Take your car to the parking lot and watch The Exquisite Corpse Video Project Volume III on a 60 square meter screen. The sound will be sent out thru FM frequency, so you can use your smartphone or a radio. There will be radio’s on-site also for walking in visitors without a car.

Date: Fri, April 27
Time: 21.00
Location: Ängelholm, Parkskolans parking lot.

Introduction by project coordinator Kika Nicoela, Brazil.
Other participating artists present as well.
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Still from ”Still” by Ana Teixeira and Kika Nicolela.

Video art from South America
curated by Kika Nicolela
the affectionate eye

1-
English for Beginners
2’
2006
Alejandra Gelis [Colombia/Venezuela]

An experimental work dealing with dislocation, fragmentation lost of contact and the regaining of foreign speech in a foreign land.  The work articulates the difficult and comic experience of learning a new language.

Alexandra Gelis is a Colombian-Venezuelan, visual artist based in Toronto, Canada. She holds an MFA degree. Her work predominantly involves photography, video, electronic and digital processes. Gelis’ work addresses the use of image in relation to displacement, landscape and politics beyond borders or culturally specific subjects. In her latest works she has expanded her practice using electronics and programming for interactivity. In her installation work she creates immersive sculptural spaces, using video projections and complex sound designs. She also work as an educator/facilitator, leading video and photography workshops aimed at youth in marginalized communities in Canada, Colombia and Panama. Because she works as a workshop facilitator in several countries, in many cases her teaching practices determines the artistic work that she creates. She has been concerned with the role of the artist as multidisciplinary inquirer who engages in multiple explorations of diverse methodologies in fieldwork.

Her work has been shown in several venues in Canada, Venezuela, Colombia, Panama, Argentina and the United States.
She has developed curatorial projects and video screenings, and programs for festivals in Latin America and Canada.

www.alexandragelis.com

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Still from ”It’s Three in the Afternoon” by Andrew de Freitas.

Video art from New Zealand – Australia
curated by Rob Garrett. 

Artist: Andrew de Freitas
Title: It’s Three in the Afternoon, 2009
Duration: 1:21
Music: Peter J Brant

It’s Three in the Afternoon (2009) represents a collaboration between artist and filmmaker Andrew de Freitas, and Los Angeles-based musician Peter J Brant of the recording project “BB”. The video depicts an un-staged event captured by de Freitas whilst working on the production set of a TV advertisement for Coca-Cola. Brant’s instrumental soundtrack to the piece was originally composed as an interlude between two lyrical tracks on an album recorded during his stay in Auckland, New Zealand. Upon hearing Brant’s album, de Freitas saw an opportunity to expand and distort the notion of an interlude using images gleaned from everyday life.

Andrew de Freitas’ practice has its base in filmmaking, photography and sculptural / audiovisual production. His work identifies and extracts the strangeness embedded in human experience of the everyday; rearranging the narrative information surrounding existing situations and events so that our common perception of otherwise familiar objects and images is altered and challenged. To this end, he is constantly renegotiating formal bounds and drawing from established traditions in order to yield new messages and call attention to the inherent, hidden ones. De Freitas was born in Auckland, New Zealand (1986) and is currently based in Montréal, Canada.

www.andrewdefreitas.com
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Still from ”Water Rerouting Initiative” by Adam Frelin.

Video art from North America
curated by Paul Young

1)
In GOD We Trust (2008) Kenneth Tin-Kin Hung
Audio by MR CLOAK AND DAGGER
5 mins HD 1080p30 video 16:9 and seven 40X72 inches digital prints on canvas.

A surreal digital collage mixing political references with art historical ideas.

Tin-Kun Hung is a master at mixing political ideas into painterly video works that operate on multiple levels. In this work he explores the mythical, sociopolitical and religious ideas that surrounded the election of Barrack Obama.

“In G.O.D. We Trust” remixes the political and economical hardships the US president Barrack Obama has to overcome within various religious contexts. In the series Obama reincarnates into seven different guises Jesus Christ, Buddha, Elegua, Lady of Guadalupe, Krishna, Mohammad and Abraham. Yet in each case, certain elements are substituted current political and economical images culled from pop culture. The result is a contemporary version of Dada collage, with radical juxtapositions and a seemingly endless array of references. The last section, for instance, is based on the Islamic story Isra and Mi’raj (Night Journey) from Qu’ran chapter 17, Obama as Muhammad is resting in Kaaba in Mecca with his body appropriate from Siyar-i Nabî. When the archangel Gabriel comes to him, and brings him the winged steed Hillary Clinton Buraq that wears the Iranian Pahlavi crown jewels and an Islam US flag. That leads to a journey full of Western and Middle Eastern iconography until finally Mohammad is destroyed by Israel. At that point Obama appears as Abraham wearing the Obi-Wan Kenobi costume from Star Wars. His beard is appropriated from Michelangelo‘s “Creation of the Sun and Moon” at Sistine Chapel. He is attempting to slam the basketball hoop. The backboard of the basketball board is a world map, being supported by “Tower of Babel”, a painting by Flemish painter Pieter Brueghel the Elder.
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Still from ”Fuck the Death” by Mohamed El Baz.

Video art from Africa
curated by Kisito Assangni

Project [SFIP] is a multi-national exhibition process and a platform for critical thinking, researching and presenting African video art.

The technocultural revolution has democratised cultural and artistic practice through everyday access to new media.  At the same time, the pervasive presence of technology in our lives has raised questions around privacy, surveillance and ownership, the dominance of Western media in globalisation, as well as the privilege of access in the developed world.  The [SFIP] network is dedicated to the diffusion of new experiences worldwide through film and video.  It is unfortunate that contemporary African art remains largely associated with sculpture and painting.  Much work remains to be done in adequately researching the creative energy of the continent, especially within the last decade.

This exhibition presents a selection of African video art that stands beyond the clichés that remain associated with the dark continent and the postcolonial image. It seeks to bring viewers closer to idiosyncratic readings of African video art and its thematic concerns which are largely ignored. ‘Still Fighting Ignorance & Intellectual Perfidy’ contextualises African video art within a larger cultural framework.
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Still from ”Characters” by  Chen Hsin Wei.

Video art from Asia
curated by Gye-joong Kim

This curatorial programme is based on, Asia Forum, a collaborative project initiated by EXiS (Experimental Film & Video Festival in Seoul). EXiS held the first meeting, in 2009, of experimental video and film artist and curators of Asian countries. This is re-selected from the screening works from the special section, Asia Forum 2009. This is also continuing project.

Taiwanese young filmmakers who grew up in digital era makes meditative context out of the personal production of it. The works <Characters> and <Looking at HE> partially were made from a workshop. As it is shown well in <24/7>, Malaysia goes through the symptom of urbanity and longing from the environment by inhabitants. Singapore video <Imelda Goes to Singapore> was chosen of out works in the context of cultural diversity. <Bare> from India shows the currency of recent development started from personal ethnographic documents that critique social symptom of migration, gender roles, sexuality and family structure through innovative styles of storytelling. Also China has strong history of movement of alternative documentary and this video was presented in China independent Film Festival which was the supportive of the movement. The videos were part of touring program organized by BEFF(Bangkok Experimental Film Festival) which has been, for longer than a decade, biennial showcase of alternative culture in Thailand, bringing together locally made work of experimental films. Three South Korean videos, part of Korean competition section of EXiS, reveals very recent tendency of medium specific experimentation taking place in heavily industrial country, South Korea.
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Still from ”Naufrage” by Clorinde Durand.

Video art from Europe
curated by Gabriel Soucheyre.

1-
Last Day of the Republic
8’
by Reynold Reynolds

The Palast der Republik (Palace of the Republic) opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but also auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley.

In 2003 Reynold Reynolds was awarded the John Simon Guggenheim Memorial Foundation Fellowship and in 2004 invited to The American Academy in Berlin. In 2008 he received support from the German Kunstfonds to develop two projects in Berlin. Reynolds has received numerous awards for his film work, including the Festival Award for “Secret Life” at the European Media Art Festival Osnabrueck, 2008, the ‘09 Distinction Award for “Six Apartments” at Transmediale Berlin and Mention spéciale du jury, “Last Day of therepublic” at Videoformes, 2011.
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