In the era of digital media an image is no longer simply an image. Or rather, an image is never just itself. As demonstrated by Peter Luining in formulas an image can be manipulated indefinitely through so-called filters in the Photoshop programme. These filters...
Glitches are the result of system malfunctions and occur for instance when you try to play a movie in a player that does not support the file format. However, most often glitches happen for no apparent reason and their look can never be completely predicted. That is part of their fascination, not least for an increasing number of artists. While trial-and-error experimentation allows...
CoS (Consciousness of Streams) activates transmediale.11 as an ubiquitous, cross-medial publica(c)tion live stream that will not end with the festival itself. CoS is an environment, a workshop series, a performative practice, and an insider view on our new way of life where cities, relationships, businesses and leisure have become information displays. Acting as the CoS Input/Output channel for the stream will be Angel_F, the digital son of Derrick the Kerckhove and the digital prostitute Biodoll.
The current edition of Labor Berlin features American-born artist and filmmaker Reynold Reynolds. Influenced early on by philosophy and working primarily with 16mm and Super 8mm film as an art medium he has developed a common film grammar based on transformation, consumption and decay. Reynolds frequently depicts disturbed psychological and physical themes, increasingly provoking the viewer's participation and dismay.
The film is part two of the Bearing Witness trilogy which is concerned with how we, as a culture, watch ourselves, especially in moments of great emotional significance. With footage culled from mainstream media and television, the single-channel videos (The Eternal Quarter Inch, Somewhere Only We Know, The Burning Blue) distill moments of sincerity from perhaps insincere sources.
In 1927 Douglas Fairbanks and Mary Pickford – both great admirers of The Battleship Potemkin – visited the Soviet Union. Here as all over the world, they were acclaimed as stars and their railway carriage decked out in garlands. Director Sergei Komarov approached them with what was apparently a newsreel team and shot a few short scenes, including amongst other things a kiss that Mary Pickford planted on comedy star Igor Ilyinsky.
As a contribution to Gerry Schum's Identifications, Beuys adapted for television the Felt TV action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt.
Vostell's large-scale happening 9 Nein Décollagen (9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened Sun in Your Head while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’.
The Kalenderblätter (calendar pages) were a sort of news journal that brought a colourful potpourri of reassuring and edifying reports from the homeland.
