly broken up into pieces which could be considered shorts in their own right. Of course, such a structure explains who each of these (excepting Love is a Treasure) was transposed into installation form; the only real difference is that on DVD we find the episodes presented in linear form. 

Yet whilst Ahtila’s work easily creates its own distinctive world (in addition to elements already mentioned we also find a sober visual approach and a flirtation with the supernatural), some of the shorts do work better than others. If 6 Was 9 is the standout, and a sharp alternative to Tracy Emin’s Top Spot. Here we find five girls in their early teens from Helsinki discussing their lives and experiences thus far in a candid fashion whilst the screen – split into three – contrasts their words with a banal, yet very precise visual counterpoint. It’s worth noting that the film – and all of Ahtila’s work for that matter – is not a documentary, but it does draw heavily on interviews and research material which is then reconfigured into the mini-/meta-fictions. Love is a Treasure does much the same with schizophrenia whilst the rest of the disc’s films take on a similar approach. Indeed, this may very well hold the key to the success of Ahtila’s output to date: she cherry picks from various modes and expressions – the documentary film, the fiction film, cinema as a whole – and adopts them to her own distinctive means. The results, as said, are a clear and cogent body of work.



http://ubu.com/film/ahtila_me.html
If 6 was 9 (1995), presented both as a ten-minute video installation with triple projection and sound and as a 35mm-film installation. The work takes its title from a Jimi Hendrix song but deals with a group of five young girls, focusing on sexuality as a way of exploring the world. The monologue, though fictional and spoken by actors, was based on Ahtila’s own experiences and research. The curious blend of documentary and dramatic narrative is underlined by the syncopated montage and an intense, often overbearing use of sound.



http://ubu.com/film/ahtila_rakkaus.html

The film tells five different stories about women who have developed psychoses. It consists of five episodes each telling the story of one woman. In the first a woman prefers to stay underneath her bed because of the imaginary killers hunting around her. In the second a teenage girl becomes the assistant of UFOs controlling sounds heard on earth. In the third episode a woman crawls over a bridge because things have become unstable due to the emergence of past events. The fourth part depicts how anger takes the form of a wind in a woman’s apartment. In the last episode a woman starts to hear the sounds of other places, and shuts out all images by covering the windows of her house so as to be able to be in the space where the sounds are. The script links the episodes together by using various spaces and surroundings, and through the treatment of images.










http://www.ubu.com/film/hatoum_measures.html






Measures of Disatnce (1988)

This early piece of Mona Hatoum is jarring. The raw directness of the relationship between a mother and daughter is almost too much to handle. The video starts with close-up images of what appears to be body parts, behind a translucent drop, covered with Arabic script. Visually, these images are threatening to a Western observer viewing this video after 9/11. Arabic is associated with terror, the Other, the unknown. The juxtaposition of the intimacy of another person’s body and the ominous nature of the script is puzzling. The combination is further complicated by the image of the female voice and body with Arabic. In our common perception, women of Islam, women associated with Arabic are behind veils, they do not speak out and nor show their body, they are not self-expressive yet the viewer is en face with a very intimate portrait of a woman. At the beginning of the video, there are two women talking in the background in what appears to be Arabic while the viewer is confronted with the images of the body and the script. A woman’s voice takes over, reading letters. The letters are from Mona Hatoum’s mother to Mona and the age of the voice identifies the reader as the artist herself. Hatoum reads the letters, slowly, clearly, without a trace of emotion. 

The letters mention the war, the longing of the mother for Hatoum, sexuality, marriage and the father. The letters are not monotonous and are very layered in meaning. The mother misses Hatoum yet she is pleased by their newfound relationship through Hatoum photographing her and using the mother’s videotapes in her work. The mother feels a guilty pleasure in sharing something with her daughter that her husband can’t. The sisterhood achieved through their nakedness together is not comprehensible to the father and the mother acknowledges that he seems to feel that Hatoum has trespassed into his territory, claiming his object, as the nakedness of the woman belongs to the husband. Somehow, to the father, the bond between the husband the wife is more private, intimate and sacred than the bond between the two women. 

The mother’s tone borders on frivolous without ever losing the genuine love and care she has for her daughter. She acknowledges the “fun” in sexuality, claiming that this is one of the primary reasons she wants her daughter to get married. She wants her daughter to cherish her sexuality as men need to prove their manhood every day and a woman is reminded of her sexuality only once a month. These thoughts are obviously affected by the cultural background of the mother and yet do not fit a stereotypical representation of the Muslim female: the mother is outspoken, sincere, and articulate. 

It is impossible not to think about Shirin Neshat’s images, with provocative, posed portraits of women, juxtaposed with Persian script. I believe that Hatoum’s work is visually in dialogue with Neshat’s work and yet there is something about Hatoum’s work that troubles me and attracts me in a way that Neshat’s work does not. The immaculate aesthetic of Neshat’s images does not leave room for me. Hatoum’s work, on the other hand, turns the mirror to me, showing me what I think and believe through secretly sharing the intimate world between herself and her mother. There is something timeless, universal and beautiful about this gesture and I cannot help but think that the video becomes a means to close the distances, between Hatoum and her mother and between me and the work, rather than measuring those distances










[youtube https://www.youtube.com/watch?v=VCAssCuOGls]

[youtube https://www.youtube.com/watch?v=We71WiOqW-8?list=PLAZqOwbH-FQnD7BP7_mHZ5GHXuQ97XYfT]

16 Νοεμβρίου 2014

Music Controller with Kinect + openFrameworks + Mac

[youtube https://www.youtube.com/watch?v=IRpm9Qcnp-k]

12 Νοεμβρίου 2014

Filed under: UNCLASSIFIED 1,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:51

//%20www.youtube.com%20/embed/IGF5bkr8esQ

15 Οκτωβρίου 2014

Matthew Barney – Cremaster 3 pt.1 (2002)

[youtube https://www.youtube.com/watch?v=AtjvyQqim50]

14 Οκτωβρίου 2014

Matthew Barney – Cremaster 4 (1995)

Filed under: NOTES ON VIDEO,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 17:14

[youtube https://www.youtube.com/watch?v=eR1TUXBdYCQ]

21 Σεπτεμβρίου 2014

Interactive art with wooden mirrors – The wooden mirror (1/4)

[youtube http://www.youtube.com/watch?v=BZysu9QcceM]

9 Απριλίου 2014

The Spaces Between

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 10:18
apr8_belkin_img.jpg

Juan Carlos Alom, Las plantas medicinales florecen de nuevo / Medicinal Plants Flourish Again, 2012. Gelatin silver print, 48.7 x 47.7 cm. Courtesy of the artist.
Morris and Helen Belkin Art Gallery

The Spaces Between: Contemporary Art from Havana

Exhibition ends Sunday, April 13, 2014

Morris and Helen Belkin Art Gallery
University of British Columbia
1825 Main Mall
Vancouver, BC

belkin.ubc.ca

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After a successful three-month exhibition at the Belkin Art Gallery, The Spaces Between: Contemporary Art from Havana will close on Sunday, April 13. Conceived by Cuban artist and critic Antonio Eligio (Tonel) and Associate Director/Curator of the Morris and Helen Belkin Art Gallery, Keith Wallace, the exhibition focuses on the social spaces and shared sensibilities of artists in this dynamic but complex city. It explores contemporary Havana from artistic, cultural, sociological and anthropological perspectives within a new social and economic reality that has made itself evident in Cuba during the past decade.

Co-produced with Bildmuseet, Umeå University, Sweden, the exhibition will run in Umeå from February 8 to April 19, 2015.

Catalogue releaseThe exhibition is accompanied by a 128-page fully illustrated book, co-published with Black Dog Publishingof London, featuring essays by exhibition curators Antonio Eligio (Tonel) and Keith Wallace, as well as writing by Cecilia Andersson from Bildmuseet, Umeå University. The essays provide a contextual account of Cuban art during the past three decades, as well as carefully tracing the current perspectives on some of the work and issues that have emerged in Cuba during the past decade. The artists represented share a new engagement with the current socio-economic and political changes taking place in Cuba, and the underlying anticipation about what the future will bring.

In his essay, Wallace writes: “The Spaces Between focuses on a particular city in a specific national context and affords a tangible sense of Havana, the challenges it faces, and the artistic strategies at play. But we are reminded that deficits—social, political, or otherwise—similar to those in Havana arise in other parts of the world as well, and give pause to think about one’s own circumstances. Are not all social and political systems struggling in some way, and are we not waiting for things to change?”

The book is available for purchase at the gallery, or through Amazon and other bookshops.

The Spaces Between: Contemporary Art from HavanaISBN13: 9781908966544

More about the exhibitionThe title for the exhibition and accompanying book, The Spaces Between, emerged from the receptive spaces that exist between the artwork and its viewer, the anticipatory spaces between Cuba’s actual past and its imagined future, and the ambiguous spaces between language and its ability to communicate clearly or truthfully. The exhibition features some seventy works, including drawings, paintings, prints, photographs and videos, by fourteen artists: Juan Carlos Alom, Javier Castro, Sandra Ceballos Obaya, Celia – Yunior, Ricardo G. Elías, Luis Gárciga Romay, Luis Gómez Armenteros, Jesús Hdez-Güero, Ernesto Leal, Glenda León, Eduardo Ponjuán González, Grethell Rasúa, Lázaro Saavedra González and Jorge Wellesley.

The artists in the exhibition are cross-generational; some have international reputations while others are younger and not so well known abroad. Some of the artists are teachers of other artists in the exhibition, thus there exists a legacy that threads through the exhibition. While the validity of exhibitions based around national or civic parameters have come under critical scrutiny; Cuba, and in turn, Havana, present a different context. Cuba, due to its internal political agenda and lack of physical access to the outside world for most of its citizens, tends towards an introverted and a self-conscious sense of identity within a global context. The artists in The Spaces Between are exploring ways of articulating this phenomenon both through direct social engagement and through practices carried out in the privacy of one’s studio.

The Spaces Between is the first major exhibition in Vancouver of art from Cuba since Utopian Territoriesthat took place in seven galleries in 1997. The exhibition is curated by Antonio Eligio (Tonel) and Keith Wallace and co-produced by the Morris and Helen Belkin Art Gallery, University of British Columbia, and Bildmuseet, Umeå University, with support from The Canada Council for the Arts.

28 Μαρτίου 2014

Η νικήτρια του shoot_it

http://www.elculture.gr/elcblog/article/shoot_it_winner-825231#prettyPhoto

16 Μαρτίου 2014

marina-abramovic

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 10:59
http://www.athensvoice.gr/article/city-news-voices/%CE%B8%CE%B5%CE%BC%CE%B1/10-%CF%80%CF%81%CE%AC%CE%B3%CE%BC%CE%B1%CF%84%CE%B1-%CF%80%CE%BF%CF%85-%CE%BC%CE%BF%CF%85-%CE%AD%CE%BC%CE%B1%CE%B8%CE%B5-%CE%B7-marina-abramovic-%CE%B3%CE%B9%CE%B1-%CF%84%CE%B7-%CE%B6%CF%89%CE%AE

http://www.marinaabramovicinstitute.org/news/live-stream

7 Φεβρουαρίου 2014

Michalis Siganidis – doc-fic-o

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 12:16
Ο Μιχάλης Σιγανίδης είναι έλληνας μουσικός, συνθέτης και στιχουργός. Παίζει κοντραμπάσο και κιθάρα και αποτελεί μέλος της ελληνικής τζαζ σκηνής. Είναι σταθερό μέλος των Χειμερινών Κολυμβητών και των Primavera en Salonico. Συνεργάζεται ακόμα στις προσωπικές του δουλειές με μουσικούς της σύγχρονης αυτοσχεδιαζόμενης μουσικής σκηνής στην Ελλάδα υπό διάφορα σχήματα, όπως το Συγκρότημα Λαμπράκη, οι Φίλοι Μίλτου Σαχτούρη (Φ.Μ.Σ.), The Hus-Band, Siganidis Tours, κ.α. Η μουσική του χαρακτηρίζεται από έντονο αυτοσχεδιαστικό στυλ με επιρροές από την παραδοσιακή μουσική. Χρησιμοποιεί ακόμα στις συνθέσεις του ηχητικά κολάζ ηχογραφήσεων.

31 Ιανουαρίου 2014

Ann Hamilton

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:39

[youtube http://www.youtube.com/watch?v=Vfgr6KPCTgc]

30 Ιανουαρίου 2014

SOL LE WITT

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 23:10

[youtube http://www.youtube.com/watch?v=6mQhCzk3YHs?list=SP22E2A1B2A2A0D029]

29 Ιανουαρίου 2014

Man In the Bathroom

Man in the Bathroom started as an idea when Nodas Kaklamanis had to make his own music about his appearance as a guest at Dimitris Papaioannou concept/theatrical ‘’ΜΕΣΑ’’.(2011)
Experimentalling with mono recordings and instruments like guitar drums vox bass synths Man in the Bathroom tells little city music stories.

https://soundcloud.com/man-in-the-bathroom

13 Ιανουαρίου 2014

the video as part of

Machinations from Georges Aperghis. With Sylvie Levesque, Donatienne Michel-Dansac, Olivier Pasquet, Sylvie Sacoun, Genevieve Strosser. Creation Ircam 2000. Video capture 2007. [youtube http://www.youtube.com/watch?v=qF1Ez1Dz7O8]

[youtube http://www.youtube.com/watch?v=tWnwXoXWkBk]

[youtube http://www.youtube.com/watch?v=G0jUe5asJI4]

12 Ιανουαρίου 2014

Abita

Filed under: NOTES ON ANIMATION,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:44

//player.vimeo.com/video/51297975
Abita from Shoko Hara on Vimeo.

19 Δεκεμβρίου 2013

video art database

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 15:04
http://vad.nmartproject.net/

http://vad.nmartproject.net/?page_id=2386

http://vad.nmartproject.net/?page_id=2314

http://coff.newmediafest.org/

http://camia.mediaartcologne.org/

http://vip.newmediafest.org/

12 Απριλίου 2013

Gerhard Richter-archieves-presentaion-artists/sem 8- archives-painting-objects

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 02:51
http://www.gerhard-richter.com/
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