Catalogue > List by artist

In the emptiness of a landscape, a human being is climbing up the rocks testing her balance, three steps forward and three steps into nothing.

Antonella Kurzen was born in Switzerland in 1966. She started artistic studies in the USA and continued them in Switzerland, in Italia and in Germany. She then went on with cinema studies. Since 1998, she has been working as a freelance filmmaker and since 2002 as a video maker as well. Her last videos are elaborations of psychological conditions defined in natural environments, transformed according to intentions, in confined spaces.

"Musik-Performance (((controller-band., Berlin Die (((controller-band. ist eine Computerband und Teil von (((controllerentertainment.. (((controller-entertainment. wurde 2002 von Michael Wilhelmi und Thomas Kusitzky gegründet und dient als Rahmen für verschiedene Projekte und Experimente, bei welchen Computerspielcontroller, wie Joysticks, Lenkräder, etc. verwendet werden. In Verbindung mit einem hierfür entwickelten Softwareinterface, wird es möglich, die jeweiligen Computerenvironments ohne Zuhilfenahme von Tastatur, Bildschirm oder Maus intuitiv zu steuern. Die Konzerte der (((controller-band. sind Improvisationen, deren musikalisches Ausgangsmaterial aus bis zu 40 Sekunden langen Samples von Aufnahmen verschiedener Musikrichtungen besteht, die durch unterschiedliche Verfahren in ihrer Geschwindigkeit, Tonhöhe, zeitlichen Struktur und Klangfarbe verändert werden. Diese Verfahren sind in ihrer Art abhängig vom für das jeweilige Konzert erstellten Programm, also letztlich vom kompositorischen Rahmen."

Thomas Kusitzky geboren 1975 in Singen, lebt seit 1996 in Berlin. Musikstudium im Bereich Jazz, Hauptinstrument Bass an der Hochschule für Musik ?Hanns Eisler? Berlin. Weiterführende Seminare an der Universität der Künste Berlin und der Technischen Universität Berlin in den Bereichen Klangkunst, Elektroakustische Musik, Computermusik, Musikprogrammierung, Musikakustik und Raumklang. Teilnehmer am Modellstudiengang ?Sound Studies? an der Universität der Künste Berlin.Tätig als Live-Elektronik Musiker und Klangkünstler

A fascinating observation of daily life and work registered in one single shot during the late afternoon in Dar Es Salam, Tanzania. Balancing between ethnocrafical studies, experimental film and single channel video installation this films gives time to research in ones own mind.

born 09.16.1963 in Mannheim/Germany 1983 A-level 1985 - 87 apprenticeship in photography; Lette-Verein, Berlin since 1987 professional freelance photographer since 1989 working in the film business as electrician, camera assistant and camera man since 1990 film projects as director and d.o.p. (documentary and experimental ) since 1992 freelance cameraman for cinema and TV 1993 - 1996 postgraduate study at the Academy of Media Arts / Cologne MA in Audiovisual Medias, 1996 1998 First Prize of the state governement for young directors and DOP´s 2000 stipendium for artists by the state governement 2000 - 2005 lectures about film theory and documentary film at the Humboldt-Universitiy / Berlin 2005 - film lectures at the University of arts, Berlin 2006 - film lectures at the Academy of Arts, Düsseldorf

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “ Transformers ”, I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow. In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “ Transformers ” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “ Transformers ”to the city and turning parts of the cityscape a little Disneylandish. Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “ Tundra Kids ” and “ Oblomov ” were published in Vienna in 2015 and in Moscow in 2017, respectably.

"Radiant Center" is a four-channel sound installation examining the convergence of security practices, media technologies, and geological environments at the Russian-Lithuanian border on the Curonian Spit, a peninsula along the southeastern Baltic Sea. Engaging with the site's cultural history as a UNESCO World Heritage Site known for its wind-blown sand dunes, the project investigates how borders and wind function as media infrastructures that are simultaneously local and global, geopolitical and ecological, mobile and emplaced. The methodology centers on embodied listening to the border's acoustic and transmission ecologies, informing the creation of documentary and performative recordings of radio communications, broadcasts, and electromagnetic emissions related to border security and atmospheric science, alongside field recordings that capture how aeolian forces resonate across the Spit's terrain. Bridging border studies, environmental humanities, and sound art practice during a period of heightened xenophobic border rhetoric across American and European contexts, "Radiant Center" advances an understanding of borders as porous, contested zones where political, technological, and environmental forces continually reshape both human and non-human mobilities.

Hans Kuzmich is a Belarus-born interdisciplinary artist based in Los Angeles whose work examines gender as an interface between subjects and the state. Working across transmission arts, media installation, and performance, his practice is grounded in site-specific listening and sonic fiction methodologies. Kuzmich is currently completing a hybrid doctoral dissertation in Film and Digital Media at the University of California, Santa Cruz. Recent exhibitions and residencies include Sonic Nomads, Seoul, South Korea; SPAM New Media Festival, Seattle, WA; Sound + Environment, Newcastle upon Tyne, England; Nida Art Colony of Vilnius Academy of Arts, Lithuania; Radiophrenia, Glasgow, Scotland; Wave Farm, Acra, NY; Vermont Studio Center, Johnson, VT; The Studios at MASS MoCA, North Adams, MA; The 8th Floor, New York, NY; and SOMA, Mexico City. Kuzmich holds an MFA from the University of California, Los Angeles, a BFA from the Cooper Union, and was a participant in the Whitney Independent Study Program.

Une silhouette féminine vêtue d?une très courte robe noire moulante à paillettes, se tient debout, devant un fond noir. La perruque noire qu?elle porte est à l?envers. De ce fait, les longs cheveux brillants et ondulés tombent vers l?avant et recouvrent ses seins. Un son techno cadencé démarre et se développe peu à peu. La silhouette soulève deux pompons et commence à se balancer en suivant le rythme. Le refrain répétitif « Control your body. Let the beat control your body - com?on dance with me » l?entraîne dans une agitation de plus en plus hypnotique. Au début, la silhouette paraît presque insignifiante et ridicule. Elle est un persiflage des filles techno : apparence voyante, cheveux ondulés, formes généreuses. Lorsqu?elle commence à bouger sur le rythme, ça a l?air bizarre. Mais petit à petit, on se laisse envoûter. Les paroles répétitives de la chanson semblent sortir de sa bouche et donnent l?impression que c?est elle qui les maîtrise et qu?elle ne fait pas que leur obéir. Tout à coup, elle nous balance des signes et des mots: extra, highlights, make up, generation, ultra, image, fondation, maximum, overdose, yeah. Ce sont les signes de la modernité, de la séduction, du masque. Ce sont les mots-clés de notre quotidien qui nous sont insufflés. En bougeant et en agissant ainsi, elle nous apparaît peu à peu comme une idole ; dans le sens archéologique du terme, autrement dit, comme un objet vénéré. Elle devient une vraie idole de la musique pop, une Vénus de Willendorf du disco. Les pompons qui servent habituellement à encourager les équipes dans les stades américains, elle les utilise pour nous coacher, nous hypnotiser. Elle nous répète sans cesse : contrôle-toi, laisse-toi contrôler.

1993-99 Etudes à l?Ecole Supérieure des Arts Appliqués Saar avec les Pr. Ulrike Rosenbach et Pr. Bodo Baumgarten, Pr. Horst Gerhard Haberl 1997 Création du Duo d?Artistes Stoll & Wachall 1999 Diplôme et Conservatoire à l?ESAASaar 2001-03 Enseignement à l?ESAASaar

Television images of politicians being interviewed show us different worlds of perception. While the politician speaks to reporters, the bodyguard concentrates on potential dangers in the surrounding area. The viewer becomes witness to two parallel worlds, yet is inclined to pay more attention to the politician, who speaks outwardly to matters of public interest. The bodyguard brings to the situation a dramatically greater intensity, but one that is directed inward. He is deep in concentration, communicating through a small earpiece with a network that remains hidden from the viewer. The images are characterized by this contrast, which endows them with a particular tension. The video shifts the focus onto the bodyguard`s inner perception.

"Distant Landscape" consists of images of landscapes in which traces of movement of the film`s narrator are recognisable within the desolate surroundings. Short texts roll over the images, telling the story of someone in a close and sensual relationship with nature.

Kristina Kvalvik (b.1980) is a Norwegian visual artist currently based in Copenhagen, Denmark. She studied film and fine art in Norway, Sweden and Canada, and completed her MFA at Malmö Art Academy (SE) in 2008. Her work deals with matters relating to surveillance, the inexplicable and the threatening. She examines the limitations of sight and our ability to interpret what we see. Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

The spectator follows the protagonist through a city one dark winter night. Where is she going? Why do we follow her? The city in the dark and the woman in the night provokes an eerie atmosphere, - without the film giving any answers to why. This unsolved story is based upon how we are seen and interpreted in the public sphere. All images are from urban places and contain a subtle doomsday thematic as a sweeping tone through the film.

Kvalvik has exhibited her work internationally including Göteborg International Biennial for Contemporary Art, Overgaden Institute for Contemporary Art; Copenhagen, LOOP Film Festival; Barcelona, Center for Contemporary Art; Glasgow, GalleriBOX; Akureyri, Galeria Miroslav Kraljevic; Zagreb, Kunsthalle Exnergasse; Vienna, Parkingallery; Tehran, Västerås Konstmuseum, Høstutstillingen Kuntnernes Hus; Oslo and Abandoned Gallery; Malmö.

The feature film Simbang explores the process of spiritual recovery in the aftermath of the 4.3 Massacre by combining found footage taken by American military forces during the massacre with documentation of rituals held at various locations across the island. On Jeju island, “??” (Simbang; ??) refers to a shaman. “?” (sim) means spirit, and “?” (bang) means space or room, translating directly into a spirit room or spirit space, thereby evoking a spatial aspect of their beings in connection to the unseen world, yet powerfully sensible through the ritual. The camera follows all steps of the ritual; calling forth gods and spirits, welcoming them both on land and underwater, serving them with offerings, playing music and dancing, communicating with them, purging evil energies from the spirit and clients, and sending the spirits away back to their realm. During these rituals, the Jeju myth’s 18,000 gods and the life stories of the people who died in 1948 come together to weave a history of their sorrow and violence, enabling the processing of trauma. The physical, psychic, and emotional impacts of trauma go beyond the limits of the dominant historical archive and its knowledge.

Yunjoo Kwak is an artist and a lecturer at Willem de Kooning Academy in Rotterdam. She graduated from the Dutch Art Institute/ArtEZ (MFA, 2011) in Arnhem and the Korean National University of Arts (MFA, 2008). Yunjoo was an artist-in-residence at The Otolith Group (2015) in London and has participated in various exhibitions and collaborated with different institutes such as the Amsterdam Museum; Kuandu Biennale Taiwan; Makassar Biennale; the Korean Cultural Center, London; Studium Generale Rietveld Academy, Amsterdam; Seoul Museum of Art and The Museum of Photography Seoul. Her major video works include ‘Café Downey’s’ (2013), ‘Chronicle of Plan van Gool’ (2014), ‘The Defectors’ (2017) and ‘Only The Ports Are Loyal To Us’ (2020). Her practice is research-based and process-oriented, with a focus on architecture and history intersection with the filmmaking process. She works across the disciplines of ‘essay’ film, photography, digital montage, publication and archiving. She is interested in the blind spots of historical representation and seeks ways to haunt them through her artistic practice.

A Chronicle of Plan van Gool (20 mins, 2014) is a video essay by Yunjoo Kwak, developed during a conversation with an architect, Endry van Velzen, regarding his text ‘Over vanzelfsprekendheid, de 1138 van Gool in Amsterdam Noord’, (in: OASE nr. 49 1998, p. 44-65) The text presents a sophisticated analysis of Plan van Gool, designed by a State architect Frans van Gool (1929 – ) in 1968, and reflects upon van Gool’s fundamental critique of modernist concepts through the residential building. By appropriating his text, the essay attempts to re-examine the thoughts of the two architects, how they perceive of architectural performances – aesthetically, politically, and economically – and how each responds to environmental forces and crises.

Yunjoo Kwak (Seoul, South Korea, 1977) lives and works in Amsterdam. She studied and taught in MFA at the Korean National University of Art, Seoul, 2008 and Dutch Art Institute/ ArtEZ, Arnhem, 2011. Her works has exhibited in a number of different public venues such as French Cultural Centre, Reykjavik Museum of Photography and Seoul Museum of Art. Her works often deals within notion of ‘performativity’ as practicing political and aesthetical strategy in various mediums; film, lecture performance, text and publication.

“ 489 Years ” is transcribed according to the testimony of a former soldier in South Korea, Kim. It gives us access to the DMZ, and makes us immerse in the heart of the personal memory of a soldier. He tells us his experience in a research mission and the amazing discovery he made in the field full of mines (mines laid by South Korea with no record of where they were placed). He speaks of a place where people are forbidden, a place where nature has totally reclaimed its hold.

Hayoun KWON is a multimedia artist and documentary director.   South Korea born in 1981.  She graduated from the Fresnoy – Studio national des Arts contemporains in 2011 and  she lives and works in France and in Korea. The reflection on identity and borders is central to her previous works. She has focused more specifically on the construction of historical and individual memory and their ambivalent relationship to reality and fiction.

A village loosely inspired by a north korean propaganda village ,Kijong-dong. Hayoun KWON reveals a setting and 
invites us into a fiction ,carrying out the journey by proxy. this film testifies to this ghost town in its true state as a mechanism of fiction. the reality of a border confronted with its staging. this village can only be reached within our imagination.

Hayoun Kwon was born in Seoul (South Korea) in 1981. She first studied at the Ecole des Beaux-Arts de Nantes, and then graduated from the Fresnoy – Studio national des Arts contemporains in 2011. Her work revolves mostly around the notions of memory (wether individual or collective), boundaries and limits, questionning the blurred lines between intention and interpretation, construction and fiction, recollection and invention. She examines the ambivalent relationships between reality and fiction.

In the video work "What is a Man Without a Shadow", a digital morphogenesis via AI is being used, as a method, taking its inspiration from biology, and it is used to describe the process of the evolutionary development of organisms and polymorphic systems. In digital morphogenesis, new forms replace the former ones, through the logic of optimization, via an open system of states of constant interaction. These organized structures are turning radically into disorganized ones, creating general disorder. Images get gradually degraded, revealing entities that change the consistency of space and time, with an average entropy value, enabling new realities to be tested in a virtual space. Consecutively, that allows the evolution of beings who strive to mark their existence in sequences that interact, passing from one situation to another, generating the genetic material of the project.

Makis Kyriakopoulos was born in Patra, Greece in 1975. He completed an MFA with distinction at the Athens School of Fine Arts in 2004 and completed the postgraduate course of (ASFA), in Digital Arts. He works predominantly in Digital Arts and specifically focuses on the nature of movement, materiality and immateriality challenging the relationship between human and space. He has participated in numerous international festivals globally, public lectures, group and solo art exhibitions.