Transmission Video Art Exhibition in Athens
Transmission Art Festival in Athens presents a dynamic multimedia exhibition environment, inviting the public on a curated exploration of the local and global aspects and prospects of performance art and new media practices.
Motion-less video is a rhythmical coexistence of two different kinetic environments. Nature and urban. A compatible motionless body is performing in harmonious, agreeable or congenial combination with the elements that surround it. According to Gaston Bachelard, Immensity is within ourselves. As soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of motionless man. It is one of the dynamic characteristics of quiet daydreaming.
2015 marked the 20th anniversary of the military operation Oluja. Around 20,000 people gather in the streets to watch the parade and greet the soldiers who take part in the parade. Their behaviour shows that the war is still a big part of their lives.
Manifestation (2014) is a single channel video installation that explores the complex and quite often destructive correlation between speed, technology and the glitch. The 12 minute video loop of a stutterer restaging Italian poet F.T Marinetti’s 1909 notorious Futurist Manifesto highlights these ideas by contrasting the impassioned rhetoric for omnipresent speed with the performer's speech impediment impeding his own message.
The vast amounts of data we create as we go through our lives, represents our actions, interests, intentions, communications, locations, relationships and behaviors. It's aggregated by third party trackers and targeters looking to deliver advertising, content and services to us, and also used by global surveillance programs for the cybernetic control of the society.
But when the quantitative methods used in science and business, are applied to the personal sphere there is always a reduction of complexity. The process of capture of life into data, the quantification of life, it is a lossy compression, that uses inexact approximations, rounding and truncation, producing overload distortion and quantization errors. In a sequence of calculations, these errors generally accumulate, and often very strong assumptions are made about mathematical properties that may not at all reflect what is really going on at the level of micro-processes.
WHEN A CIRCLE MEETS THE SKY is a video installation reflecting on the intriguing relationships among nature, technology and human agency.
Shot in Melchsee-Frutt,Switzerland, the video of the installation is created by a custom-made weathervane capturing reflections of a mirror determined by wind speed and direction at the location.
Conventional cinema is a unidirectional medium where only things in the front will be captured. In this artwork, the camera looks both forward and backward simultaneously. Instead of a cameraperson selecting our perspectives, the artist allows the wind to choose our views.
Nature shoots a film with no human interaction and presence, intensifying the isolation of the remote mountain while at the same time complicating our expected relationships among nature, technology and human participation in the process of artistic creation.
Zero Gravity is a video-performance that imaginatively combines art and science. Floating weightless in a plane over Florida, Marcin revisits Friedrich Nietzsche’s ‚Die Frohliche Wissenschaft‘, going beyond the assertion that „God is dead” to explore the deep emotional quality of the text: „What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward in any direction? Are we not straying as through an infinite nothing?“ The emotionality and gravity of the text finds expression, simultaneously Marcin is hindered through the physical release of endorphins, which she sees as a metaphor for the omnipresent triumph of ‘The Society of the Spectacle’ (1967, Debord). Zero Gravity is a work of art that takes the audience to a new level of consciousness of both body and mind. Commissioned by WARP- Contemporary Art Platform at Coup de Ville and co-sponsored by Aurora Aerospace.
In her new installation entitled The Boys Are Back, Werner deals with right-wing European networks and their representation and presence in the media. What began with the project Neues Europa continues in the approach of the new installation and explains Christina Werner’s artistic strategy with still photographs and videos—or, as Elisa Garzón Vecino fittingly describes it in an exhibition text: “The academic and political character of the work is made art by the highly conceptual background.” The installation The Boys Are Back consists of four video loops, a poster, two photo collages, one photograph, a map, five pedestals, as well as the magazine Neues Europa, which was created as part of the project with the same name, and three black Molton curtains. The first photo collage, entitled The Boys Are Back in Town II, consists of three photos layered over one another, and the second, entitled Identitarian Movement, is composed of six layered photos.
They say the tocaia (ambush) is an invention of the Tupi Indians; it means a small house in which one waits for game while hunting. In the north of the state of Minas Gerais, near the border with Bahia, is where the seminal image for this video installation was discovered. It was the pasture in a farm, by a dirt road. A film crew, a camera and direct sound in position next to a fence, facing a herd of oxen on the other side. It was late in the afternoon, and with every second that passed, the comings and goings of those beings grew more and more mysterious. The hypnotic motion, the natural repetition, a loop loaded with suspense, difference and absurdity. This ambush spawned Tocaia, a recording of that one-of-a-kind moment.
Inspired by the famous work "The wanderer above the mist" by Caspar David Friedrich the video "The wanderer above the EU-borders" shape and re-shape a new utopian human re-presentation as a metaphor for the unknown future.
Gaddis (2004) felt that the impression the wanderer's position atop the precipice and before the twisted outlook leaves "is contradictory, suggesting at once mastery over a landscape and the insignificance of the individual within it." Today we have become our own avatar in a digital universe. ‘The individualism of technological civilization relies precisely on a misunderstanding of the unique self’, writes the French philosopher Jacques Derrida.
The artwork rethinks cubism as a film medium by using digital motion compositing, combined with a visual concept that captures several perspectives of the same subject using different camera angles. In the film, the choice of Picasso’s ‘Girl with Mandolin’ confronts this European art context with the evident influence of African art and the vigour of black culture. As a portrait it displays the formalistic methods and aspects of Cubism, expressed through a strong woman: the conscience, feelings and the memories of different cultures and history.
"Short video about finding homeland, documenting our exploration of Finland as a country to find any chance that it might be our new homeland.
How do humans transfer from country to country and how can they accept the idea of migration?
Can we leave our original homeland and find a substitute? Can we migrate to another place easily and leave all our memories?
Finland is not the suitable country for us and its just so beautiful from inside but it never shows the inner beauty easily with all these fences they are putting in the face of migrants and foreigners."
Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist with a multidisciplinary practice spanning installation, sculpture, video and performance. His work offers new interpretations on the concept of impossibility and its relativity by means of elements that emphasize confinement and dissolve the line between reality and myth. He has displayed his work at the Museo de Arte Carrillo Gil and Foto Museo Cuatro Caminos in Mexico City, Museo de Arte del Banco de la República in Bogota, Galerie Art Virus in Frankfurt, Craighead Green Gallery in Dallas, and Jonathan Ferrara Gallery in New Orleans, as well as in countries such as France, Switzerland, Canada, Argentina, and Israel.
During the summer solstice of 2014, Smirle had the opportunity to participate in an artist residency aboard a 120’ tall ship sailing the waters of an Arctic archipelago just 10 degrees from the North Pole. Traveling to such a remote location as Longyearbyen in Svalbard, the site of renowned historical explorations, offered a unique opportunity to work in a stark and seldom-seen landscape. Drawing on research material from her residency. Smirle’s video documentation offers the viewer a unique, panoramic view of a partly real, partly imaginary Arctic land and seascape of converging and diverging images.
Attempting to transmit the Arctic’s untold passage is to communicate second-hand—to measure the ripples rather than the rock, to grasp at probabilities in time, at elements in transferrance between states, from ice to water to vapour.
"I searched Wiki English page for the word "Asia", extracted some of text on the page, and pasted it to the google translate page, pushed the button “listen”, but chose the Chinese language to read. So the sound of the work turned to a very strange form. The language sounds like Chinese, but in an English tone, becomes a ridiculous language. The video-work is comprised of found footage from US warplanes during World War II battle in the western Pacific Ocean, that I captured from Internet Archive (archives are public resources) and rearranged it. The key question is by whom was the concept of Asia produced?"
The following images come from negatives salvaged from a recycling plant on the edge of Beijing, where they had been sent to be filtered for their silver nitrate content.Over the years French collector Thomas Sauvin built this archive of more than half a million 35mm negatives, depicting the capital and the life of her inhabitants over the last thirty years.
From 2011 to 2013, Chinese artist Lei Lei selected over 3000 photos to create the animation you are about to see, an almost epic portrait of anonymous humanity.
On the 11th of March 2013, North Korea declared invalid the armistice agreement between South and North Korea. Baengnyeong Island, which is located near the Northern Limit Line (NLL), the sea border that separates the South and North Korea, was the first place threatened to come under attack. People from Baengnyeong Island were invited to express, in a brief message, something about their everyday lives that they would like to share with the rest of Korea and the world. The participants included store owners, housewives, passersby and high school students. The participants translated their messages in motion through workshops that took place in their working areas, in a studio and in the high-school. The generated gestures wished to create a “new” type of language that would overcome the barrier of spoken words and potentially be understandable by anyone.
This video installation is a disconcerting sensitive experience, a journey through the theme of water and reflection and based on collective imaginary. The underwater shooting creates singular poetic moments in which the normal perception is deviated.
This video installation was created in a public swimming pool, with common swimmers, free divers, and dancers. We asked them to tell us a story, a souvenir, an emotion they experienced through the contact of water. Then those stories were choreographed underwater with them.
A lunch in nature, a lonely dancer and a story of the conquest of canary islands, a phantasmagoric text inspired by mail by Giovanni Boccaccio written after a first Portuguese-Italian expedition to the islands. Two layers - visual and vocal one are intertwining involuntary and raising a questions of what is said and what was factored out.
The colonialistic past of canary islands transposed to holiday and relax resort-situation of the present day. The imperialistic colonialism presented here not in militarism and propaganda, but in a silent vanitas-like picnic attending by three young women. The past, the presence and the invented are here not the fixed categories, but interacting entities, which transferring one into another.
“Primordial” is a single-channel video which consists of 750 unique microscopic canvases. Each canvas was hand-painted with multitudes of acrylic dyes and then photographed under the microscope. The work is specifically designed to be experienced in an endless loop. In accordance with its title, “Primordial,” takes on the concepts of “existing” and “persisting” of the universe in general and all matter and life in particular prior to temporality. The sequential viewing facilitates the viewer to experience a sensation akin to an affective altered state of consciousness by using rapidly evolving and perpetually forming visual and auditory stimuli. “Primordial” uses the digitally-altered sound of the Vela Pulsar; a highly-magnetized neutron star that emits regular pulses of radio waves and other electromagnetic radiation with a period of 89 milliseconds. The sound design in the video corresponds to the radio-waves emitted by this particular Pulsar.
Behind the Wheel refers to car scenes from classic films such as Wim Wenders’ "Im Lauf der Zeit" and Jean-Luc Godard’s "À bout de soufflé". The lighting adds to the theatrical look and feel of the installation. And the actor more or less fuses with the car. Fraser has taken a perverse childhood fantasy of danger and changed it into a cinematic experience with sculptural connotations.
The artist couple Antoni Rayzhekov (BG/AT) & Katharina Köller(AT) invite the audience to their intimate performance 10VE:Sequence for two - a participatory musical biofeedback and movement composition for two actuators and an audience. The two performers transform their bodies into musical instruments, using specially developed sensors monitoring their bio-signals such as heartbeat, tension, breath and movement and the individual response to each other.
The video is about being in an abeyance, feeling motionless or helplessness. The idea appeared from a condition when a fear, panic, tiredness and stress are taking over us control. But this state of abeyance can be also done of one’s own free will. It can take you to the place between your mind and your physical self. Being in an abeyance can help you to live without any cultural or social conditioning. It's a state without any borders or limits.
Of course, you can always go back and have both feet on the ground.