Transmediale is recognised as one of the major events in Europe for the presentation of electronic art, ranging from video art through Internet and software art, to the latest critical media theory and reflections on the cultural and social impact of digital technologies.
Thomas Munz, Curator of Video and Image, transmediale, will introduce highlights of this year's transmediale.03 : play global!Thomas will also engage in a Q&A with the audience.
transmediale international media art festival Berlin was founded in 1988 as VideoFest, and is now recognised as one of the major events in Europe for the presentation of electronic art, ranging from video art through Internet and software art, to the latest critical media theory and reflections on the cultural and social impact of digital technologies.
The core of the festival is the competition programs of diverse categories including 'Interaction', 'Software-Art', and 'Image' (encompassing all forms of linear and non-linear moving images). A key component of the festival is a two-day conference focusing on various aspects of each year's theme - 'do it yourself!' in 2001, 'go public!' in 2002 and 'play global!' in 2003.
|1 Agent Orange, Mark Boswell 2 Places without Engine, Juan Francisco Romero 3 Eurovision, Linda Wallace 4 Live@podewil, 242.pilots International|
For more information visit http://www.transmediale.de/ .
about thomas munz
Thomas Munz will introduce the session and will discuss transmediale and current trends in international new media arts.
Thomas Munz studied art, film and media at Art Academy Braunschweig/Germany and Seni Rupa faculty of Institut Teknologi Bandung/Indonesia. In 1993 he founded the Werkleitz Gesellschaft, a media artists association and media art centre, and established and organised the Werkleitz Biennales 1-4. From 1995 to 1999 Thomas was co-organiser and publications editor of 'ostranenie - the international electronic media forum' at Bauhaus Dessau. He has been publications editor for transmediale since 2001, and curated the Video and Image section of transmediale.03 - play global! in 2003.
Whir 12.00 (Bull.Miletic - USA)
The city is no longer a clearly localisable spatial unit, but has transformed itself into an 'urban field', a collection of activities instead of a material structure. It is in a state of continuous decomposition, but is also continually reorganising and rearranging itself, expanding and shrinking. An encounter with the extraordinary, which is at the core of our downtown life, travels through this video as an undercurrent - and is transferred to the viewer as an experience for the senses.
Cows, 4:30 (Gabriela Golder - Argentina)
March 25th, 2002. Rosario, Argentina. About 400 people slaughtered cows that some minutes before had spread on the asphalt when the truck transporting them fell down.
Agent Orange, 5:00 (Mark Boswell - USA)
'The effects are only superficial' - Agent Orange is a toxic pesticide used during the Vietnam War in order to prevent the enemy from hiding. The end result was that both Vietnamese and American soldiers and civilians were permanently exposed to this lethal agent causing death and/or lifelong sickness. Agent Orange (the film) uses the political backdrop of the sixties as well as the cinematic avant-garde of the same period - the toxic consequence of the current political crisis brought to head by the liquidation of the twin towers.
La Tombola, 7:00 (Ximenia Cuevas - Mexico)
This video shows Ximena Cuevas's infiltration of a hilarious live TV talk show. The artist is an unlikely (and uncooperative?) guest.
Quadro, 10:00 (Lotte Schreiber - Austria)
Quadro (Italian for square, picture, frame) is a film portrait of a monumental 1960s apartment block built in the Italian coastal city of Trieste. Resembling a fortress, this imposing structure, laid out in the shape of a square, floats on top of a hill overlooking the city. This edifice embodies its period's ideas of a social utopia in a bold concrete structure without any scale.
Eurovision, 19:30 (Linda Wallace - Australia)
Glamour and kitsch are the main components of the Eurovision Song Contest, but underneath this thick layer of make-up we also recognise a 1950s interpretation of the 'European idea'. Eurovision, a video interactive, also shown as a single screen work, is investigating the compositional variety multiple streaming video feeds could take into a single frame. In terms of its subject matter, eurovision is to do with the kind of legacy left by global European cultural and science/technology media exports from the late fifties to the late sixties.
Video Poem 2909, 1:43 (Andrea Walter - Germany)
Can 103 seconds really show a person? On my research on logic I asked a professor of logics about emotions. His unwillingness to talk about this topic lead to the creation of Video Poem 2909.
From logic professor John N Crossley of the Institute of Computer Science and Software Engineering at Monash University in Melbourne I hoped to receive some practical information for uses of logic in daily life. Does logic help in love? - Does logic help to find a parking place? - Can I order more easily at a restaurant using logic?
Live@podewil, 6:30 (242.pilots International)
Utilising their own custom software, 242.pilots expressively improvise rich, layered video works in real-time (both as a trio, and as soloists). The performance software created by Gilje, Lysakowski, and Ralske allows video to be controlled on-the-fly in a fluid and expressive manner. Improvising as a group, the three artists respond to and interact with each other's images in a subtle and intuitive way. Images are layered, contrasted, merged, and transformed. The degree of interplay and unspoken communication between the artists is akin to the best free jazz ensembles. The end product is a complex visual conversation: a quasi-narrative exploring degrees of abstraction. Or: a mesmerizing, immersive journey through diverse landscapes.
Places without Engine, 3:34 (Juan Francisco Romero- Spain)
Selection of two different animation clips belonging to a lengthy series, which attempts to draw a geography, both funny and disturbing, of neurosis, apathy, problems and desire. A neurotical narrative of discontinuity, mapped out through an accelerated editing, with systematic repetitions and reiterations, displayed as 'frozen feeling-layers' that can be endlessly replicated, morphed, and mutated, reflecting on the possibility for narration and stylistic experimentation that the software represents.
Afterlife, 10:00 (Chris Bowman - Great Britain)
Afterlife consists of one photograph, three octaves and ten notes of organised sound. Everything generates from the original image and resolves in it. A journey from chaos to a resolution that comes almost too late. The accompanying sound has already climaxed and started its descent towards silence. A metaphor for the lag between experience and perception; an apt metaphor concerning the death of people you love: sometimes you don´t understand what you had until it´s almost gone.