Herzliche Einladung zur Ausstellung für Videokunst – „12 − 24 okt 2021“ – in der Galerie der Künstler*innen, Maximilianstraße 42, München
Zum vierten Mal lädt VIDEODOX zur großen Videokunstausstellung
in die GALERIE DER KÜNSTLER*INNEN
ein. Zwanzig Positionen von Künstler*innen aus Bayern,
die das bewegte Bild als Ausdrucksmittel des
künstlerischen Schaffens inszenieren, sind für den
VIDEODOX Förderpreis nominiert.
galerie der künstler*innen
Maximilianstr. 42, München
Eintritt 3 (1,50) €Öffnungszeiten Mi – So 11 – 18 Uhr | Do 13 – 20 Uhr
Sonderöffnung Di 12 Okt 13 – 19 Uhr
Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.
The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.
The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.
Nichts ist eine Animations-Kurzfilm-Fabel über das Nichts.
Die fragmentarischen Szenen verbinden sich zu einem reportagenhaften Narrativ und lassen fiktive und echte Quellen zum Thema Nichts zu Wort kommen. In der Erzählung erkundet die Häsin Judy, deren Charakter dem oscarprämierten Animationsfilm „Zootopia“ (2016) entspringt, die Untiefen dieser alten Idee mit Hilfe einer Botschaft auf einem Recorder der ausseht wie eine Karotte. Der Film entfaltet die Geschichte über den Weg der WissenschaftlerInnen und DenkerInnen und legt zugleich auch eine eigene Perspektive vor. Die Faszination an dieser alten Idee „des Nichts“ ist, wie dessen Erforschung uns zeigen kann, dass wir Wahrheiten über Phänomene und Ideen erlangen können, von denen Manche sagen würden, dass es vergeblich ist auch nur darüber zu sprechen.
Von der Animation, dem virtuellen Set- und Lichtdesign, bis hin zum Charakter Rigging entstanden die geheimnisvollen Inseln in der Leere mit großer Liebe zum Detail.
Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.
The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.
The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.
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Konfigurieren Sie aus der Collection der epodium gallery Ihre persönliche Kunstsammlung (Videos/Videostills) für Ihr Fernsehgerät oder Home Entertainment System. Senden Sie Ihre Wünsche an a.backoefer@epodiumgallery.com
Exhibition Opening: Thrusday, Feburary 15th, 2018 at 7:30 PM at Estudios, Tabacalera
Lecture / Artist Talk: Monday, Feburary 19th, 2018 6:00 PM at la Sala Ideas, Tabacalera
Reducing Distance: Roger Kausch and Margarita Sanchez Urdaneta
June 2 – July 2, 2017
Opening Reception: June 2, 7-9 PM
Roger Kausch
Margarita Sanchez Urdaneta
Roger Kausch and Margarita Sánchez Urdaneta
Reducing Distance
June 2-July 2, 2017
Opening Reception: Friday, June 2, 7-9 PM
Slag Contemporary
56 Bogart St.
Brooklyn, NY 11206
T 212 967 9818
Thursday – Sunday 1-6PM
Monday – Wednesday by appointment irina@slaggallery.com www.slaggallery.com
Slag Gallery is presenting Reducing Distance, a two-person show of works by epodium artist Roger Kausch and Colombian artist Margarita Sánchez Urdaneta. This will be Kausch’s first exhibition in the United States and Urdaneta’s first exhibition at Slag Gallery.
Roger Kausch is best known for his multi-process work, often integrating music and performance — particularly in video and drawing. Reducing Distance will present a selection of Kausch’s work over the past ten years. In the media of drawing and painting, his layered yet spontaneous method leaves behind temporal marks, illustrating seismographic time traceable in layers of continual adjustment.
Manifold forms of technical processing primarily mark the origination process of Kausch’s diverse videos. The works are committed to the exertions of being human and to humanartifacts, tools and strategies, aiming to reveal the emotions, desires and hopes these are charged with. Through the fragmentation of the video stream into single image sequences, processes of movement are made to expose their hidden choreographies. The rhythm of their arrangement gives them the expressivity of music and dance.
Margarita Sanchez Urdaneta’s beguilingly mysterious works combine installation, video, sculpture, and writings. Her eerie yet strangely calming works depict places of, as she describes, “Forced disappearances, mass graves, and terror tactics.” Sánchez Urdaneta’s new 2D works are inspired by burial methods in Colombia’s perpetual complex landscape and history. The work focuses on the relationship between the landscape and the violent event, between the time of occurrence and the time of telling.
“The continuous violence in Colombia has left millions of victims and has created the necessity for a collective mourning process, a process that has been put on pause since bodies are hidden, communities are threatened if they bury their dead, and most violent acts are overlooked as soon as a new violent act is perpetrated. The interest in mourning and memorizing these violent events has become, for most grievers, not only a way of remembering but also a way of facing the present and denouncing the atrocities.”
Roger Kausch studied Art History and Philosophy at the Academy of Fine Arts in Munich. He was previously head of “Werkstatt für Bild und Tonsequenzen“, a forum for presentation and discussion of video works at the „Hochschule für Musik und Theater“ in Munich. He has exhibited and performed in galleries and concert venues throughout Germany and Austria.
Sánchez Urdaneta holds an MFA from Parsons The New School for Design (NY), a postgraduate degree in Journalism from the Universidad de Los Andes (Bogota), a BA in Visual Arts at the PUJ (Bogota), and attended the Whitney Independent Study Program (NY). Sánchez Urdaneta has participated in exhibitions at venues such as The Kitchen (NY), The EFA (NY), El Museo del Barrio (NY), Instituto Cervantes (NY), Museo de Arte Contemporaneo (Bogota), Galería Die Ecke (CL), The Arlinton Art Center (VA), and The BID Headquarters Atrium (WA).
There is no term more ubiquitous, obnoxious, and self-serving in our current lexicon as “woke.” Woke is safety-pin politics, masturbatory symbolism, and virtue signaling of a deflated Left insulated by algorithms, filter bubbles, and browser extensions that replace pictures of Donald Trump with Pinterest recipes.
Woke is a misnomer — it’s actually asleep and myopic. Woke is a safe space for the easily distracted and defensive pop culture inbred. Woke is the Left curled up in a fetal ball scribbling think pieces about Broad City while its rights get trampled by ascendant fascism, domestically and globally.
epodium gallery is now presenting the video works of Gregor Peschko.
Genua
“Genua“ is a film composed of self-made video recordings (boat trip), found footage from the internet (swimming scenes) and a super 8 film with footage from the coastal area. Apart from the very associative storyline, the source of the material plays an important role. The image is accompanied by a collaged sound backdrop. The fictional combination of elements are related to an area between a social and subjective visual memory or rather to an oscillation in between.
Guesthouse
The displayed atrium is located in the old guesthouse of the GDR´s council of ministers in Leipzig. During the 70s and 80s the building was used as an accommodation for foreign representatives and other guests of state. The building was isolated from the outside area by enormous safety precautions. This was in strong contrast to the hospitality the house stood for. The whole complex was surveilled and shielded by the Stasi. (State Security Service) High industrialized buildings around the complex served as bomb shields for potential attacks. On the inside a little enclave of western consume standards with Milka chocolate and Coca Cola was established in favor of SED officials and guests of state. For the citizens of Leipzig the events within the house remained non-transparent and secretive. The video loop was recorded inside of the guest house which is falling into ruin. Except for the light, almost invisible snowfall at the outside space of the atrium the picture in the interior is completely motionless. No sound.
