Video Art begins from its stories
Edited by Komson Nookiew
In the supermarket, we take a glance at monitor just below the ceiling, puzzle for a moment, and suddenly recognize ourselves; grandparents read their grandchildren bedtime stories via Skype; video sequences made using a mobile phone are sent to up loaded directly online. For quite some time now, video recordings and their direct playback in private and public space have been a self-evident of our everyday culture, and this has been implicated in the face that the dissolution or even reversal of the categories “Private” and “Public” is now considered complete. The medium of video generated great attention when it initially came onto the private market in the late 1960s and was used by artists for the first time. Since the advent of film and television, it was the first moving image that could be used individually. The synchronization of recording and playback, which marked video’s specific relation to the present, was in a sense the new gene that this technology introduced to the family of technological visual media.
Today, the attention paid to special quality of this medium might well have declined, but at the same time the renewed interest in the reflective engagement with video in the art of the 1960s and 1970s that arose in the late 1990s and remains ongoing today revels that something of what was then considered its specific temporality remains of lasting interest. On the one hand, the possible presentist orientation of the medium was politically interesting from the very beginning, video was used as a presentist medium aesthetically in either an affirmation or a deconstructive sense. The dual aspect of video’s media reference between the present and the performative, between the present tense and presence should be kept in mind if we are to understand the board spectrum of video art from its beginning to today, from the black and white, self-referential video works from the conceptual field of Fluxus and body art to a contemporary several-channel video projection and the immersive aesthetic attributed to it, from formal aesthetic experimentation with the possibilities of electronic visual manipulation to post-documentary video essays.
The article from : Between Private Dreams and Public Space: On Critical Work with Video at the Intersection of Subjectivity in Art since 1970. From: Time pieces. Video Art Since 1963. (n.b.k.)
Artist’s Name List for EVA-2019
1. Anna Ida Pezzot & Aage A. Mikalsen (Denmark and Norway) “Pleasant Sound” Pal, Color, Sound, 3.32 min. 2018.
2. Anne Weylr (Germany)Performance, Sound, Loop, 2018.
“OCTOPODA METHAMORPHOSIS”
Concept:The starting point of „Octopada Methamorphosis“ was the experimental setup with diffe- rent materials and textures such as fruits, coloured mucus and diluted food coloring. As a performer, I entered this eld to explore body images to brought me out of my usual way of behaiviour. The unexpected relationship between my body and its environment triggered new body and space experiences. The body reacted sensitively to its environment in an associative way and was sometimes taken out of its known orientation by moving isolated body parts with a high degree of control. The actions were being recorded and cut into a video loop, whichwas shown as a large-scale video installation.
3. Anton Benois (Australia, Russia) “On a Clear Day You Can See into Forever” digital video in 2 parts, Colour, Sound, 2:46 min & 1:41 min, 2018. Trondheim Academy of Fine Art, Norway.
4. Biniam Graffe (Germany) “Neomaterialism” Performance, Pal, Color, Sound, 2.39 min, 2018.
5. Caroline Schwarz (Germany) “Mitarbeiter des Monats” Pal, Color, Sound, 11.30 min., 2018.
6. Chayamon Steerasinlapin (Thailand) “Swim” Pal, Colour, Sound,2019.
Concept:
The shape of body wave in a swimming pool like a language and sound in other meaning. It’s temporary and permanent in the same way.
7. Christopher Logan (USA /Norway), "Desensed Singular Flight or Fight", PAL HD Found Footage, 15:13, 2018.
Concept:
This intense series of 3 videos form an episodic look into the desensitization of singular defining moments and the inherent fight or flight response.
8. Christopher Logan (USA /Norway), "The Will to Hurt" PAL HD Found Footage, 16:46, 2019.
Concept:
A look into relationship power dynamics, the desire and rejection of pain and the utter search of relief from anguish.
9. Daniel Burkhardt (Germany) “Rauschen&Brausen” Pal, Color, Sound, 4.55 min., 2018.
10. Daniel Burkhardt (Germany) “SOLINE” Pal, Color, Sound, 9.25 min., 2018.
11. Daniel Burkhardt (Germany) “The Chorus of Passing” Pal, Color, Sound, 8.21 min., 2018.
12. Debora Fede (Italy) “Came back to Itaca” 2.51 min., 2019.
13. Doris Schmid (Switzerland) “Im ausland” Pal, Color, Sound, 5.31 min., 2011.
14. Frederico Ebaristo (Brasil) “Don’t ask don’t tell” Pal, Color, Sound, 2.22 min., 2019.
15. Frederico Ebaristo (Brasil) “Later” Pal, Color, Sound, 2.22 min., 2019.
16. Gertrude Mosser-Wager (Austria) "Starving” Pal, Color, Sound, 6.47 min., 2019.
17. Irina Yang (Germany) “Untitled” Pal, Color, Sound, 1.30 min., 2018.
18. Jana Jess (Germany) “ALL1/ FALL2/ WALL3” Pal, Color, No Sound, 23 min., 2018.
19. Jate Yuyim (Thailand) “OMV” Pal, Color, Sound, 2.50 min., 2018.
20. Jutaphit Usaha & Prang Yanotha (Thailand) “Name Grey/C” Pal, Color, Sound, 0.9 Second., 2018.
21. Komson Nookiew (Thailand) “Second year Media class” Pal, Color, Sound, 3 min., 2019.
22. Katrina Daschner (Germany) “(Perlenmeere) Sea of Pearls” Pal, Color, No Sound, 9 min., 2016.
Concept:
Jellyfish floating gracefully through the water. Gently swaying sea anemones. Fragmenting closeups of naked skin. Gaping fissures in rough rock. Sensual body sculptures that blend in their similarity of form and montage to a hybrid film body: silent, beautiful, erotic. The reproduction of bodies far from social ascription as new artistic creations — in and through film. (Diagonale, catalogue 2016)
23. Kristine Wathne (Norway) “Clown Teaser” Pal, Color, Sound, 0.9 Second, 2018.
24. Kristine Wathne (Norway) “Clown” Pal, Color, Sound, 51 Second, 2018.
25. Kristine Wathne (Norway), "Smack A B***" Pal, Color, Sound, 00:11, 2018
26. Kristine Wathne (Norway), "Welcome to The Motel", Pal, Color, Sound, 00:52, 2018"
27. Kristine Wathne (Norway) “Smack a bitch” Pal, Color, Sound, 11 Second, 2018.
28. Letizia Balzi (Argentina) “Algorithm Bias I” Pal, Color, Sound, 2.58 min., 2018
29. Letizia Balzi (Argentina) “Algorithm Bias II” Pal, Color, Sound, 0.42 min., 2018
30. Liora Epstein (Germany) “Abends (in the evening” Performance, Pal, Color, Sound, 8.23 min., 2018.
31. Liora Epstein (Germany) “Versuch“ („attempt“)” Pal, Color, Sound, 11 min., 2019.
32. Lou Le Forban (Germany) “Self-labyrinth” Pal, Color, Sound, 3.11 min., 2018.
33. Máté Labus (Hungary), “Kettő (Two)” Pal, Color, Sound, 8.32 min, 2014.
34. Maurits Boettger (Germany) “Toauquix” Pal, Color, Sound, 3.31 min., 2018.
35. Menno Aden (Germany) “Untitled” Pal, Color, Sound, 0.30 Second, 2018.
36. Miriam Gossing & Lena (Germany) “SYNOPSIS SOUVENIR” 16 mm., Pal, Color, Sound, 20.43 min., 2019.
37. Natnaran Bualoy (Thailand) “Rap is now” Pal, Color, Sound, 3 min., 2019.
38. Nina Yuen (USA) “Raymond” Pal, Color, Sound, 11.21 min., 2018.
Concept:
Yuen asks her father to name all the people he knows who have died. She pairs each name with a branch, a seed, a flower, or an organic fragment that has fallen to the street in a rainstorm. The names describe the history of immigration to Hawaii through the sugar cane plantations that brought Yuen's ancestors to the islands. The plants are also migrants: they came to Hawaii in the jet stream, a high elevation wind corridor that carries species over the oceans for thousands of miles.
39. Nithiphat Hoisangthong (Thailand) “Rhythmic fluctuations” Pal, Color, Sound, 1 min., 2019
40. Oscar Debs (Lebanon) “Vespers”, Digital Video, Color, Sound, 3.50 min, 2018
41. Oscar Debs (Lebanon) & Mena el-Shazly (Egyt) “The Surplus as Entropy”, Color, Sound, 7.09 min, 2015
42. Panu Saeng - Xuto (Thailand) “SEE SEA SCENE Gen.4” PAL, Colour, Sound, 1 min., 2018.
Concept:
Painfully
43. Paula (Germany) “Esparadrapo” Video Performance, Pal, Color, Sound, loop, 2018.
44. Sabine Marte (Austria) “No Beach Just Sand” Pal, Color, Sound, 14 min., 2017.
Concept: The graphic "mask" overlaying the scenario is reminiscent of a computer game. It is black and initially abstracts what is happening underneath it. Only very gradually is the viewer able to see through a slit as it moves over the image and a bright spot offering a glimpse of three performers. Their appearance is impressive: They are wearing black, full-face helmets while their bodies closely modelled with tightly wound black tape reveal their "nakedness". Sabine Marte has repeatedly pushed to dismantle the traditional aestheticizing of the female body along such lines. However, here this is not the thematic focus of the work but rather its axiomatic background. This is indicated among other things by the empty picture frames that provide the setting for the poetically and equally politically loaded video performance of No Beach Just Sand: "The loss of Utopia means nothing other than most of the future is already behind us," as made clear at one point when the exhausted bodies become counter-participants in an experimental inventory of neoliberal conditions. There is a big huffing and puffing going on despite the fact that everybody is just laying around exhausted, with their heads in the sand, waiting, or collectively isolated as they sit at a kitchen table. Sabine Marte excerpts a selection of quotes taken from the book yesterday tomorrow by political author Bini Adamczak to combine in grand sound experiments for the audio track. Additionally, her own texts and single words flow into these aural collages. These include the worn out "Carry on!" of contemporary capitalism, here also countered by Melville´s Bartleby and Scarlett O´Hara´s lesson that, "Tomorrow is another day". Meanwhile, on the visual level the performers test the functional efficiency of their bodies: Does an arm still have enough strength, can one foot be made to follow the other, can one still find one´s footing when further proceeding into the story? As befits the disillusioned title, there is no resolution and movements remain precarious, even if in the end a collective dance momentarily breaks through the prevailing dystopic mood. (Christa Benzer) Translation: Eve Heller
45. Sakonpat Chotipatthamanon (Thailand) “THAT’S WERID OR NORMAL?” Pal, Color, Sound, 1.38 min., 2019.
Concept:
The main concept is psychotic of internet. i used the symbol in RGB Color to represent for colour in digital and audio of mass media in era. Like sound in facebook, line, etc. Everyone knew the social media is closer in nowadays ,easy to use and update information every second in 24/7. You just turn on notification. Social network is alway control you every step include me by code colour (RGB).you will stick with that all time.So, It created a new disease. Call “ FOMO” or Fear of missing out or worry about Information you missed. If you don’t update information to chat with another people. You will be straggler. But this artwork don’t judge you about that. It has question to ask you “ THAT’S WERID ?”
46. Sissel Thastum (Denmark), Video & sound Installation, Pal, Color, 18:31 min loop, 2017
47. Susanna Schoenberg (Italy) “redirection activity”
Pal, Sound, Color, 3.18 min., 2013/2019
48. Vacharanon Sinvaravatn (Thailand) "A Solitude of Space" Collage video, Pal, Color, Sound, 6.00 min., 2019.
Concept:
Present a place that does not exist by collage various locations into video, to create new perceptions.
49. Yaser Rahhal (Syrian)”FALCON”, MP4, 2 min, 2016
50. Unnur Andrea Einarsdottir (Iceland), "Selfie stick battle“, Format: .mov, Duration: 1.20 min, 2016
51. Unnur Andrea Einarsdottir (Iceland), "Code Lines", Format: .mov, Duration: 8.16 min, 2016
52. Virinsire Chomchey (Thailand) “Heaven” Pal, Colour, Sound, 2019.
Concept:
Inspiration from the short film "Black Mirror - San Junipero" is questioning the area after the death of people. Where is heaven Is something that no one knows It is still just a theory.
53. Tuksina Pipitkul (Thailand) “Dimming Light” Pal, Color, No Sound, 1 min., 2019.
Concept:
Light is a symbol of modern life. Light from ATM machine at Talad Thai, a hub of wholesale markets in Thailand, is a sign of on going financial flow which we still do not know its direction and what is going on in the future.
54. Dachanut Chawalitkitcharoen (Thailand) “Boss Racing: The Art in Motorbike Garage” Pal, Color, Sound, 3 min., 2019.
Concept:
The Art in Motorbike Garage was inspired by my family life story. As an eldest son, I carried hope for the family in taking care of motorbike garage family business. This responsibility tied me up with the feeling of detainment. It held me back from pursuing my dream of becoming a hip hop dancer.
55. Tonphon sapnirund (Thailand) “In between” Pal, Color, Sound, 5 min., 2019.
Concept:
Beauty grown of ruin in moment of time.
56. Pison Suwanpakdee (Thailand) “1 man 2 sides, anyone 2 sides” Pal, Color, No Sound, 3 min., 2019
Concept:
The world consists of 2 sides, left and right.
57. Naphat Arunsawatrouck (Thailand) “Death and Spirit Who is currently with us” Pal, Color, Sound, 3 min., 2019.
Concepts:
Death and wisdom Who is currently with us Once this place had died from each other And we are now combined with it.
58. Teerapong Serisamran (Thailand) “When she... , so he …” Pal, Sound, Color, 3 min., 2019.
Concept:
“ Being trapped in the world of thoughtfulness , the world of self-ego and dualism caused suffering. Enlightenment is to return to the unity , return to the real origin that is beyond the division.”
59. Witchayoot Ponpraserd (Thailand) “Far away" No se Pal, Sound, Color, 4.44 min., 2019.
Concept:
This is a short experimental film that compares love with space journey. A relationship and a story of a couple that simultaneously arose and collapsed.
60. Siridej Sirisomboon (Thailand) “Shorten your life in 2 minutes” Pal, Sound, Color, 2 min., 2019.
Concept:
Is time the most valuable matter for life? What is the worth of time and what is the waste of time? Or actually, the fact that being alive is the most important matter for our lives? As a dialogue in the film called “The fifth element”, it stated that time is not important but life is more important.
61. A Group of Second Year Media class…..
Exhibition Venue
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