Olaf Stüber, a leading proponent of moving-image art in Germany, is co-founder of the monthly showcase Videoart at Midnight. A cult event among Berlin art enthusiasts, it invites artists to present their work in a free and open forum that welcomes not only video but performance and conversation. After introducing this program, Stüber will be joined by Ulu Braun, an artist who has been featured in Berlin.
Amie Siegel, who is back in Berlin to premiere a new work for the exhibition Wohnungsfrage at the HKW presents at Videoart at Midnight The Architects (2014), one of her very recent works, followed by The Sleepers (1999) an earlier work shot on 16 mm.
Shingo Yoshida considers the world as his studio and therefore a place of constant creation. Travelling around the globe, he finds myths, legends, people and places which are easily over looked and matches them to his creative micro world. Yoshida just comes back from Siberia to premiere his latest film.
Combining documentary and subjective viewpoints, Filipa César's films are concerned with the relationship between history, memory, image and narrative. Their freedom of tone and form is reminiscent of the form of the cinematic essay, in which the image serves as a starting point for open narratives, developed like a stream of thought. In her films the artist concentrates on points of historical crystallization, on facts situated on the margins of official history but liable to reveal its mechanisms, ideologies and hidden dimensions.
Erik Bünger's work revolves around the human voice and its contradictory relationship to the body, to language, music and technology. The voice is not addressed as a phenomenon, which gives rise to personal, human presence and interpersonal communication but rather as the very thing that allows something other, radically inhuman, to enter and take control of the human body.
Ein weitführendes Gespräch über Videokunst und den Rest der Welt: … Kaum eine Ausstellung zur zeitgenössischen Kunst kommt ohne einen Beitrag aus dem Bereich der Videokunst aus, die Düsseldorfer Sammlerin Julia Stoschek baut eine Videokunstsammlung auf, es gibt internationale Videofestivals oder hier in Berlin mit Videoart at midnight eine außergewöhnliche ...
The core interest of Dani Gal's work is memory, recollection, recording and the methodology of writing history. He takes historical events as his point of departure, examining their forms of representation within the ‘official’ version of history.
Ulu Braun has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997. He is one of the key figures who have transferred painting into video art and have played a significant role in defining and further developing the genre of video collage.
Chto Delat (What is to be done?) was founded in 2003 in Petersburg by a working group of artists, critics, philosophers, and writers from Saint Petersburg, Moscow, and Nizhny Novgorod with the goal of merging political theory, art, and activism. The group’s name recalls the first socialist workers’ self-organizations in Russia, which Lenin portrayed in his “What is to be done?” (1902).
The work of Yael Bartana largely reflects on rituals and the relationship between individual responsibility and collective actions. In her new work Pardes (Orchard) Bartana takes a very personal look at how Westerners seek personal enlightenment by appropriating traditional rituals.
WHY: Assaf Etiel aka Safy Sniper is an integral part of Berlin’s club scene. If you do not know and like him for the Berlin related stories, you might become a fan knowing that he is touring with the band The Fall as their visuals guy. It is said to ...
Safy SNIPER, one of the central figures of Berlin's club scene in the early 90ies, presents his live concert-video performances Star Search & Destroy which embraces mythical icons of rock and pop music and deconstructs them beyond (re)cognition: Elvis, Donna Summer, Barbara Streisand and Michael Jackson!
Ein ganz normaler Familienvater lebt seine tägliche Routine in Peking. Doch nach dem Mittagessen bricht er stets zu seinem heimlichen zweiten Leben auf. Olaf Stüber und Ivo Wessel präsentieren in der ersten Hälfte von “Video Art Midnight” “Mr. Xu” (2012, 15:37 Min.) als einen von drei Filmen der Beijing Trilogy ...
Heimerdinger’s central theme is the penetration of the cinematographic world and everyday reality, in which she concerns herself primarily with the figure of the actor for some years now. She plumbs the depths of the partly subtle differences between acted and authentic behavior, between role and identity, between posing and ‹genuine› expression.
please find Videoart at Midnight on page 249. CEE CEE BERLIN. Berlin Highlights is available at: DISTANZ Verlag
Lights off, curtains raised, spotlight on: Videoart at Midnight. Once a month on Fridays at midnight, gallery owner Olaf Stüber and colector Ivo Wessel invite you to a cinematic rendezvous at Babylon Mitte. They present video art by filmmakers and artists such as Douglas Gordon, Hito Steyerl, and Armin Linke. ...
Vibeke Tandberg's work is very much focusing on her own psycho-social relationship to the surrounding world, dealing with subjects such as identity and aspects of gender, beauty and its stereotyped reproduction in culture, youthful dreams and ambitions or authority.
Sven Johne celebrates the cast & crew premiere of Jutta! A film about a paradise island, the German-Brazilian tycoon Erik Tabarao and his German mother Jutta.
When I think of Midnight Movies I timeslip to the early 90s and all-nighters at the Scala in London’s Kings Cross. The imagery is that of The Trip, Eraserhead, Vanishing Point, and Blue Sunshine. The aroma is of popcorn and hashish, the taste—cheap stimulants and vodka. I think of a ...
Julieta Aranda‘s multimedia project-based work has frequently focused on the dissemination of information and the agency of the individual in contemporary society. Her current works allude to the present historical moment, when it starts to be possible to dismantle the cultural imperative, and transform the media so that they can function as tools for collective use, rather than as instruments for cultural domination.