Sunday, 27 December 2015

Wednesday, 7 October 2015


Sobering Galerie presents

TIME is Love.8 [Show 6]
International video art program
Curated by Kisito Assangni

Tuesday 20th October 2015

87 rue de Turenne
75003 PARIS

19.00 : Screening / Performance / Talk / Cocktail
Free admission

Abdelaziz Taleb (Morocco), Abdoul-Ganiou Dermani (Togo), Alexandre Braga (Brazil), Anthony Rousseau (France), Carlos Aires (Spain), Cesar Schofield Cardoso (Cape Verde), Cristina Pavesi (Italy), David Blandy (UK), Flavio Sciole (Italy), Francesca Lolli (Italy), Irina Gabiani (Luxembourg), Isidora Ficovic (Serbia), Joas Nebe (Germany), Kai Welf Hoyme (Germany), Laura Celada (Spain), Marc Neys (Belgium), Margarita Novikova (Russia), Michael Meldru & Marina Moreno (UK), Monika K. Adler (Poland), Mouna Jemal Siala (Tunisia), Nao Sakamoto (Japan), Niclas Hallberg (Sweden), Oreet Ashery (Israel), Paako Sallah (Ghana), Ramia Beladel (Morocco), Rhasaan Oyasaba Manning (USA), Sandrine Deumier (France), Sinasi Gunes (Turkey), S/N (USA), Sydelle Willow Smith (South Africa), Toby Kaufmann-Buhler (USA), Tommy Becker (USA), Triny Prada (Colombia), Tyrone Brown-Osborne (USA), Yuri Pirondi & Ines Von Bonhorst (Portugal), Zierle & Carter (UK).

TIME is Love is an international video art project gathering several artists. Established in 2008, the program has traveled to major cities in the world attracting a vibrant mix of media professionals, researchers, young people and families. The screening is accompanied by exciting events, including talks and live performances.

Preoccupied with love, the project represents love stripped from its traditional clichés and timeless idealism. Each of the artists leads an interdisciplinary practice bringing a questioning and a criticism on a system of relation to others which appears to us as being dying.

Taking these ambivalent feelings as a starting point, the artists develop their own language according to their sensibility and history. The selected videos deal with prevented communications, disturbed feelings, globalisation, memory and spirituality. As a result, each video inspires the viewer to question the normative understandings of relationships in the occidental world.

About the curator
Kisito Assangni is a Togolese-French curator, consultant and producer who studied museology at Ecole du Louvre in Paris. Currently living between London and Paris, his research primarily focuses on psycho-geography and post-globalisation impact on contemporary cultures. Kisito investigates the modes of cultural production that combine theory and practice.
He’s heavily involved in video, performance art and experimental sound. His projects have been shown internationally including the Whitechapel Gallery, Ben Uri Museum, London; Arnot Art Museum, New York; Torrance Art Museum, Los Angeles; Malmo Konsthall, Malmo, Sweden; National Centre for Contemporary Arts, Moscow; Pori Art Museum, Finland; Foundation 3.14, Bergen, Norway; Motorenhalle Centre for Contemporary Art, Dresden, Germany among others.
He has participated in symposia, talks and events at numerous international venues.
Kisito is the founder/curator of TIME is Love Screening and Project [SFIP] - Platform for critical thinking, researching and presenting video art from Africa.

Special Thanks to Patricia Kishishian.

IFEOMA ANYAEJI: Owu (Threading)

------- > 12 November 2015

Skoto Gallery
529 West 20th Street 5FL 
New York 10011

Skoto Gallery is pleased to present Owu (Threading), an exhibition of recent mixed media sculpture by the Nigerian-born artist Ifeoma Anyaeji. This will be her second solo show at the gallery. The artist will be present at the reception on Thursday, September 24th, 6-8pm.

Ifeoma Anyaeji’s recent work continues her exploration of discarded materials. It’s quality and physical nature, placing emphasis on process to activate a meaningful engagement and creative openness that strives to reinvigorate newly acquired techniques and ideas. Her work centers on the idea of up-cycling or concept of material re-use such as the ubiquitous non-biodegradable plastic bags and bottles into something of greater value and unorthodox, eliciting unique elements of ripeness and continuous growth. Using traditional hair plaiting techniques from her homeland, she threads and braids discarded plastic bags into plasto-yarns combined with a strong compositional ability into complex yet lyrical visual narratives filtered through cultural memories and contemporary realities that reflect subtle understanding of context and an awareness of the relationship between function and experimentation.

Ifeoma Anyaeji’s work is dense with visual complexity that reflects an awareness of a vast array of both formal and inherited traditions while exploring their aesthetic, sensual, and visual content to assert a different declaration, and a new way of making art. By imbuing mundane materials, marks and processes with surprising significance and intricate design, her work is transformed into an extraordinary visual poetry with rich textures of vibrations and pulsations that allow the viewer a freedom of imagination, interpretation and emotional response. The exhibition includes a strong selection of new works that are persistently innovative and demonstrate an awareness of the expressive possibilities of abstraction while encouraging us to probe into common elements of the human experience. “Queen Eliza” mimics the wannabe look of a young ‘fashionista’, merging a conspicuous, traditional and almost uncoordinated webbed hair-do with fancy psychedelic heels cropped from colonial fashion, challenging the line between newness and the new. ‘Made in ‘Shina’ speaks the language of an accrued compulsive material acquisition and an architectural build-up of these acquisitions – of course almost all made in ‘Shina’.

Ifeoma Anyaeji was born 1981 in Benin City, Nigeria. She obtained an undergraduate degree in Painting with honors from the University of Benin, Benin City, Nigeria in 2005 and as a Ford Foundation International Fellow, she obtained her MFA, Sculpture in 2012 at the Sam Fox School of Design and Visual Arts, Washington University, St Louis, Missouri, USA. She has participated in several solos and group exhibitions at home and abroad, including ‘Reclamation’, University of Missouri, Columbia in 2012 and Basket Case II, National Gallery of Zimbabwe, Harare, 2014. She was the Washington University in St Louis Nominee for the 2012 International Sculpture Center Outstanding Student Achievement Award. She is in several collections in Africa, Europe and the US. She is in the faculty at the University of Benin, Nigeria, and currently pursuing a PhD program at Concordia University, Montreal, Canada.

Artist Statement

Art is a limitless expressive tool of freewill. Therefore, its visual thoughts can serve to remind us that the limitation of one’s imagination is a limitation to one’s growth. And art devoid of optimistic imagination is art with limitations. As an artist, I have always had an interest in producing artworks that communicate with and integrate elements of and from my environment. This manifests in my choice of medium and style of rendition. My work is about the transitions of culture, the concept of recycling and material reuse, as a review of our cultural attitude to the ideology of product newness, value and the expiration date.

Through my works, I reflect on cultural descriptions of value and value systems drawn from elements that reflect social abnormalities. I am intrigued by process and the use of non-conventional materials as visual medium, like sand, wood and plastic, using the language of lines to transgress meaning and form and to replicate my memory of nature, the social and political. I am interested in the art of Up-cycling is to create a “new value” for that assumed to have lost its “newness”.

My concept of material reuse through the transformation of an object’s physical state, as an alternative to recycling by mechanized chemical disintegration, is to echo the environmental implication of accumulation and the extensiveness of a politicized archaeology of modernity’s consumptive system. This I conceive by creating a complexity of sculptural forms that allow for multiple interpretations of the functionality of an object after it has been consumed. I envisage a multiplicity of uses while retaining the physical state of the discarded object. I choose to work with conventional and non-conventional materials to create flexibility in my creation of forms.

The most recent of my non-conventional media are, two of the main global environmental pollutants, discarded plastic bags and bottles. I chose these pollutants based on their popularity in my home country Nigeria. With these I visually express the narrative of a domestic object’s possible transition from discarded to the aesthetic or functional – the transition from redundancy to utility. This style of art I have called Plastoart, coined from the words plastic and art.

The forms are conceived using the traditional craft skills of loom weaving and Nigerian hair Thread braiding (Threading) to manipulate the initial physical structure of my chosen medium. Braiding and weaving the plastic bags and up-holstering the plastic bottles with the bags enables me to conceive a complexity of sculptural forms that allow for a multiple interpretation of the potential functionality of these discarded mediums. With the spiraled patterned, fabric-like and organic forms I am able to make three and two dimensional forms. Most of the forms I make reference household furniture, architectural structures and fabric, like tables, chairs, wall partitions, tapestry and chair upholstering fabric.

My style reflects the environmental and is art for social engagement - an art for recreating economic value for these wastes. Thematically, I express an interplay of metaphorical themes drawn from traditional folklore, fashion, music and poetry. Used plastic bags may be tagged an environmental pollutant but to me it is a rich viable resource that must be exploited beyond its pre-designed use, even by an artist.

Ifeoma Anyaeji, 2015
Montreal, Canada

Cartel Collective presents John Sanborn

8 October - 1 November 2015

Berliner Allee 146
13088 BERLIN

Dowsing for Divinity , a one-person show of new works by John Sanborn Curated by Stephen Sarrazin

Presented by Cartel Collective

Vernissage: 8. October 2015, 19:00

American video and media art pioneer John Sanborn, whose career spans decades and mediums, will show a series of new media works at Cartel Collective from 8 October to 1. November 2015. This exhibition follows two successful installation shows in France, in Spring and Summer of this year, V + M and Rhyme or Reason. Sanborn combines questions of biography and memory, how we remember, conflicts of identity and who we want to be, of doubt and triumph, all in a form that combine high tech virtuosity, considerations on the use of narrative in the art environment, and a playful sense of irreverence.

Monday, 21 September 2015


September 25-November 8, 2015

Swiss Institute / Contemporary Art New York
18 Wooster St
New York 10013

Curated by Felix Burrichter

Swiss Institute is delighted to present the 2nd Edition of its Annual Architecture and Design Series entitled PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home. Curated by Felix Burrichter, the editor and creative director of award-winning architecture and design magazine PIN–UP, the exhibition channels the visionary irreverence of Le Corbusier for a 21st century take on domesticity.

In homage to the original Pavillon de l’Esprit Nouveau, Burrichter’s exhibition acts as a conceptual show home for the 21st century. Ninety years after the original debuted in Paris, this contemporary PAVILLON DE L’ESPRIT NOUVEAU explores new modes of domesticity, as well as innovation in furniture design, where craft co-exists with computational expertise. The exhibition features over 30 international designers and artists, most of whom are participating with specially commissioned works. All featured pieces bear key elements in either fabrication or material that highlight industrial progress made in the last 15 years such as laser-cutting, 3D-printing, advanced LED-technology, non-woven textiles, and ultra-light carbon-fiber.

In addition to serving as a platform for new design, PAVILLON DE L’ESPRIT NOUVEAU is also an interactive, architectural experience. Divided into softly delineated zones, each increasing in levels of privacy, the exhibition design by architect and artist Shawn Maximo makes use of digital rendering technology and Chroma key compositing. The 21st century show home incorporates scenarios of different domestic environments, exploring the blurred lines in a culture of digital escapism and surveillance.

In the characteristically confident words of Le Corbusier, the Pavillon’s 2015 iteration at Swiss Institute aims to capture “a turning point in the design of modern interiors and a milestone in the evolution of architecture.”

The exhibition will include works by:
Lindsey Adelman, Nanu Al-Hamad, Aranda\Lasch, Alessandro Bava, Josh Bitelli, Camille Blin, Laureline Galliot, Konstantin Grcic, Paul Kopkau, Kram/Weisshaar, Joris Laarman, Max Lamb, Le Corbusier, Piero Lissoni, Philippe Malouin, Shawn Maximo, Jasper Morrison, Jonathan Muecke, Marlie Mul, Ifeanyi Oganwu, Leon Ransmeier, Sean Raspet, Jessi Reaves, Guto Requena, RO/LU, Rossi Bianchi, Julika Rudelius, Soft Baroque, Robert Stadler, Ian Stell, Katie Stout, Elisa Strozyk, Studio Drift, Patricia Urquiola, Christian Wassmann, Bethan Laura Wood.


30 September - 4 October 2015

Haus Der Kulturen Der Welt
John-Foster Dulles Allee 10
10557 Berlin

Short-termism reigns. Today’s decisions lack a future horizon. A constant flood of snapshots feeds the fear of missing out. A never ending flood of new technologies promises to solve all our problems – until the next revelation of the impossibility of tackling deep-seated conflicts through technological management.. 100 Years of Now combines diagnoses of our times with scopes of action, explores the potentials of the past, and unlocks alternative futures. Until 2018, HKW will be probing the countermovement to the dictatorship of the moment. 100 Years of Now. The Opening spotlights the emergence and side-effects of normative notions of time, the planetary entanglement of technological, human, and natural forces, global political conflicts and supposed side scenes of history.

Alev Adil, Sandeep Bhagwati, Lino Camprubí, Jimena Canales, Zachary Caple, Gregory T. Cushman, Rana Dasgupta, Heather Davis, Evelina Domnitch & Dmitry Gelfand, Doom Spa (Roseline Rannoch and Felix Profos), Eisklares Echo (Mia von Matt and Reto Pulfer), Pepe Escobar, Michel Feher, F.S.K., Jennifer Gabrys, Stephan Geene, Avery F. Gordon, Marina Gržinic, Peter K. Haff, Natascha Sadr Haghighian, Orit Halpern, Mark B. N. Hansen, Erich Hörl, Guo Jinniu, Helge Jordheim, Burghart Klaußner, Scott Knowles, Rüdiger Kruse, S. Løchlann Jain, Jörn Leonhard, Donald MacKenzie, Ulrich Matthes, Clapperton C. Mavhunga, Martin Mosebach, Helga Nowotny, Matteo Pasquinelli, Reto Pulfer, Judith Raum, Jürgen Renn, Hans-Jörg Rheinberger, Laurence A. Rickels, Arno Rosemarin, Gwendolyn Sasse, Henning Schmidgen, Birgit Schneider, Katrina Schwartz, Slavs and Tatars, Lucy A. Suchman, Jihan El-Tahri, Thirsty Moon (Ying Le and Paul Sochacki), Wolfgang Tillmans, Trümmer, Margarita Tsomou, Frank Uekötter, Ines and Eyal Weizman, Yang Lian, Yongle Zhang, YoYo, zeitkratzer, Mushon Zer-Aviv amongst others.

Opening Night
Wed, Sep 30

6:30 pm
Bernd Scherer, Director HKW

7 pm
Eigenzeit Revisited
Helga Nowotny, sociologist of science, Zurich, author of "Time: The Modern and Postmodern Experience" (in engl. 1996)

Dialogues in Three Parallel Threads:

8 -10 pm
Speaking from Prison

Within political history prison is not just the site of an immediate experience of state power, it is also a place designed to silence resistance. The letters and books written in prison by political prisoners such as Rosa Luxemburg and Jawaharlal Nehru reflect the calculus of violence of modern societies.

Avery F. Gordon, sociologist, Santa Babara, London
& Natascha Sadr Haghighian, scientist, artist, Berlin
Rana Dasgupta, writer, Delhi, London
& Alev Adil, artist, Media Poetics, Greenwich, UK

8 -10 pm
Dreaming Collectives

Walter Benjamin spoke of the “dreaming collective” of bourgeois culture that knows no history, surrendering itself to the madness of the commodity world. In the history of modernity, projected collective dreams are inseparable from the history of political terror. On spiritual ordeals, media phantasms and forms of exclusion.

Erich Hörl, media theorist, Lüneburg & Laurence A. Rickels, psychoanalyst, author, Karlsruhe, Saas-Fee
Jennifer Gabry, communication scientist, London & Clapperton C. Mavhunga, Africanist, Science and Technology Studies, Cambridge, MA

8 -10 pm
Speaking from the Laboratory

How did laboratories influence the political, economic and social tendencies and events of the last one hundred years? Through which world? On the laboratory as an exemplary site of modernity, on power, control and creation, on man and machine, organisms and mechanisms

Jimena Canales, science historian, media philosopher, Urbana-Champaign & S. Løchlann Jain, medical and legal anthropologist, Stanford
Mark B. N. Hansen, literary and media scholar, Durham & Hans-Jörg Rheinberger, science historian, Berlin
Orit Halpern, media historian, New York & Henning Schmidgen, science historian, media theorist, Weimar

10 pm

Vaterländische Overtüre [Rekonstruktion]


Spaces of Displacement

21-25 September 2015

Goethe-Institut Lagos
4th Floor, City Hall
Catholic Mission Street,

Join us for the public Displacement Conversation on Monday, September 21 at 6pm.

Reframing an Open Wound: Artistic Negotiations of Trauma, Migration, Displacement and Refugeeism

Ndidi Dike (visual artist, Lagos)
Florian Ebner (curator, Museum Folkwang, Essen/ German Pavilion/La Biennale Arte 2015, Venice)
Gabriele Genge (art historian, University of Duisburg-Essen, Essen)
Amaize Ojeikere/Emeka Okereke/ Jumoke Sanwo (photographers, Invisible Borders, Lagos)
Lola Shoneyin (writer, Lagos)

Peju Layiwola (art historian and artist, University of Lagos)

The event takes place within the context of the international workshop „Spaces of Displacement. Negotiations of Refugeeism and Migration in Mass Media and Visual Arts“ on the occasion of the German Pavilion/ Venice Biennale Arte 2015.

 The conference/workshop takes place from September 21–25 at Goethe-Institut, Lagos.

Saturday, 19 September 2015

L'âge D'or Festival 2015

3 - 10 October 2015

9 Baron Horta
1000 Brussels

2015 celebrates the 50th anniversary of Super 8 and so for its second edition, the Âge d’Or festival has chosen to pay homage to the work of the fiercest advocates of this format, too often denigrated and considered ‘amateur’. A format however that has been, and sometimes still is, the terrain of innovative cinematic experiments, full of the constraints that only it can create. And so we propose to discover Saul Levin’s kaleidoscopic visions; Téo Hernandez’ flashes; a selection from Anne Charlotte Robertson’s film diary; Tonino Debernardi’s dreamlike fantasies; and Rose Lowder’s ‘image bouquets’. A varied selection that will give you a (non-exhaustive) overview of different approaches – all singular – to a format that for a long time was the most accessible, the lightest and the cheapest of them all.

Above all, the festival wishes to question cinema in all its diversity, without confining itself to a specific format. And so we also offer a retrospective of films by Warren Sonbert; a tribute to the great documentary filmmaker René Vautier, who passed away recently; the restoration of Adolfas Mekas’s filmed diary, made upon his returning to Lithuania in 1972; or Boris Lehman’s poetic and subjective approach to the Béguinage quarter in Brussels.

In addition, there are 26 recent films, never shown in Brussels, participating in the competition this year – regardless of duration, genre or format. The L’Âge d’Or Prize, worth 5000 euros, will be handed to the director of one of these films.

Finally, this year the festival has again the pleasure of welcoming many guests, including Saul Levine, foreman of the jury; Guy Sherwin, with two performances, including one for children, and many films; Jon Gartenberg who will present the work of Warren Sonbert, as well as Rebecca Baron, Rose Lowder, Tonino Debernardi and Hans Scheugl. Mauricio Hernandez and Michel Nedjar let us discover the films of Téo Hernandez. Moïra Vautier shows her father’s work.

A bold and enthusiastic programme, which hopefully will not fail to surprise us and to arouse the desire to explore the inexhaustible resources of film – more and more.

Full program:

Marcelo Moscheta, 218 a.C.

23 September - 31 October 2015

Galleria Riccardo Crespi
Via Giacomo Mellerio 1
20123 Milan

Riccardo Crespi gallery presents 218 a. C., the second exhibition in Italy by the Brazilian artist Marcelo Moscheta.

The exhibition stems from a residency near Piacenza where the artist deepened his knowledge of the area and produced new works, starting from a specific episode in history: in 218 BC on the banks of the river Trebbia, during the Second Punic War, Hannibal defeated the Romans, thanks to 37 elephants whose traces remain in the local museums.

Through uncommon materials and techniques, Moscheta explores a wide range of concepts, ranging from notion of time and history, to the relationship between Man and Nature, to the everlasting conflict between order and disorder.

Expeditie Noord aka Noorderwijsjes

Sunday 20th September 2015

We start at 2 pm at A Lab with a band and an exhibition. Then, on the bicycle, we visit a couple of known and unknown locations in Amsterdam North, where we enjoy some art exhibition performance music words. We finish the excursion at De Ruimte at 7 pm with a meal and closing program until 9 pm.
Reserve a Expedion North Ticket [10 euro, 30 available]:
Reserve a Meal at De Ruimte:

Participants include Kulter, Ndsm Treehouse, De Ruimte, OFFamsterdam. The rest is kept secret. This expedition is a mixture of our first North Shore Expedition from Juni of 2015: and the twenty-years-young Wijsjes uit het

Address starting point Kulter/A Lab 2pm: Overhoeksplein 2 Amsterdam North


------- > 30 September 2015

International Selection from VIDEOBABEL
VideoBabel International Videoart Festival from Cusco, PERU’

from 1st september to 30 September 2015
only on VisualcontainerTV

We are glad to present the International selection of VideoBABEL, curated by Vera Tyuleneva, curator and director of the Festival.
We will continue with the Latin-American selection on October, so stay tuned!!

Video selected:

Johan Rijpma – Descent (Descenso), 01:28, Países Bajos, 2014
Karl F. Stewart – Video of Shadows (Video de las sombras),07:00, Alemania, 2013
Hugues Clément – Gleam (Resplandor), 01:59, Canadá, 2014
Ezra Wube – Kaled, 06:10, Etiopía/EEUU, 2014
Anton Hecht – Angel in my palm (Ángel en mi mano), 01:15, Gran Bretaña, 2013
João Cristóvão Leitão – Monica’s portrait (Retrato de Mónica), 04:56, Portugal, 2014
Ankit Chiplunkar – Missing artist (Artista perdido), 01:01, India, 2014
Francesca Fini – White sugar (Azúcar blanca), 13:15, Italia, 2013
Gabriele Tosi – The Extreme Challenge (El desafío extremo), 05:01, Italia, 2013
Dénes Ruzsa y Fruzsina Spitzer – Pascal 121, 10:30, Hungría, 2014

About VideoBabel
The VideoBabel Festival is a project with an international reach, founded in 2009 by Dr. Jorge Mora Fernández, Spain (, and based in the city of Cusco, Peru. It is a project focused upon the democratization, dissemination and promotion of audiovisual and digital culture in Peru and other regions of the world. The main goal of this program is, on the one hand, to provide a broader international platform for the diffusion of Peruvian and Latin American audiovisual production, and, on the other hand, to showcase in Peru the latest achievements and experiments to emerge from other parts of the world.

Mg. Vera Tyuleneva
Coordinanadora general del Festival VideoBabel
Docente de la Universidad San Ignacio de Loyola, Extensión Cusco”.
Presidenta de la Asociación Cultural “Charlie Quispe & Co”
Licenciada en historia de arte, Universidad Nacional de San Petersburgo
Master en antropología, Universidad Europea en San Petersburgo

About VisualcontainerTV
International Videoart Web Channel since 2009
VisualContainerTv is the screen to the contemporary videoart world in real time and available to all enthusiast and professional audience, online 24/7 with a special monthly exhibitions.

Spill Your Guts

2-9 October 2015

The Underdog Gallery
Arch 6 Crucifix Lane

An exhibition of artwork to honour the life of Ish Sahotay.

Spill your guts was originally conceived as a collaboration between Artists Ak47 and Charlie Mcfarley as a way to subvert the daily bombardment of advertising we are exposed to. 
Taking that same subversive attitude and transferring it into a gallery setting we are inviting 5 artists of varied disciplines and styles to spill their creative guts over the walls of the Underdog gallery in London Bridge.
Culminating in a showcase of street art, photography, live painting, and video work.

Artists :

Charlie Mcfarley

Mikey Brain

Teddy Baden

Ish Sahotay



Opening night - Friday 2nd October - 6pm - late
featuring an after party hosted by Road To Nowhere. (labyrinth SGP)

Live painting by a host of different street artists will be taking place on the opening night and continued over the course of the weekend - sat 3rd & sun 4th Oct.

show runs from 3rd - 9th October
underdog Gallery opening hours - sat/sun 12-5pm. weekdays 11am - 6pm

This exhibition was originally planned by artists Charlie Mcfarley and good friend Ish Sahotay before his tragic and untimely passing in July.

This event is our salute to a fallen comrade

Thursday, 17 September 2015


24 - 27 September 2015

Kastanienallee 79
10435 Berlin
TEN PEN CHii ART LABOR celebrates 20th anniversary performing "ASO-Bi - Spiel".

"TEN - the heaven, CHi - the earth, PEN - the change, the last i is for other. When the heaven changes, the earth changes as well. Shortly:" Natural Disasters "(Japanese). The Japanese-German art groupe creates performances since 1994. Therein is everything: the twitching human flesh, sounds that become music, colors drawn from the light, installations as a framework and at the same world's draft. Perception is born out of the dance, the space, the light, the music being drawn together and of course the power of images plays its role.
TEN PEN CHii doesn't color the inferno. The group rather finds means of expression to portray the violent relationship of humankind, man-made nature and technology. It does not forget that many of the inventions go beyond the plans of their initiators."(Text: Tom Mustroph).

ASO-Bi- Spiel

Tickets: 15- Euro / 10- Euro reduced.
Reservation:, 030-35120312

director / Concept / Installation / Light design: JoaXhim Manger (DE)
Composition / Livemusic: Zam Johnson (USA)
choreography / Coordination: Yumiko Yoshioka & team
Performance : Natsuko Kono (J), Ichi Go (J), Matilde Javier Ciria (ES), Spiros Paterakis (GR), Tom A-dam (NL)
light: Stephan Lemanski ( D)
Videoart-Documentation: Mario Morleo (DE/IT) Yoann Trellu ( F)
Graphik design: Ollie Peters (DE)
Assistent: Tom A-dam (NL), Yukihiro Ikutani ( J), Jens Zimmerman (DE)
Foto: Klaus Rabien

Special thanks for the big support to: Zam and Ziggy Johnson

Metaphor and Politics: Harun Farocki

--------- > 22 September 2015

Metaphor and Politics:
The Tehran Retrospective of Harun Farocki
Curated by Reza Haeri

September 4 – September 22, 2015, 4-8 pm
Exhibition Opening: Friday, September, 4, 2015 – 3–10 pm

SAZMANAB in collaboration with ag Galerie proudly presents the Tehran retrospective of German filmmaker Harun Farocki's work.

The following works will be exhibited part of Harun Farocki’s retrospective at Sazmanab:

Inextinguishable Fire (Nicht löschbares Feuer)
West Germany | 1969 | 25 min | B&W
"When napalm is burning, it is too late to extinguish it. You have to fight napalm where it is produced: in the factories."

Interface (Schnittstelle)
Germany | 1995 | 23 min | Color
Reflecting on Farocki's own documentary work, the video examines the question of what it means to work with existing images rather than producing one's own new images.

Dubbing (Synchronisation)
Collaboration with Antje Ehmann
Germany | 2006 | 3 min | Color
A solioquy by Robert de Niro. The ever same image, the words in seven languages.

On Construction of Griffith' Films (Zur Bauweise des Films bei Griffith)
Germany | 2006 | 9 min | Color
Reproduction of a sequence from Griffith’s Intolerance (1916) where Farocki analyzes the narrative form of shot/counter shot.

Serious Games III: Immersion (Ernste Spiele III: Immersion)
Germany | 2009 | 20 min | Color
Farocki is interested in the use of virtual realities and games in the recruiting, training and also therapy for soldiers.

Harun Farocki was born in 1944 in German-occupied Czechoslovakia, the son of an Indian migrant and a German mother. After World War II, he grew up in India and Indonesia, before studying at the German Film and Television Academy in West Berlin from 1966 to 1968. Harun made more than 90 films, the majority short experimental documentaries. He also exhibited more than 30 art installations at galleries worldwide. Harun passed away in July 2014, at the age of 70.

The Tehran Retrospective of Harun Farocki is collaboration between SAZMANAB and ag Galerie, curated by Reza Haeri and made possible through the generous support of The Harun Farocki GBR and Goethe Institut in Tehran.

No. 2, Roshan Manesh Alley, Khaghani St., Bour Bour St., South Mofatteh St., Haftetir Sq., Tehran, Iran


Wednesday 16 September 2015

621 Huntington Avenue
BOSTON 02115


A program of moving image work by Steve Cossman

" The world, on both the micro and macro level, is constantly moving within a framework of units this irrepressible flux of time is the nexus of human experience and perception. Investigating the quantification of this motion through a reordering of various elements, I employ universally recognizable imagery within a patterned visual language. Often using time as a structure, the ‘natural’ rhythm of life is altered to create a resonating interval. This visual discord allows the viewer to reconsider established perceptual relationships. Materials for these works have been sourced from refuse and re-organized to speak to their own degradation. " - SVC

5 min / 16mm color / optical sound / 2007-2009
Sound element by Earthen Sea (Jacob Long, Imminent Frequencies/Lover’s Rock)

The work presented is a reflection on humanity’s ecological relationship. The violent pulse speaks with a sense of urgency and chaotic struggle while the hypnotic arrangement keeps us in blinding awe us to its condition. The collage films are composed of 7,000+ single frames, which were appropriated from view-master reel cells. Each frame was hand-spliced to create a linear film-strip using musical and numerical patterns to compose visual rhythms. WHITE ROUGHAGE (below) is the raw optically printed footage used to create the companion piece to TUSSLEMUSCLE, entitled W H I T E C A B B A G E .

12 min / 16mm color / optical sound / 2010
Sound element by Daniel Caldas (ex. Black Eyes, Dischord Records)

To expedite the transfer/loading speed of representational images online they are assigned a low resolution of 72 dpi. In the “de-res” process, a considerable amount of visual information is labeled unimportant and discarded by software. I worked with a programmer to create PHP code in order to read a thumbnail image from left to right, top to bottom, placing each pixel’s color as a full frame of the same color along the timeline. The sequence of frames plays out at 24 frames per second. In the same way that the persistence of vision creates the illusion of smooth linear movement in frame-by-frame animation, the mind is able to re-instate some of the lost visual/color information. Concurrently, the static composition of the photographic image dictates a pattern in time. A vertical line will appear at the same place in time repeatedly creating a “beat” while horizontal lines and forms become an undulation. Composition of form creates visual rhythm.

12 min / Super 8mm color negative to DV / digital field recording sound / 2014
Sound performance element by Ei Wada, (Sony Music, Japan)

A document of the environment created by artist Ei Wada. Wadasan re-wires obsolete Braun-tubed TVs to function like a theremin. Performing in the dark, he creates a unique audio/visual experience using VHS cassette tapes with distorted image output to control frequency and uses his own hands to control amplitude. I conducted an interview with Wadasan and filmed two performances; one in Germany, the other in Japan. Based on our conversations, I created this short piece that emphasized his grassroots approach to instrument making and reflected his own concepts about performance as art. The footage shot in Japan was captured during the last hour of signal broadcasting in Tokyo.

5 min / 16mm color / digital sound / 2013
Sound element by Ryan Marino (Remnants, Imminent Frequencies)

3 min / 16mm color / silent / 2013
Silent motion studies.

10 min / 16mm color / digital sound / 2013
Sound element by Jahiliyya fields (Matthew Morandi, L.I.E.S.)

Steve Cossman is founder and director of Mono No Aware (est. 2007); a non-profit cinema-arts organization whose annual event exhibits the work of contemporary artists that incorporate live film projections and altered light as part of a performance, sculpture or installation. In 2010 he helped the organization establish a series of analog filmmaking workshops that has grown to include an equipment rentals program, a film stock distribution service, an in-person screening series entitled Connectivity Through Cinema and the New York Library of Cinema (NYLoC). Steve’s first major work on film, TUSSLEMUSCLE, earned him Kodak’s Continued Excellence in Filmmaking award at F.L.E.X. and has screened at many festivals and institutions internationally. In 2013, he completed residencies at MoMA PS1’s Expo 1 and the Liaison of Independent Filmmakers of Toronto. In 2014, Brooklyn Magazine named SteveCossman one of the ‘Top 100 most Influential persons of Brooklyn Culture.’ He has been a visiting artist at Brown University, Dartmouth, the New York Academy of Art, Yale, SAIC, and UPenn. Steve’s recent work on film, W H I T E C A B B A G E (2011-2014), a collaboration with Jahiliyya Fields of L.I.E.S., had its U.S. premiere at Anthology Film Archives. He currently lives and works in Brooklyn as a director, curator, visual artist, educator and

Programmed by Saul Levine, FILM SOCIETY is a screening class for MassArt film students open to those who are interested. We hope to provide access to films and videos not often shown at other venues.

Massachusetts College of Art & Design
Film Department Screening RM 1 | 621 Huntington Ave. Boston MA 02115 Enter MASSART through the South Building, Admissions, on Huntington Ave. Suggested donation is $4 at the door and free to the MassArt community with their ID.
Donations are used to give visiting artist something for their expenses of coming to show their work.