Open Call
Within the framework of the 7th Berlin Biennale for Contemporary Art in 2012, curated by Artur Żmijewski, artists from all over the world are requested to send in their artist material for a research investigation, following the conditions below.
We accept artistic material in hard copy formats not bigger than A3 (297 x 420 mm or 11.69 x 16.54 in.), printed images, digital data, as well as DVDs.
PDFs in A4 (297 mm x 210 mm or 11.7 x 8.3 in.) or fax will also be accepted.
Please do not send any original artworks.
We welcome all possible languages of your artistic comments and explanations. However there should equally be an English version.
As the research also focuses on the question whether artists consider themselves to be political, please inform us about your political inclination (e.g. rightist, leftist, liberal, nationalist, anarchist, feminist, masculinist, or whatever you identify yourself with) or whether you are not interested in politics at all.
Please send your artistic statement or presentation as a hardcopy via regular mail, via e-mail or fax to the following address or number before January 15, 2011:
Berlin Biennale
– Open Call –
KW Institute for Contemporary Art
Auguststraße 69
10117 Berlin/Germany
e-mail: call@berlinbiennale.de
fax: +49. 30. 24 34 59 88
This open call is not guarantying that you will be invited to take part in the 7th Berlin Biennale. Please be aware that your submission might be used and published within its framework. Please also consider that the 7th Berlin Biennale is not able to send back any received material, but that everything will be integrated into the public research archive of the Berlin Biennale.
A short explanation by Artur Żmijewski can be found on the website www.berlinbiennale.de.
The open call is available for download in various languages (Arab, Chinese, English, French, German, Hebrew, Hindi, Italian, Polish, Portuguese, Russian, Spanish) on the website www.berlinbiennale.de.
The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
KW Institute for Contemporary Art
Berlin Biennale for Contemporary Art
Auguststraße 69
D-10117 Berlin
We accept artistic material in hard copy formats not bigger than A3 (297 x 420 mm or 11.69 x 16.54 in.), printed images, digital data, as well as DVDs.
PDFs in A4 (297 mm x 210 mm or 11.7 x 8.3 in.) or fax will also be accepted.
Please do not send any original artworks.
We welcome all possible languages of your artistic comments and explanations. However there should equally be an English version.
As the research also focuses on the question whether artists consider themselves to be political, please inform us about your political inclination (e.g. rightist, leftist, liberal, nationalist, anarchist, feminist, masculinist, or whatever you identify yourself with) or whether you are not interested in politics at all.
Please send your artistic statement or presentation as a hardcopy via regular mail, via e-mail or fax to the following address or number before January 15, 2011:
Berlin Biennale
– Open Call –
KW Institute for Contemporary Art
Auguststraße 69
10117 Berlin/Germany
e-mail: call@berlinbiennale.de
fax: +49. 30. 24 34 59 88
This open call is not guarantying that you will be invited to take part in the 7th Berlin Biennale. Please be aware that your submission might be used and published within its framework. Please also consider that the 7th Berlin Biennale is not able to send back any received material, but that everything will be integrated into the public research archive of the Berlin Biennale.
A short explanation by Artur Żmijewski can be found on the website www.berlinbiennale.de.
The open call is available for download in various languages (Arab, Chinese, English, French, German, Hebrew, Hindi, Italian, Polish, Portuguese, Russian, Spanish) on the website www.berlinbiennale.de.
The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
KW Institute for Contemporary Art
Berlin Biennale for Contemporary Art
Auguststraße 69
D-10117 Berlin
Absolutamente
Esa palabra se expande, se dilata en mis oídos. Te oí decirla: "absolutamente", y repetir su eco en tu mirada. Luego te levantaste, tomaste un cigarrillo y, posando exageradamente, intentando por tres segundos ser un galán de cine de mal gusto, me dijiste: "vete". Tu orden se mezcló impertinentemente con el eco decreciente de tu anterior palabra: "absolutamente" y, aunque entendía lo que me decías, no era capaz de reaccionar. "No te conozco; esta es mi casa y quiero que te largues. Vete". Lentamente me fui incorporando, me puse de pie y recogí mis cosas. Las guarde como pude en mi mochila, tome mi abrigo y automáticamente ví la hora: las tres de la mañana. Sin meditarlo demasiado abandoné tu territorio, ese espacio inverosímil de montaje escénico. Ese espacio donde las acciones discurren dentro de un guión establecido con ciertas libertades improvisativas que no alteren la estructura dura de la narración. Ese espacio que es tu hogar.
Tras cerrarse la puerta la oscuridad me abrazó por completo y tiernamente me perdió en su complejidad. Generosamente me liberó de la visión para permitirme escuchar, oler y palpar, logrando hacerme sentir mi propia presencia fuera de este mundo. Y mi miedo a la soledad. Desde este universo paralelo llegué naufragando al puerto de lo no absoluto.
Tras cerrarse la puerta la oscuridad me abrazó por completo y tiernamente me perdió en su complejidad. Generosamente me liberó de la visión para permitirme escuchar, oler y palpar, logrando hacerme sentir mi propia presencia fuera de este mundo. Y mi miedo a la soledad. Desde este universo paralelo llegué naufragando al puerto de lo no absoluto.
Film my Desire
Synopsis für einen dokumentarischen Film-Essay
von Gonzalo H. Rodríguez
Im Rahmen des Filmlaboratoriums, Filmwerkstatt Düsseldorf
HD/ ca. 70 min
von Gonzalo H. Rodríguez
Im Rahmen des Filmlaboratoriums, Filmwerkstatt Düsseldorf
HD/ ca. 70 min
Eine Tür öffnet sich und lässt die Beleuchtung von innen nach aussen strahlen. Er geht schnell zur Tür, tritt ein und läuft weiter durch einen Flur. Am Ende diseses Flurs sieht er den athletischen Rücken einer Frau, die ein schwarzes Tango-Kleid trägt. Sie steht vor einer geschlossenen Tür, die sie zunächst mit beiden Händen elegant öffnet. Die Stimmen einer großen Menge Leute erklingen plötzlich laut. Die Frau geht hinein und schließt die Tür hinter sich. Die Stimmen klingen ab.
Wie findet man seine sexuelle Identität? Kommt die Lösung zu diesem Rätsel aus dem tiefen Inneren des eigenen Wesens, aus dem Begehren oder aus der Wunschvorstellung des Ichs?
„Film My Desire“ handelt über den persönlichen Prozess der Suche und Konstruktion von Identität im Bereich der Sexualität. In diesem Kontext verknüpfe ich meine eigenen Erfahrungen an das Leben meines alten Bekanntens Dan in einer Art Parallele, die durch unterschiedliche Erlebnisse, Erinnerungen, Themen usw. bis zu unserem Treffen führen. Die Narration entsteht aus einem konstanten Dialog zwischen uns beiden. Im Laufe dieser Reise mache ich drei Stationen, wo ich über drei unterschiedliche Protagonisten die sexuelle Identität thematisiere. Mein Ziel ist Buenos Aires, Argentinien, wo das Treffen mit Dan stattfindet. Die Reise berücksichtigt die Repräsentation des Begehrens um globale Themen zu berühren. Ausgehend von Gender, Weiblichkeit über Poligamie, Medien, Cinema und virtuelle Realität bis zu kulturellen Unterschiede und sexueller Bekennung, schliesst „Film My Desire,“ mittels persönlicher Erfahrungen der Protagonisten und meine eigenen, die Recherche zur sexuellen Identität ein.
Geschlängelt wie die Wege in den Städten der Noir-Filme, wird in „Film My Desire“ die Suche der Sexualität angegangen. Der Ausgang ist womöglich auch mit hell-dunklem Kontrast versehen. Man kann nicht wissen wo es uns hinführen wird.
C.A.R. 2010
Media-art Fair C.A.R. 2010 Contemporary Art Ruhr from 2nd until 4th July at Welterbe Zollverein.
Selected media-artists with sponsored stands: Nikola Dicke, Osnabrück, Svea Duwe, Dresden, Christiane Fichtner, Bremen, Oliver Held, Cologne, Janne Höltermann, Hamburg, Tilman Küntzel, Berlin, Adrian Lehmann, Leipzig, Nina Annabelle Märkl, Munich, Franziska C. Metzger, Berlin, Egbert Mittelstädt, Cologne, MOOVs: Detlef Klepsch, Axel Klepsch & Nils Kemmerling, Düsseldorf, Seung-Won Park, Hamburg, Gonzalo H. Rodríguez, Cologne, Corinne Schneider, Blankenheim-Hüngersdorf, Tina Tonagel, Cologne, Luis Valdivia, Salzburg/ Austria, Andrè Chi Sing Yuen, Düsseldorf
New Talents - Biennale Cologne
new talents - biennale köln
12th to 20th of June 2010
between Kunst-Zentrum Neumarkt and
Rheinufer (Cologne City Center)
Opening: Samstag, 12th of June 2010, 6pm, Kunst-
Station Sankt Peter
With its second edition the new talents biennale becomes firmly established in Cologne’s
cultural centre. Every other year, young graduates of the creative institutions of higher
education of Cologne and Düsseldorf are presented. More than 50 artists were
presented at the same time at the newly opened Rheinauhafen of Cologne in 2008, the
year of the premiere. The second event will be in June 2010, taking place in selected
spots mainly between the Kunstzentrum Neumarkt and the Rheinufer.
'Rebeca' in new talents:
Friday 18th June / 7:30 pm / Filmforum NRW at Museum Ludwig
Kurzfilme aus Oberhausen
3sat begleitet das Festival in seinem Programm
Die Internationalen Kurzfilmtage Oberhausen sind eines der ältesten Kurzfilmfestivals der Welt. Bei den 56. Kurzfilmtagen vom 29. April bis 4. Mai 2010 verleiht 3sat als Medienpartner zum zwölften Mal den 3sat-Förderpreis an einen talentierten Filmemacher im Deutschen Wettbewerb und begleitet das Festival in seinem Programm. Zu sehen sind acht Filme aus dem aktuellen Deutschen Wettbewerb sowie der 3sat-Förderpreisträger 2009.
Mishima
Yûkoku aka Patriotism aka Rite of Love & Death (1966)/ in Ubuweb
Playwright and novelist Yukio Mishima foreshadowed his own violent suicide with this ravishing short feature, his only foray into filmmaking, yet made with the expressiveness and confidence of a true cinema artist. All prints of Patriotism (Yžkoku), which depicts the seppuku of a army officer, were destroyed after Mishima's death in 1970, though the negative was saved, and the film resurfaced thirty-five years later. New viewers will be stunned at the depth and clarity of Mishima's vision, as well as his graphic depictions of sex and death.
Playwright and novelist Yukio Mishima foreshadowed his own violent suicide with this ravishing short feature, his only foray into filmmaking, yet made with the expressiveness and confidence of a true cinema artist. All prints of Patriotism (Yžkoku), which depicts the seppuku of a army officer, were destroyed after Mishima's death in 1970, though the negative was saved, and the film resurfaced thirty-five years later. New viewers will be stunned at the depth and clarity of Mishima's vision, as well as his graphic depictions of sex and death.
Film my Desire (first sequence-voice over)
Oh Desire! I love you so badly! I found you in an odd manner the first time we met. It was as if you knew already my way of looking. I was so impressed. It just happened in a familiar space, floating on a cloud of madness. You taught me a lot. Then I started looking for a colateral place, more intimate than the first one. As I found it, my gaze was placed, yes, you already knew it, so I looked a bit further...
Film my Desire
As Lacan’s term for the Imaginary suggests, with a simple connotation of the term as casual form of fiction, the amount of optical language that happens between projection and identification, turns out to be the link of the encounter between image and observer's desire. In other words; the assumed fragmented body of the self opposes to the whole body of the Other, and therefore elaborates the wholeness of his own body as an image of the desired Other. So then the optical language happening between the projected image and the observer’s identification must correspond later to the observer’s desire of a whole-body. Following this idea, the body does not disappear without physicallity, but more than that, it turns to be outlined by the means of images. Sexuality and desire are, therefore, inscribed as drive forces of the subject in the field of the visible, laying out the reached dynamic of the visual. We possess a body without body or an image of a body: we are another. Is there not a key role cinema has been playing and in a way the Internet seems to be expanding?
My intention is, on one hand, to interrogate the lacanian concept of the mirror in the construction of the subject as it is one of the main topics in cinema theories to explain the situation of the viewer in front of the film projection. The model of the „mirror stage“ was actually conceived by Lacan to categorize the psycho-sexual development of the child as recognition of the Self from the visual. Cinema therefore finds in this stage a way to analyse the spectator-screen event as the imaginary production between screen-camera-look. In doing so, the media (cinema) sexualize its discurse, becomming itself the object petit a: cinema itself becomes then „that shiny object of desire“ (twisting a little bit the name of Buñuel’s classic film). On the other hand, I will confront the concepts of language and image through mass-media phenomena (like cinema and the Internet) in order to research on sexuality. The new digital technologies -where images have lost its materiality (ink, oil colors, photo-sensible emulsion, etc) as they have been completely structured by mathematic language (binary codes)- urge us to rethink the psychoanalitical terms of the Self, sexuality and language from a more complex scenario that inevitably shifts the Other from its past position. If images become manifestations of a language of codes, a technologize mirror faces us with a codified reflexion, which is not ours nor of the Other; it is actually placed as a „cyber-image“ somewhere in the middle. Where is then the sexual drive that causes the construction of the subject in such a situation?
The project aims at diverse experiences in contemporary sexual relations, apparentely liberated of the old repressions but, at the same time, unattached of the corporeal act of sex by means of mass media. I will interrogate the position of cinema in today’s subjectivity, when the cinema theories on the lacanian mirror stage seem to be merely outdated. Using diferent audiovisual formats such as HD video, film or cell-phone movies to mediate between me and the other, I will record my encounters with different strangers which I will meet through internet’s sexual networks. My avatar (my character) in this online-spaces and in the film will be named „mirror_stage,“ stressing the lacanian problematic of this action inside the cyber-space. Since any kind of physical sexual contact between both bodies is, in such spaces (chat-rooms, internet-forums or social networks), imposible -being instead replaced by text and visual representation- I will agree with each stranger, before the meetings, to remain with our avatar’s identities in order to make a film out of our encounters. On location and in this very sexualize context, I will challenge them to direct me as a camera-man for making a short-film about their alter-egos. In this fashion, the pro-filmic image will be made up of several elsewise situations, directed by sundry virtual identities, which will be trying to configurate the concept of sexuality with their visual bodies –being in front of the camera- and my imposibility to have a body –being behind the camera. From this tension, the project „Film my Desire“ will be dealing with a very difficult task to achieve, i.e. the existence of the language of the body as manifestation of sexuality in contemporary representation, as a media-based reflection of the Other’s body emerges on the surface where we find our own image, the tension arising from this situation will be as important as the film themself.
My intention is, on one hand, to interrogate the lacanian concept of the mirror in the construction of the subject as it is one of the main topics in cinema theories to explain the situation of the viewer in front of the film projection. The model of the „mirror stage“ was actually conceived by Lacan to categorize the psycho-sexual development of the child as recognition of the Self from the visual. Cinema therefore finds in this stage a way to analyse the spectator-screen event as the imaginary production between screen-camera-look. In doing so, the media (cinema) sexualize its discurse, becomming itself the object petit a: cinema itself becomes then „that shiny object of desire“ (twisting a little bit the name of Buñuel’s classic film). On the other hand, I will confront the concepts of language and image through mass-media phenomena (like cinema and the Internet) in order to research on sexuality. The new digital technologies -where images have lost its materiality (ink, oil colors, photo-sensible emulsion, etc) as they have been completely structured by mathematic language (binary codes)- urge us to rethink the psychoanalitical terms of the Self, sexuality and language from a more complex scenario that inevitably shifts the Other from its past position. If images become manifestations of a language of codes, a technologize mirror faces us with a codified reflexion, which is not ours nor of the Other; it is actually placed as a „cyber-image“ somewhere in the middle. Where is then the sexual drive that causes the construction of the subject in such a situation?
The project aims at diverse experiences in contemporary sexual relations, apparentely liberated of the old repressions but, at the same time, unattached of the corporeal act of sex by means of mass media. I will interrogate the position of cinema in today’s subjectivity, when the cinema theories on the lacanian mirror stage seem to be merely outdated. Using diferent audiovisual formats such as HD video, film or cell-phone movies to mediate between me and the other, I will record my encounters with different strangers which I will meet through internet’s sexual networks. My avatar (my character) in this online-spaces and in the film will be named „mirror_stage,“ stressing the lacanian problematic of this action inside the cyber-space. Since any kind of physical sexual contact between both bodies is, in such spaces (chat-rooms, internet-forums or social networks), imposible -being instead replaced by text and visual representation- I will agree with each stranger, before the meetings, to remain with our avatar’s identities in order to make a film out of our encounters. On location and in this very sexualize context, I will challenge them to direct me as a camera-man for making a short-film about their alter-egos. In this fashion, the pro-filmic image will be made up of several elsewise situations, directed by sundry virtual identities, which will be trying to configurate the concept of sexuality with their visual bodies –being in front of the camera- and my imposibility to have a body –being behind the camera. From this tension, the project „Film my Desire“ will be dealing with a very difficult task to achieve, i.e. the existence of the language of the body as manifestation of sexuality in contemporary representation, as a media-based reflection of the Other’s body emerges on the surface where we find our own image, the tension arising from this situation will be as important as the film themself.
Abonnieren
Posts (Atom)