PRODUCING LANDSCAPE PRODUCING IDENTITY NOW ONLINE
Between autumn 2010 and early 2014 an international team of anthropologists, artists, ethno-historians and an art curator worked on the interrelation of landscape production and identity construction in the contested space of southern Chile. These territories were under the control of the native Mapuche population until the end of the19th century but from around 1840 were a destination for European and especially German settlers and are now undergoing major transformations through intensive exploitation of their natural resources by international industries.
All of the project’s text and art video results are for the first time accessible in their context. The project was realized at the HEAD – Genève and financed through the competence network art and design of the HES-SO.
With contributions by Fabien Le Bonniec, Katrin Mundt, Ricarda Musser, Bernardo Oyarzún and Sylvie Boisseau, Sabine Kradolfer and Frank Westermeyer, eds.
The Translator's Voice
FRAC Lorraine, Metz, France
30th January - 4th May 2015
curated by Martin Waldmeier
präsentiert von Sylvie Boisseau und Frank Westermeyer
im Arsenal, Institut für Film- und Videokunst Berlin. 20. Oktober 19:00
Die Filme dieses Programms bringen mittels der Sprache unsichtbare Bilder hervor. Dabei spielen sie mit bekannten Formen der Darstellung wie dem Bekenntnis oder der lateinamerikanischen telenovela. Durch Zuspitzung und Übertreibung der Konventionen fordern sie unseren Glauben an das Sichtbare heraus. Jean Eustache filmt in UNE SALE HISTOIRE (F 1977) gleich zweimal hintereinander das wortwörtlich identische Geständnis eines leidenschaftlichen Voyeurs. Phil Collins tauscht in jeder Szene seiner telenovela SOY MI MADRE die Schauspieler aus, ohne dass davon der Handlungsverlauf beeinträchtigt werden würde. Dem OPTIONISTEN ist die Vorstellung seiner unbegrenzten Möglichkeiten bereits genug. (sb, fw)
The films of this program produce invisible images through language. They play with popular forms of representation like the testimonial or the latin american telenovella. Exaggerating the conventions of these forms, the films challenge our believe in the visible.
Une sale histoire Eine schmutzige Geschichte
Jean Eustache Frankreich 1977
35 mm OmU 28 min + 16 mm OmU 22 min
Der Optionist Sylvie Boisseau, Frank Westermeyer
Deutschland 2004 DV 4 min
2026 Maha Maamoun Ägypten 2010
DVD OmE 9 min
Soy mi madre Phil Collins Mexiko 2008
DV OmE 28 min
20th October 2014, Arsenal Institut für Film- und Videokunst, Berlin
THE ALPHABETIC ORDER OF THINGS A Survey of Video Art from Vtape’s Collection
Screening at EMMEDIA, Calgary, Alberta, Canada
Thursday July 31, August 7 + August 14, 2014 @ 9 – 10PM
EMMEDIA is proud to present a summer series of outdoor screenings in our downtown parking lot, featuring works from prolific video artists in Canada and beyond. Curators Lindsay Sorell, Lowell Smith, and Teresa Tam selected three screening programs using Vtape’s vast catalogue of videos. Vtape is Canada’s leading artist-run, not-for-profit distributor of video art that includes a diverse collection of work from the early 1970s to the present. Join us on Thursday nights as we survey contemporary and historical media artworks that experiment with the medium of video, while breaking barriers and leading the way for avant-garde video artists to come. Light refreshments will be provided as we enjoy the summer night!
Folding Unfolding Space
Exhibition with: Sylvie Boisseau & Frank Westermeyer, Simon Deppierraz, Christina Dimitriadis, Aloïs Godinat, Elín Jakobsdóttir, Andrea Knobloch, Luc Mattenberger
Folding Unfolding Space
curated by Dr. Christine Nippe
May 3 until June 14 2014
opening on GALLERY WEEKEND BERLIN
Wed – Fr 2 – 7 p.m.,
Sat 11 a.m. – 7 p.m.
and by appointment
Set tongues wagging [sɛt tuhng wag·ging]
@ vatpe, Toronto until March 7 2014
In the second program of this year’s Curatorial Incubator, Yaël Filipovic examines language itself and how, by inserting themselves in front of the camera, artists may place themselves in the center of what she calls “these potent and delicate conversations” involving politics, nationalism, and colonialism.
“From a young age, the school system has enforced language as an emancipatory force. Within nation building, the homogenization of language is a tool for the creation of a united national identity that is fundamentally regulated. The instrumentalization of language can thus also be traced back to the enacting of imperial rule, violent forms of colonization, and imbalances of power. The correlations created between language and nationalism make it difficult to reconcile the simultaneously fluid and fixed natures of language.” – Yaël Filipovic
This year, The Curatorial Incubator, v.11 – Stop with the performance already! features programmes from three emerging artist/curators who have skillfully woven older works – some from the earliest days of artists’ video – into very contemporary conversations with younger counterparts. Again The Curatorial Incubator proves to be an important programming platform, providing a context for exchange and discourse across generational lines. The fully illustrated catalogue features essays by all three young curators and provides ample evidence of their rigorous curatorial research. see their website