The audio-visual collection
This unique audio-visual collection (soundart & videoart) is encompassing about 80 works as a basis for commemorating – the future. By facing the Whole, it is the curatorial concept to create the unity of an image through the diversity of artistic concepts, symbolizing the natural diversity, as well as the diversity of aspects forming finally the fundament of what is called “the climate”. But artists are neither scientists or politicians, therefore they do not offer solutions for a complex matter, which only slowly is recognized as such by the majority of people. What artists can do is reflecting, and by stimulating & encouraging, changing, in the best case, awareness by sensitizing the viewer or listener through the art work. Based on such an awareness itself, additionally each artistic contribution is representing a piece of solidarity to those who suffer from climate change.
° and so we heard them melt’ poses an ongoing project primarily focused on listening to and capturing the sounds of melting glaciers. It has been rooted in a personal interest of exploring the importance of soundscape and the matters it can sonify. The project consists of multiple layers and evolves around a diversity of actions – from deep listening and collecting hydrophone recordings in Greenland or Iceland, to artistic research on how one can absorb and correspond to such sonic landscape, and furthermore, to exploration of what matters it can sonify – from ecological grief to tourist industry glamourising climate change.
moltamole: sound artist, composer
artist statement: sound poses a medium via which I let myself explore and absorb external environments, as well as sonify inner, emotional landscapes. the intimacy of my sonic meandering is often imbued with field recordings, voice, noise and poetry. prone to flickering and restlessness, I tend to move in order to explore new habitats.
/ ½ VGN FRST, currently based in Copenhagen /
The area around the pyramids, Nazlet El-Semman, is controversial. The Egyptian government has recently approved a plan for the demolition of numerous buildings, unauthorized houses and shops that besiege the archaeological site. These buildings, the government say, disrupts the image of the wonders. Demolishing them only adds to the impact noise pollution has played in disrupting the environment.
See the nine, highlights the role that tourism, consumerism and technology have played in disrupting the natural acoustics of the ancient wonders of the Pyramids of Giza in Egypt. The field recording, brings us back to the reality of a community that is living on the tourist value of the pyramids, one with a contemporary, hectic, noisy soundscape that is totally dissonant with the western imaginary of that area.
Lauren Bickerdike’s practise primarily centres around sound within the context of location. Her work focuses on the influence audio has in presenting accurate depictions of urban and rural locations developing from field recordings taken and documented primarily throughout European and African towns and cities.
Lauren is an Irish, Limerick based, multimedia artist. She is a graduate of Limerick School of Art and Design where she received a BA honors degree in Fine Art specialising in Sculpture & Combined Media. Lauren has most recently exhibited in Peak Show, Limerick, Ireland, Hark! Cresson is 40, Grenobles, France and Radio Papesse, Florence, Italy.
Earth Cries (for Vietnamese gong, taiko, bianzhong, shakuhachi, voices, bowed cymbal, ocean drum, and field recording of bell bird’s calls) is a lamenting reflection on the deteriorating state of the Earth due to human activities over the years. How many people have been listening to the cries of the Earth from the cracking sounds of dry lands, the weeping of dying rivers, and the wailing of storms? When will human begin to take these cries seriously?
Le Tuan Hung is a composer, performer and author. He is a multi-instrumentalist with a strong background in Vietnamese traditional music and Western classical music. Since the late 1980s he has been active in creating acoustic and electro-acoustic compositions which transcends the cultural borders between East and West. His works have been created for a wide range of instruments, ensembles and media, and were released on Move and NMA labels. He is also the author of various publications on Vietnamese performing arts and is regarded as an expert in Vietnamese musicology.
Music composed using recorded underwater sounds from the Great Barrier Coral Reef off Australia and classical instruments to raise environmental awareness and push towards political climate change, by highlighting the similarities between corals and humans in stress management.
Dide Akseymen is an award-winning writer, composer and artist.
This piece consists of public domain field recordings sourced from freesound.org and archive.org. I have layered and mixed different ice cracking samples, with reverb added to increase the spatial mass. The sound of waves creeps in, slowly building to a loud climax as the ice sounds crescendo and dwindle. As the ice disappears, the ocean grows more intense. John McVay (USA) – Harness the Wind, 2019, 2:09
Harness the Wind is composed of public domain field recordings of wind turbines and also an “arctic wind” sample to accentuate the wind motif. The sound of the turbines is massive, mechanical, almost terrifying. They sound malicious, yet they are an attempt to circumvent traditional, polluting methods of harnessing and generating power for humans.
John McVay works in sound, collage, and print with works that discuss capitalism, control, and the stress that comes from not living up to idealization. Using pre-existing language against itself, the stage is set for making connections across differing experiences of the same media stress. Currently based in Las Vegas, Nevada, McVay has spent most of his life between Phoenix and Tucson, Arizona. Experimental music collaborations with other sound artists and video artists, collage installation, and found-object assemblage are part of McVay’s current artistic focus.
When I tried to imagine the deep ocean and beautiful sky via electronic instruments. \ I, the submitter/author, declare to be the holder of all rights on the submitted work. In case the work is selected, I give – until revoke – The Wake Up! Memorial the permission to include the work in the project context online and in physical space for screenings /exhibitions and the use of sound
Methas Chantawongs is a Thai writer, video and sound artist, based in Bangkok, Thailand. He graduated in the B.F.A. Film and Digital Media at KMITL in 2016. Methas started to work as a script writer and music composer of amateur stage play when he was in KMITL. His first experimental film “Interference” for graduation project has been selected and awarded in festivals. In addition, he was a sound designer in “Teun” short animation film. Currently, Methas is interested in new media and sound art that he tries to communicate with the audience.
“Forêt-Noire” (Black Forest) is an acousmatic drone music composition ; a dark and eerie soundscape crossed by nocturnal noises, unidentified fauna and mysterious forest spirits…
Guillaume CHAPPEZ is a French musician, composer and sound artist. His work on sound/media (electroacoustic, audio design, sound installations, interactive and multi-media sets…), aims to express ambient and resolutely futuristic qualities that reach out to new musical and technological territories. Its works and compositions are shown internationally : Nuit Blanche Paris, France – 2009 ; New York City Electroacoustic Music Festival, USA – 2016 ; Moscow International Biennale for Young Art, Russia – 2010 ; Art Souterrain Montréal, Québec, Canada – 2012 ; Colourscape Music Festival London, UK – 2014 ; etc.
technical details: Klangminiatur (sound miniature) und Standbild (still: m4v, 720x540p, H264, 1:04 min Laufzeit)
The bristle surface beneath your feet opening, breaking and tearing apart, as waves and water and debris rush into the unstable vessel. Resolute and full of life: the protagonist, vehemently gurgling water and inarticulate sound. Possible meanings concealed (withheld), contained and spluttering, gurgling inside and out.
The raw, grinding, splashing, dirty, gurgling sound at the base of Timo Kahlen’s sound work “F O O T P R I N T” (Nr. 2, 2017) allows for multiple and complex references – metaphors of erosion and pollution, of dissolution and instability, of fragility and chaos, of refugee crisis in the Mediterranean and radical environmental change, come to mind -, and engages the viewer to immerse in the acoustic and visual contrasts and analogies at the base of the work.
The corresponding photographic image, an integral part of the installation, presents an abstraction, a detail of a viscous fluid with a fragment of dark matter suspended into or projecting out of it.
Timo Kahlen – Sound sculptor and media artist Timo Kahlen (*1966 in Berlin) chooses to work with the ephemeral: with wind and steam, with pixels and dust, with sound, noise and vibration. His work has been featured in more than 180 national and international exhibitions.
For ten days in September, I joined the Hebridean Whale and Dolphin Trust on a voyage around the Hebrides. This short work-in-progress represents a day “on effort”. Awake on the shores of an uninhabited island with the snapping sounds of shrimp beneath the waters. Listen to the amplified strains and groans of the vessel in swell then drift asleep to the eerie howls of grey seals; perhaps register the echolocation of Risso’s dolphins or distant pulse of minke whales. The seas are awash with sounds, revealed through acoustic technologies. Much is anthropogenic noise, persistent throughout.
David de la Haye is a musician, field-recordist and studio experimenter. His latest projects often utilise 360-degree audio techniques, merging concepts from acoustic ecology with his past work exploring the aesthetics of failure in digital composition. His last site-specific project involved 10-days sailing around the Hebrides as a citizen-science volunteer whilst recording cetacean and environmental sounds. Past collaborators have included Architectural researchers, contemporary dancers and several bridges.
David was born in Jersey but now lives in the cathedral city of Durham. He is part of an award-winning Technical team at Newcastle University.
Elissa Goodrich (Australia) – Beneath_Above – Playing with listening, 2018, 7:33
(Movement One from the ‘Antarctica Trilogy’)
Beneath_Above – Playing with listening (2018), is movement one of three from Elissa’s sound-art ‘Antarctica Trilogy’. It features Antarctica hydrophonic field recordings of Weddell Seals below the ice, and accompanying sound (vibraphone/percussion) ‘above’ the ice. The seals communicate constantly using over 50 different calls. Ursula le Guin in “Telling is Listening”, insists:
“Words are events, they do things, change things. They transform…speaker and hearer; they feed energy back and forth and amplify it. They feed understanding or emotion back and forth and amplify it.” In Beneath_ Above ‘words’ are replaced with sounds.
Sound Credits: Hydrophonic and Field recordings – Gabby O’Connor // Percussion (vibraphone & drums) – Elissa Goodrich // Music composition, sound art by Elissa Goodrich
Percussionist, composer Elissa Goodrich’s sound-art plays across Europe and Australasia. 2x nominee for Australian Jazz Work of the Year, Elissa’s Forgotten Songs of Flight in duo with cellist Caerwen Martin performed at National Opera Center (NYC, New York, US) (2017). This year Elissa’s ‘One Data Day’ with artist Gabby O’Connor (NZ) played at MADATAC Festival (Spain), her sound-art premiered in Samah Sabawi’s THEM (Aus.) and in site-specific Uncle Vanya (director Bagryana Popov) for Adelaide International Arts Festival (Aus.). Elissa is composer-recipient of APRA AMCOS Art Music Fund for her Gene Tree Project (2018-2022) a large-scale work inspired by climate science.
‘cHatTer’ is essentially presented in two parts, with the primary source of sonic material for the first part being open air and hydrophone recordings of icebergs and
iceberg fragments as they melt, collide and dissolve. The second part of the work places these sonorities alongside close-microphone recordings of the
Barquentine sailing ship I travelled throughout the region within.
The title itself refers to the beautifully crisp and articulate sounds emitted by icebergs, where I was struck by how much they (seemingly) ‘chatter’ with both one
another, as well as with the surrounding water and coastline. I found that, when approaching the icebergs from an underwater recording perspective, they
became even more vocal, chirping, popping, snapping hissing and gurgling constantly. The ship also seemed to chatter ceaselessly as it interacted with the ice,
water, wind and even crew, producing sharp friction-type sounds alongside the motion-bound sounds of the hull on the waves and other shipboard sonic
miscellany. It should also be mentioned that, in the second section many of the sonorities generated from the field recordings become increasingly fictionalised,
attempting to portray the types of vessels that usually travel within the region (both by air and sea). The title also suggests the involuntary physiological response
prompted by extremely cold temperatures; the rhythm of teeth chatter!
Daniel Blinkhorn is an Australian composer, sound and digital media artist currently residing in Sydney. He is an artist who works expressly in the medium of music composition, environmental sound and technology. Central to his artistic language is the cross pollination of music, ecoacoustic’s, biomimetics, technology and the natural environment. At home in some of the world’s most isolated and extreme environments, or within state-of-the-art compositional facilities and performance spaces, his art provides the audience a chance to contemplate the richness, diversity and extreme sensitivities of habitats and diminishing ecologies.
He is currently lecturer in composition, digital music and media at the Conservatorium of Music, University of Sydney. He is an ardent field recordist, where he has embarked upon a growing number of recording expeditions throughout Africa, Alaska, Amazon, West Indies and Cuba, Northern Europe, Middle East, Mexico, Madagascar, Australia and the high Arctic/ North Pole region of Svalbard.
Daniel’s creative works have received international and national composition citations at important competitions.
Majella Clarke (Australia) – Marimba in the Snow, 2019, 5:25
Daily snow depth data was used to construct the data visualisation and sound composition for the three sites where the data was collected in Finland. The music sonifies rapid snow melt and long intermissions of no snow days during the snow season October to May in Finland 2018-2019. The data was filtered through a divisional musical algorithm assigned to Marimba, being an African instrument. Each site of data collection, the algorithm is altered the produce a unique, but coherent sound composition for that site. By combining data visualisation with data sonification on climate change, the work hopes to evoke more emotion in the numbers. The work can be performed live on a Marimba in the Snow, or through an audio recording with the data visualisation making the work soundart.
Majella Clarke is an Australian Conductor, Musician, Artist and Sustainability Specialist based in Finland. Between 2009-2016, she served as a negotiator under the UN Framework Convention on Climate Change. She has led many projects around the world addressing issues on climate change. In addition, she regularly conducts new music and composes. Recent achievements include winning the 2018 Vienna Waves Music Festival Hack Day sponsored by Universal Music Studios, and an artist residency at the Espoo Museum of Modern Art, Finland. Majella holds degrees in Science, Economics and an MBA, in addition to degrees and diplomas in music.
Wilfried Agricola de Cologne (Germany) – Dawn, 2017, 6:40
Climate Change: The film is reflecting the shrinking recourses of water as a cause for flight and migration.
The video combines original footages shot by Agricola de Cologne in Morocco & Israel with found footage.
Agricola de Cologne is a mediartist and curator, his videos shown since 2000 on festivals, museums and galleries received prizes and awards.
Pierre Ajavon (France) – Forever Change, 2019, 2:50
Forever Changes”, we are living under a flood of catastrophic daily news announcing armageddon, the climate change will be televised…
« Look, we’re going round and round…» Arthur lee (Love, the Daily Planet)
Pierre Ajavon is a visual artist, composer, musician, and a sociologist whose main area of research was a psychedelic movement and its cultural impact, Pierre Ajavon moved into video art when he saw the possibility of bringing the sound and moving image together.
He produced many experimental short films which he filmed, edited, and provided with a musical production.Pierre Ajavon speaks his language of sounds and images that is understood without translation into words.He lives in Paris and exhibits internationally.
Short conceptual video about our human nature and our interaction with and effect on the environment. Filmed in North-Macedonia as a Colony Galichnik production.
Maureen Bachaus – > Academy of Fine Arts, Maastricht (NL) > Conceptual Post-graduate Academy, Amsterdam (NL)
As a concept developer, Maureen Bachaus is the creative mind behind cultural, curatorial and conceptual art projects throughout Europe. Her work as a conceptual artist, which focuses on the human psychology, is presented by Gallery Kunstkomplex (DE, CHE), Exit11 Contemporary art and Gallery S&H De Buck (BE) and Gallery O-68 (NL). Essential themes throughout her work are the human psyche and the human identity in relation to our society. Maureen visualizes these themes through photography projects, performances, video- or multimedia projects, installations and sculptures.
Patricio Ballesteros Ledesma (Argentina) – Never Stop Sowing, 2018, 11:54
These are some pictures I took in my little urban yard. There are my seedbeds, trees, plants and some insects. From the age of 15 I plant seeds of native species and grow plants, today I am 50 years old and I still do it. You can do it too.
Patricio Ballesteros Ledesma – artist, audiovisual producer and journalist of Buenos Aires, Argentina, since thirty years ago. He studied social communication, made courses of Film and Video, produced more than 150 video art and experimental shorts, including digital editing and soundtrack, and also takes photos and composes music. His works were selected and screened at cinemas, auditoriums, galleries, museums, culture centers and festivals in Argentine, Australia, Brazil, Bulgaria, Dominican Republic, Finland, France, Israel, Italy, Japan, Mexico, The Netherlands, Saudi Arabia, Spain, UK, USA.
Cine-poem, based a poem by Alicia Ostriker, tackles the most pressing issue of our time – climate change.
The primordial Greek goddess, Gaia, the ancestral mother of all life and the personification of earth, is lamenting our ingratitude and the destruction of the planet.
Tova Beck-Friedman – An artist, filmmaker, curator and a writer, her work has been shown in festivals, museums, galleries and on television including: The International Artists’ Museum, at the 50th Venice Biennale; The National Museum of Women in the Arts, Washington DC; FIVAC Camagüey, Cuba and The Jerusalem Cinematheque; While AT THE ALTAR OF HER MEMORIES was broadcast on Israeli Television, A PORTRAIT OF THE ARTIST AS AN OLD(ER) WOMAN was aired on US PBS.
I filmed prunus flowers, also called cherry trees of Japan. The images are worked by glitch moment to create electronic failures and errors, in order to disrupt the image of this beauty. I asked OK GOOGLE about philosophical questions: around the question of evil, of good, of the common good, and of violence.
Marie-Paule Bilger – Through my childhood I followed classical dance training at the Conservatory and after my baccalaureate degree I enrolled into medical school in Strasbourg. I dropped everything, I started studying visual arts and followed the painting course at the Decorative Arts of Strasbourg: why? An absolute necessity. I wondered for a long time why had I not made a career as a dancer: it was the competition that made me run away.
Claudia Borgna (Italy) – L’ultimo Accordo I, 2016, 06:05
Playing a Harmonica made of plastic bags
Claudia Borgna – Born in Germany and raised in Italy, Claudia Borgna’s work has been awarded internationally. Her academic formation developed at the University of Genoa in Italy, at the London Metropolitan University in the UK, and at Otis College of Art and Design in Los Angeles. Through installation, performance and video art, Claudia explores her ecofeminist sensitivity while reflecting on the political, social and environmental functions of art and culture making.
Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought-stricken areas of the world.
Brit Bunkley – International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at the Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. Recent group exhibitions of his video include the “Stories of Rust,” at the Tauranga Art Gallery, Tauranga, NZ, 2018-2019 and the Sculpture on the Gulf 2019 (video in a shed) at Waiheke, Auckland, NZ.
Aśānti (Discomfort) Wake up! is an experimental 2D/3D computer animation exploring the disruptive effects of technology on nature in the Global South. These effects are especially acute in the technology-focused “Garden City” of Bangalore, home to a panoply of technology companies, and Goa, an Indian state known for its pristine beaches and lush jungles, that aspires to attract high-tech business to its natural environment. Burns’ audio and visual recordings taken on site in Bangalore and Goa invite viewers to question the modernist metanarrative of progress and examine the differing perspectives on India’s adoption of economic models that privilege technological innovation over the preservation of nature.
David R. Burns is a digital media artist who explores the relationships between humans, technology, and nature in his creative-research. More specifically, he focuses on the tensions between technology, culture, and nature in the public and private spheres; mediating memory and post memory; and participatory self-expression through visual music. Burns takes an interdisciplinary approach to creating digital media art by combining computer animation, 3D modeling, 3D printing, sound design, interactive media, and physical computing to push the boundaries of artistic expression. In addition to creating hybrid projects that are both artistic exhibitions and scholarly publications, Burns publishes scholarly essays where he contextualizes his artistic projects and critically analyzes contemporary issues in media arts.
It is a video-performance on climate change, global warming, forest fires … It refers to the impact of human activities on the planet. A being of medieval legends appears who detects the dangers and warns us of our insanity to separate nature and culture.
This video performance is a kind of ritual, where the impact of human activities on the planet is personified: the poisoning of the seas and their living beings, due to the plastics
we discard. We may need a being of medieval legends again, to detect the poisons in the waters and purify them. And unite nature and culture.
Laura Cabrera Díaz and Sira Cabrera Díaz are born in Cáceres, Spain, in 1947. They are twins. Both are licensed in Fine Arts by the Complutense University of Madrid. And they
have dedicated themselves to the teaching of Plastic Expression, at the same time that they made exhibitions of painting, sculpture and engraving. Since 2009 they have made 34 video art pieces and participated in more than 100 international video art festivals.
Canaries in the Mine is a four-part essay on the grossly out of balance relationship between our rapidly evolving digital and technologic world and our degenerating natural world. In Canaries in the Mine, part 4 the co-mingling natural and technological worlds are visually transformed into a digital archive. As attempts to replicate the natural world with technology collapse, the landscape falls into the language of abstraction. These images, including footage from Google Earth, show a natural world that has been altered by climate change – a referent lost to time – that the medium of video can no longer find and record.
Lana Z Caplan’s films are often inspired by notions of utopia and the present day relationship of history to particular geographies. Much of her work explores the implications of the social landscape on the physical landscape. Her work has been shown at festivals and museums around the world. Recently relocated from New York to California, Caplan is currently an Assistant Professor at Cal Poly in San Luis Obispo, CA.
COMMON TIME is a circular representation of our Anthropocene. Bookended by Muybridge’s motion study of a man running in relentless tempo, it unfolds in musical chapters — epiphany of selfhood, abstracted fall through time, expansion / contraction of an urban housing development, tango of common time phrases. The culminating heart is a found-word poem assembled from a city’s streets & byways. A snapshot of human traces, of disconnects, abandonments, requests, pressure points, cracks, uncertainties, rebellions, make or break moments; COMMON TIME asks: Are we at the end of the beginning, or is this the beginning of the end? Where do we go from here?
Carmody/Goodrich (Aus) collaboration in audio-visual works spans over 15 years. Their sound-art-video works have exhibited in Australia and Europe.
Michael Carmody is a video artist. He works with main stage theatre companies in Australia. As filmmaker, his work includes documentary shorts, experimental shorts and video installations that have screened nationally and internationally.
Percussionist, composer Elissa Goodrich’s sound-art plays across Europe and Australasia. Elissa works across artforms, in theatre and in contemporary jazz, classical and pop idioms. Elissa is a current composer-recipient of APRA AMCOS Art Music Fund for her Gene Tree Project (2018-2022) a large-scale work inspired by climate science.
St. Louis birds share their views about the environment and the sociopolitical climate.
Zlatko Ćosić is a video artist born in Banja Luka, Yugoslavia. Ćosić’s work spans a number of disciplines, including short films, video installations, theater projections, and live audio-visual performances. His work relates to issues of identity, immigration, and the complexities of living in unfamiliar cultural environments. Ćosić’s artwork has been shown in over fifty countries, for which he has received a variety of recognition.
Nance Davies (USA) – ‘Fugue (a storm is blowing from paradise….walter benjamin), 2016 , 3’39”
part of the larger ‘Fugue’ project. This on-going project again references the musical form ‘Fugue’ – in which multiple themes are introduced, inverted, and enunciated by several voices in turn. This video examines and responds to the overwhelm of toxins on our environment – particularly to bees and colony collapse.
Nance Davies is a Boston based, interdisciplinary artist and curator whose work explores the impact of mass-mediated culture and consumerism on all eco-systems. Recent work explores the poetics of the ‘everyday’ gesture and the transformative role of empathy and sustainability. Davies studied at Yale School of Art and received an MFA from Mills College in Oakland, CA. She has exhibited in New York City; Boston; Vancouver, BC; London; Melbourne; Dublin, The Netherlands; Istanbul, Athens, Cyprus; Johannesburg, Manilla, Philippines; Seoul; just to name a few.
Sivana Dunat (Croatia) – The skies will always be above , 2019, 3:25
The video deals with the issue of excessive construction of apartment buildings in Croatia. These apartments are mostly meant for tourist rent and often do not issue out of any urban planning that would be beneficial to the citizens. On the contrary, such construction systematically destroys nature and non-urban areas. In the wild capitalist frame of mind that is adopted by the Croatian people not so long ago green areas are understood as useless waste of space; they cannot be rented and therefore cannot earn any money. This is best experienced in winter when most of these apartments are empty and their windows devoid of any sparkle of life.
Silvana Dunat – I was born in Zadar, Croatia. I hold a University degree in the English and the French language and literature and also in Film and video. My scope of interest includes video, film, photography and film theory but also creative writing and poetry. It is hard for me to say what is at the source of my artistic expression, a word or an image, and my creative process usually includes both media. I explore the forms of visualizing the verbal in my poetry videos but also, I use photography and video as a source of inspiration for my poetry.
Glacier Sans is a variable width typeface made of ice from the Ilulissat Glacier, Greenland. As the ice leers melts they go trough a full range of weights – from extra bold to extra thin. How can we repurpose inevitable processes?
Jonas Ersland (1991) works as a photographer and visual artist. He received his BA in graphic design at Weerdals School of Communication (NO) in 2013, and his BA in indurial design at Design Academy Eindhoven (NL) in 2017. In his work he examines societal phenomena and human activity from a documentary point of view, using familiar images and stories as a point of
departure for his research into the underlying mechanisms surrounding us. In 2017 and 2018 he was the co-producer of the Disko Arts Festival, Greenland, an international arti residency programme addressing national identity and post colonialism in the arctics. He is a fellow at the ZK/U Berlin residency programme starting 2020.
Gwendolyn Audrey Foster (USA) – Memento Mori, 2017, 6:34
“memento mori” is a series of living digital paintings; memories for planet Earth and a celebration of Nature and Life itself. A digital altering of time and portraiture: eco-feminist and Buddhist
philosophy meet Romantic Structuralism. Living vanitas remind the viewer of the fleeting and ephemeral nature of our fragile planet – in the face of climate change that destroys the Earth. I hope to inspire and promote radical celebration of Nature and Love of life itself. I embrace this beautiful planet and cling to the hope that it will survive human beings, a destructive and invasive species.
Gwendolyn Audrey Foster is an experimental film/video artist, composer, author and Willa Cather Professor of Film Studies at the University of Nebraska. A radical queer theorist and filmmaker, originally from New York, Foster is author/editor of many volumes on experimental film, women in film, lgbtq+ cinema, and studies of film & popular culture. Her documentary, “The Women Who Made the Movies,”(1992) is distributed by Women Make Movies. Foster’s experimental films and video art installations have screened around the world. Her work is collected by the UCLA Film & TV Archives.
2Rabbits makes a visit to the human civilization following the trail of Dante to Purgatorio.They marvel at what they see, end up in misfortune but manage to move on in their exploration of humanity.
Sofie Kristina Frank – Video, animation and performance artist.
Mervi Kekarainen – Performance artist and documentary filmmaker.
Making of or footage of performance captation? This summer in scandinavia, and around, was about lack of balance in temperature and flow with an impact for our environnement which will last decades.
As a dancescapist used to set residency in random spot, it was obvious in Malmö that it won’t be at Turning Torso but at the japanase garden. Influenced i guess by my recent lecture of Banu Georges on the topic of life through theater in japanese tradition.
Adrien Gaumé – French nomadic butoh performer and facilitator europeanwide since 2012.
It´s a metaphoric work without a direct statement and instead approach the subject with different interpretations . Water is constantly floating life but also a constantly floating threat.
Through the climate change places will dry out and run out water. On the other hand location already or will be devoured by rising sea levels . No to talk about devasting floating caused by weather.
Johannes Gerard – Studied at School of Printmaking and Design , Cologne, Germany and Dun Laogharie School of Art and Design, (IADT) Dublin, Ireland. During his art career lived and worked among others in Ireland, Spain, Argentina, Taiwan, Australia, India, Russia, Armenia and Mexico .Lives in Berlin, Germany and The Hague, Netherlands .Since 1981 participation in exhibitions, projects, video/film festivals including : Europe, Far East and South Asia, Australia, North and South Americas and Africa. In 2012 first video installations. In 2014 first video films. At the same time became interested in performance arts. Since than conducted several video and performance collaboration projects with artists from Taiwan, Russia, Netherlands and Germany.
Utilizing references from both reality and the world of art, several time-periods are merged into one, which displays an imbalance between nature and civilization, moving from a utopian to a dystopian landscape. The film test 4.1 is based on the 1557 engraving “Big Fish Eat Little Fish” by Pieter Bruegel the Elder.
A large gasping fish and other mutated characters move in a landscape derived from documentation of the Grenland fjords seabed. In some places, the fjords are heavily polluted by industry and shipping traf fic. As an experiment, certain areas have been activated with the use of coal to reduce the impact of the pollution. Coal is a material that can both pollute air, purify water
and be used as a drawing tool to create art.
(Test 4.1 was made on commission for the Greenlight Art Festival in Grenland in 2017 and was screened at The Minimalen Short Film Festival in Trondheim in 2018, as part of the program for the
Nordic film competition.)
Stine Gonsholt is an visual artist and filmmaker working within the field of video, photo, animation and sound installations, in parallel with collaborative projects including documentaries and
experimental video. She has also produced a series of public commissions and artist books (Spriten Forlag). Gonsholt’s projects deals with questions related to development. Changes to local
communities as a result of global development is a central theme.
The Positive Value of Powerlessness’ is a durational project, in which the artist commits himself to meet the internet for the next thirty years. The aim of the project is to document the places where the internet lands and lives, the project mimics the very procedure of automation and storage by uncovering the infrastructure of the network. Guzmán deals with nostalgia, cultural resistance, and the complexities of leading a life in an increasingly digitised world. His actions are linked to the most primitive physical, emotional and financial needs of survival and self-preservation.
Julio holds a Master’s Degree in Fine Art from Academy Valand, Bolivian-born although he was raised all over the place mainly in Spain, where he got his Bachelor’s Degree in Fine Art.
A Work about climate change, story of two person in desert without water or in water without
Farid Hamedi (Rohina) – He is International Artist. His activities in the field of Cinema, Graphics, music & literature, he started producing and directing video-arts. His visual works such as ‘Theatre for the Artist’, ‘The train that never stopped’, ‘The Tarnished Mirror of Existence’ and ‘The Brain and the Border’ have been screened in more than 40 international festivals.
The Gift is a science short film which I am making now and have a demo on website, the background takes place in the 26th century. One day during the long nuclear 0winter, a senior robot is telling a story for a young robot about how human beings sowed the dangerous seeds and turned the worst expectations into reality.
Xia Han is an artist who focus on the ethics of technology, including environment, organism and information of technoethics. His works usually setting in an unreal word or a virtual landscape, most of them present pessimism for the humans. Recently, he is exploring the unique language form video game engine as an art form.
What will we do to change the environment? We have the ability to change it for better or worse, but will we what actions will we take?
Dee Hood ‘s experimental videos have shown in over 25 countries around the world. She has received numerous awards for art videos and her political videos have been featured in The Nation Magazine’s Opp- Art section. She is a Professor Emerita, Ringling College of Art and Design, Sarasota Florida where she taught a range of art courses including time based media. Hood received an M.F.A. in Visual Art from the University of South Florida, Tampa in 1990. She is also known for work in painting, sculpture and installation.
This is how Chornobyl happened to me! 33 years ago. That was FAKE! The consequences of the Chernobyl disaster are still present today. Nobody knows what actually happened and even how to protect themselves from radiation in case of a sudden emergency. Even those who live in Kyiv (in the 100-kilometer zone of the world’s largest man-made disaster) do not know the first means of radiation safety. In addition, since 2013 our country has been in a state of hybrid war. Therefore, today, the attitude to information and media literacy issues must be of great importance for correctly defining one’s past. After all, this will be an important foundation for the future of for everyone.
Oleg Kharch / Ukrainian contemporary artist. His works are immersed in punk collages, traditional painting, street projects. As well as digital art, video work, online social media art. He also turned to the artist’s handmade book. MEDIA ART EXHIBITION ARTEFACT: CHERNOBYL 33/ KYIV ART WEEK 2019/ Hlebzawod Art Prize 2018/ Creative Climate Awards 2018/ KUNSTPREIS WORPSWEDE 2017/ GOGOLFEST2017/ “Turbulence Area” 5thOdessa Biennial/ “Event Horizon”/ Parallelism’s in Ukrainian and Uzbek/ Mashrou’ Proletkult/ VIII Art Kyiv Contemporary/ “Fame not fallen heroes”& “Glory to the heroes of the Maydan”/ The Snails Attack/ “Such earnings”.
Caryn Kline (USA) – Butterfly Disaster, 2019, 06:50
Using found footage from four different sources, filmmaker Caryn Cline optically-printed, superimposed, scratched on, bleached and otherwise altered the film to highlight, lament and challenge the monarch butterflies’ dilemma.
Caryn Cline – Influenced by her experiences living in Manhattan, Caryn’s work changes the scale of the natural world for the viewer, using botanicollage, other direct animation techniques, in-camera and optical effects. Her films have appeared at festivals all over the world, including the 2013 Venice Biennale, the London and Melbourne International Animation Festivals, the Jihlava International Documentary Film Festival, Crossroads, the Seattle International Film Festival, Experiments in Cinema, The Iowa City Documentary Film Festival, Mad Cat, POW Fest, and many others.
Uri Kloss (Israel) – Word, 2017, 1:29
Standing still breathing, flame, wax, mouth, light, candle – a silent scream. Both symbolic and as a traditional act of lighting a candle for transforming, memorializing and gathering people around. I decided to focus on locating the candle on the border edge (the gate) between the outside to the inside of the body marking the gaps from shadow to light, inside and outside.
For things we wish to say and the power of words.
Uri Kloss – born in Tel Aviv, Israel 1993
2015 -2019- Bezalel Academy of Art and Design, Jerusalem, Israel // 2014-2015 – Oranim College, Tivon, Israel
2008-2014 – Private studies with artist Elie Shamir, Israel // 2005-2010 – Waldruf Harduf High School, Israel
Group Exhibitions & Festivals:
2019 – Muzeum Sztuki, M2, Lodz, LIF festival, Greece, Kunsthal Charlottenborg, Copenhagen, Denmark
2018 – International Photography Festival, Photo Israel, Changing Rooms, Curator: Sigalit Ethel Landau, Tel Aviv, Israel
2017- ’Crowning’/ scene no.1#, Teder Town Art Fair, Tel Aviv, Israel
2016 – Rosenbach Gallery, Jerusalem, Israel // 2015 – Secret Art 8, Tel Aviv, Israel
2014 – Galilee Color, Tiberias, Israel // 2013 – Egozi Gallery, Tel Aviv, Israel
2013 – Uri Kloss: Early Works, The Contemporary Art Gallery at the Memorial, Tivon,
2011- Portraits, Hecht Museum, Haifa, Israel
2011- Winner of the Young Artist Award from Hecht Museum, Haifa, Israel
The conflation of Urth, an ancient goddess of fate, and Earth, brings about “Urth Ling” an audio-visual artwork that serves as a reflection on the human relationship to our planet, exploring the dualistic human nature as animal and creator/destroyer of ‘Mother Nature”. Through dance choreography and painterlyvideo design, Urth Ling becomes an interface (like a resurrected time-capsule artifact) to observe the species that once reigned supreme.
Dmitry Kmelnitsky is a Professor of Multimedia Arts at Loyola Marymount University and the founding director of Lustre, an interdisciplinary art studio that develops work for the gallery, the screen, the stage and the city. These works include video art installations and environmental projections, concert visuals, music videos and animated digital films. Kmelnitsky’s diverse artistic repertoire explores the fusion of myth, memory, culture and transcendent states through creative media transformation of surface, form and space. In addition to his artistic repertoire, Dmitry Kmelnitsky is also a composer and music producer (under the name “Kemell”) with credits on diverse video, animation, and multimedia projects.
Mesha Kussman is the Founder & Artistic Director of international water entertainment company Aqualillies. Choreographer of Coen Brothers’ Hail, Caesar! + music videos for Justin Bieber, New Kids On The Block, Benny Benassi and Sebastian Tellier. Live & multi-media performance spectacle clients include American Express, TED, Disney World, New Now Next Awards.
While the summer in Berlin in 2018 was the hottest and driest in the whole history, the month of July 2017 had brought us only heavy rain. The Landwehrkanal emerged from the banks, basements overflowed. Extreme climatological events, which take place all over the world, should be a warning sign to large industry and governments. My hope is that humanity will respond to Earth’s emergency call and not let the phone rust in the water.
Maria Korporal was born 1962 in Sliedrecht, the Netherlands. She studied graphics and painting at the St. Joost Academy of Fine Arts in Breda. During her studies she began working with photography and she graduated with, among other things, a video installation. After her studies, in 1986, she moved to Rome, Italy, where she lived until 2013. Since 2014 she has lived and worked in Berlin.
The artistic production of Maria Korporal includes video art, installations, interactive art and performances. Besides she is active as web- and graphic designer.
PLASTIC CHILD is about a journey of a child who lives in a contaminated plastic world. Being the heir of a single living plant gives him the air to breath and eventually delivers hope for human mankind. PLASTIC CHILD is part of the trilogy EMERALD GREEN, which is about a dystopian world, where nature has been rendered extinct, breathable air has gotten scarce and the sun has vanished due to exploitation of natural resources and human error.
Carolin Koss is a Helsinki based German-Finnish artist and filmmaker. Koss works with various media to create contemplative and aesthetic works. Embodying internal landscapes and tackling the subconsious sphere, stylised imagery or surreal set-ups, the artist invents dream realities which are often linked to real environmental issues, urban decay and dystopian future scenarios. She got recently awarded at Venice Film Festival for “Best Female Director“ for her documentary “Copper Mountains“ dealing with environmental pollution. Her works have been shown on various international exhibitions and film festivals e.g. in Helsinki, Stockholm, Berlin, London, Venice, Shanghai and NYC.
Fenia Kotsopoulou (Greece) – On the streambed, 2019, 03:43
(music by Sol Rezza]
On the streambed of the bleeding Earth I sat and I wondered:
why don’t you see the visible? why don’t you hear the outcry? why don’t you smell the malodorousness that you’ve spread?
This video is the silent outcry of a dead butterfly, a reminder of the power of transformation, and the possibility of significant outcomes caused by small changes. The body: a deserted landscape where the natural blends with the voice to be transformed into a stream of blood. The blood of smashed flowers.
To give or take life. To create or destroy. All it takes: just an instance
Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK). Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, construction and deconstruction of female identity and more. In the past few years, her works and the work of close-collaborator digital artist, Daz Disley, have been shown at a wide array of festivals and art platforms. Alongside her practice, she teaches in the university of ArtEZ (Netherlands) and, since 2016, she is artist-in-residence at x-church in Gainsborough (UK).
Savio Leite (Brazil) – Lacrimosa, 2019, 3:00
“My house was burning and I could only save one thing. I decided to save the fire. I have no place to live, but the fire lives in me. “
Savio Leite – Born in Brazil in 1971, he studied visual arts at the Universidade Federal de Minas Gerais. He is a video artist, short film director and animator and has already worked on numerous cinema projects. He lecturers in animation and is a founder and curator of a MUMIA International Animation Underground Festival in Belo Horizonte. He has been a jury member for various festivals. His own films have screened at around 300 festivals in over 30 countries.
Gabrielle Lenhard (USA) – Flower Pwr, 2019, 02:56
Flower Pwr was a performance art piece enacted on September 20th 2019 after the climate strike in Foley Square downtown NYC. Rude Ink. folded 50 origami flowers and invited passerby to pick them off of her. The flowers contained different messages urging us to take responsibility for creating a greener future.
Gabrielle Lenhard is a mixed media artist living in Brooklyn, NY, creating as Rude Ink. She develops video content, paintings, and interactive installations around the themes of communication and sexuality. Gabrielle has a background in screenwriting, holding a Dramatic Writing BFA from NYU’s Tisch School of the Arts. Rude Ink. artwork has screened internationally at exhibitions and film festivals including NYC Independent Film Festival, Video Art & Experimental Film Festival, and Festival International d’Art Performance Martinique.
Xavier Leton (France) – Uncovered Earth, 2019, 2: 36
At the edge of the well
Will eating stones
I’ll be crapping rocks
And a line of gravels
The lexicon will not make a discount
This year again
All words are sold
benefits of men’s leisure activities
It’s the mask of the world
He hides the fear of men
Xavier Leton – I am an artist and engineer at « Les Beaux-Arts de Marseille » [Marseille-Mediterranean Public College of art & design]. I have been working on the relationship between image and text for about twenty years. I create artistic installations where the spectator is the operator. Through these devices, I question the notion of author and that of shared creation.
Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala (Greece) – IMPRINT, 2019, 3:10
Τhe central idea of the video is the human imprint on earth and the need to record this imprint through the development of technology and in particular the audiovisual media.
From film to digital, from vhs to blu-ray and from moviola to modern video editing software, the development of media technology gives humans the ability to capture their image on earth, but at the same time captures its negative impact of the imprint.
Eleni Magklara, Stelios Papiemidoglou, Efi Roufagala – we are photographers/videographers from Greece. We study at University of West Attica, Photography and Audiovisual Art.
My Name is Scot (Canada) – Anthropocene Antiphony, 2017, 1:00
Fake News, alternative truths, apocalyptic prophets, survivalist preppers, end time logistics, peak oil apologists, climate change deniers; a doomsday scenario
Twitter storms, extreme weather alerts, rising tides, disappearing coastlines, an endless summer, a nuclear winter, the silent spring. Intra-species conflict, forced migration, disappearing ecosystems, mass extinction; the uncontained and the uncontainable.
A natural catastrophe, a man-made disaster, an extinction level event; the wonders and terrors of an unintended epoch. The fossil record, the great flood, the great acceleration, a cry of outrage, the roar of the crowd, the silence of beyond… A lament, an elegy, or maybe even a dirge?
My Name Is Scot is interested in questions of technological prerogative, economic privilege, social alienation, and the limitations or possibilities of global citizenship. His installation, video, performance, text based and site specific intervention work has been seen in Canada, Europe, Asia, the Middle East, the United States, Africa and Latin America. Recent work includes Never For Ever @ Ikar Hut, Ohrid, Macedonia, Malefactor @ the Vancouver Art Gallery and The Law of the Jungle @ Orbitas, Sámara, Costa Rica.His text based work has been published in the Capilano Review, danDelion, Front Magazine, Gave & Took, Valeveil, Geez and Geist Magazine.
Kim Maree (New Zealand) – Masterplan, 2019, 9:58
MASTERPLAN is an ambient, immersive response to climate change. Air travel is both awesome and awful in these environmentally aware times. The miracle of flight amazes me but so too does the speed at which we are filling our atmosphere with carbon dioxide and other greenhouse gases. MASTERPLAN is a carbon neutral project. All footage was sourced online and licenced for public use under a Creative Commons Licence. The sources are all acknowledged and where possible, individual videographers are credited. The original music PLANESONG is by Mrs Nevin
Kim Maree is a video artist and environmentalist who lives in Auckland, New Zealand. She has been creating ambient and art-related videos since 2003. She is particularly interested in using slow motion video to draw attention to aspects of our everyday surroundings that are often overlooked. Many of her videos have screened in various theatres and galleries.
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
The video was made with a thought of climate change and the “greenhouse” effect – the trapping of the sun’s warmth in a planet’s lower atmosphere, due to the greater transparency of the atmosphere to visible radiation from the sun than to infrared radiation emitted from the planet’s surface. The greenhouse in my video is a mental\psychological place. Out of this state born the corpse of overwhelming sensitivity, we are overshadowed by blinding sun and yet in dark. The negative environmental effect is the chaos inside of the human. If we want to improve nature – we need to understand the chaos inside of us.
Multidisciplinary artist and curator Boris Marinin born in 1987 at the city of Moscow, Russia, Immigrated to Israel in 1997. Holds a BFA in Screen Arts, and MFA at the Bezalel Academy of Art and Design in Jerusalem. His artistic process is influenced mainly by self-study, the practice of frustration and his psychoanalytic analysis. Artists Judith Sasportas, Joseph Beuys, Matthew Barney and musical genre Black Metal, inspired artistic decision and are an integral part of his developmental process.
Ana Isabel Martén (Costa Rica) – Compass 1, 2019, 4:23
Human beings have used compasses for orientation since the IX Century, and for navigation since the XII Century. The Earth’s magnetic field protects us from solar wind. Nature, cities, birds, and wild corn starch phytoliths.
Recent research has suggested that time and Earth’s magnetic frequency is speeding up. For the first time in human history, the Schumann resonances have increased; affecting all living beings on our planet. Human conscience is also being affected by the Earth’s magnetic field.
I filmed buildings and architecture in Panama City, along with zoomed in footage of birds from my garden at home. I also used footage of the Costa Rican natural landscape along the pacific coast, specifically Bahía Herradura.
This footage was then mounted on 3D shapes to represent a compass, on a background of microscopic images of wild corn starch. The soundtrack includes the sounds of different magnetic frequencies, and birds chirping in my garden at home.
ANA ISABEL MARTÉN was born on July 17, 1961 in San José, Costa Rica, where she currently lives and works. In 1985 she obtained the title of Bachelor of Fine Arts with emphasis in Painting at the School of Fine Arts of the University of Costa Rica. In 1988 she is a founding member of GRUPO BOCARACÁ, an important group of young Costa Rican artists who had an important influence on the national artistic scene during the last two decades of the 20th century. During the years 2008 and 2010 she participated in several workshops at the Costa Rican Cinematographic Production Center.
‘moving water’ is a visual metaphor describing how simple technology like a washing line can distribute natural resources in unintended ways.
James Murphy a visual artist from Ireland B.A. (Honors) in Fine Art. He has participated in almost 20 national and international exhibits and awarded the silver medal at the 136th Royal Ulster Academy Exhibition among other awards. Exhibs of note:
2019/20 – Royal Scottish Academy, Society of Scottish Artists, Artists Moving Image.
2019 – M.I.T. Museum Cambridge, Massachusetts Science Festival U.S.A.
2018 – Royal Ulster Academy Exhibition 2018 the Ulster Museum Belfast N.I.
2017 – Royal Ulster Academy Exhibition 2017 the Ulster Museum Belfast N.I.
2015 – Royal Dublin Society National Student Art Awards 2015 selection
The Yellow Forest invokes notions of temporality and the shared imaginal in order to address the tenuous connections that contemporary western society has to our earthly environment. The, video focuses around a human figure, clothed in a mirrored veil, mesh cloak and safety vest, moving through lush and dark forests. The figure moves with a nervousness and urgency, befitting the veil which at once blocks vision in a kind of myopia, but also serves to turn sight inward, reflecting sight back on itself. The contrast of this anthropomorphous juxtaposition, amidst the serene natural backdrops reflects the struggle that human consciousness faces in coming to terms with its life-giving environment and other non-humans that inhabit it. Sigils, rituals and talismans appear throughout the video, beckoning at potential approaches to bridge this disconnect. In the The Yellow Forest, the human seems an unnerving presence in the landscape, presenting the idea that amidst ongoing climate collapse and environmental catastrophe, a diversity of spirit, imagination, temporality and cunning are needed to traverse and amend our plight.
Stephen Nachtigall (b. 1986, Calgary, Canada) is a visual artist working in Arcata, California. He has exhibited throughout Canada, the United States, Scotland and Germany. He received a BFA in Sculpture from the Alberta University of the Arts and an MFA in studio art from the University of Oregon. His work considers the way in which human and non-human relations occur through a mediated perspective. His practice utilizes video, animation, sculptural installation and 2D formats. Nachtigall currently serves as Assistant Professor of Digital Media at Humboldt State University.
Fran Orallo (Spain) – Death Dance, 2017, 1:00
In the video, we see how a large toxic cloud approaches a flock of starlings, the intention of this image is to reflect in a poetic way the destruction of beauty and the devastating capacity of man towards the wild life and its ecosystems, capacity that is leading to the disappearance of countless species of animals and plants.
The work is a metaphor about our destructive capacity, because man is the greatest enemy of this planet; we cut down forests, we throw tons of CO2 into the atmosphere, our plastic waste invades the oceans and global warming, product of the greenhouse effect, is showing its first consequences.
Fran Orallo was born in Badajoz in 1979. In 2001 he moved to Valencia where he graduate in art in the Technical University of Valencia (UPV). During this period he moved with an Erasmus scholarship to Bordeaux College of Art Bordeaux (France) the second semester of the year 2004/05 and participate in different collective expositions organized by the university.
He currently resides in Glasgow , Scotland and his work has been shown in several exhibitions, biennales, ferias and international festivals all over the world, he has proyected is videos in more than 30 countries. Also his work appears in several catalogues published by different institutions.
During a visit to Uzbekistan, in Central Asia I went to visit what is left of the Aral Sea. I was greatly affected by the desolated landscape, one of the biggest ecological disasters caused by the equivocal ideas of progress and economic development. Aral Mermaid is a short poetic documentary assembled with still images, video footage and historical footage. It refers to the social and ecological degradation caused by the Soviet excessive implementation of cotton monoculture in the area.
Traveling along the Xingu river in Para, north Brasil, I was very impressed with the grandeur of nature, and at the same time bewildered by the fact that without a reference the sense of scale is completely lost. It was only when I approached the construction of Belo Monte power plant that scale of nature became clear to me. Based on the sizes of men and machinery it became evident the immensity of the forest. The process of destruction of an intact region of forest, in the name of a doubtful progress, is what made me aware of the scale of what is being lost forever.
During a three-day boat trip along Rio Negro, towards the extreme northwest of the Brazilian Amazon forest, the complete harmony between water, jungle and sky gave me a feeling of suspension. Arriving in São Gabriel da Cachoeira I met the majority of the population of indigenous people who, despite all the white interventions in the area still keep their languages alive.
Renata Padovan is a Brazilian artist living and working in São Paulo, Brazil. Graduated with a BA degree in Social Communications from FAAP São Paulo, later followed by a MA Fine Art from Chelsea College of Art and Design London. She has participated in several residency programs: 2018 | Labverde, an immersion in the Amazon; Residencia Epecuén, Argentina 2016| Seoul Art Space Geumcheon, South Korea 2014| GCC, South Korea; 2013| JKSD, Ljubljana; 2012| Arctic Circle, Norway; THAV, Taiwan; 2009| NES, Iceland 2008| Over the Fence, International winter workshop, Finse, Norway 2004| Nagasawa art park, Japan 2001| Braziers International Artists Workshop, UK; 1996| The Banff Centre for the arts, Canada. Her work has been exhibited in galleries, institutions and museums in Brazil and abroad.
Finally free – Escape from civilization – freed from all constraints. The mountain world, which is so hostile to life in the first place, immediately conveys a feeling of security and immediately becomes a place of longing for the beholder. The floating ceiling gives the place something mystical, there the little church, spirituality awakens – the so unapproachable place becomes the source of deeper knowledge for those who reach it. Shoes that no one owns, footprints in the snow – departure to another life.
Irena Paskali – Works and lives in Cologne since October 2004
2007 MFA, Academy of Media Arts Cologne, Germany
2000 BFA, Academy of Fine Arts, Skopje, Macedonia
The era of linear modernity, revolutions and ruptures, is reduced to intermittent time, of effective and effective vibrations. For Michael Mafessoli it is the time of episodes that are discarded instantly and where “life, social as individual, is nothing more than a succession of presents, a collection of moments experienced with different intensity.” Zygmunt Bauman calls this event a liquid Modernity, as its real consistency changes every so often. Its sign is the chameleon, its seal the impatient transience. Nomadisms, global and local migrations, Internet networks, tourism massification, effusive consumption, cellular telephony, are part of a modernity that not only evaporates in the air, but flows between instantaneous, ubiquitous and immediate networks of a society that It no longer has macro utopias or transcendental theologies. Immanent transience triumphs. The important thing is the movement, the flow, the evacuation. “Time flows but no longer runs, it does not go” In this contemporary era, of erratic and confusing societies, it also faces vital issues of future survival. Climate change, which in the words of the United Nations is the greatest challenge of our time and we are at a decisive moment. From changing weather patterns, which threaten food production, to sea level rise, which increases the risk of catastrophic floods, the effects of climate change are global in scope and of an unprecedented scale. Climate change is the evil of our time and its consequences can be devastating if we do not drastically reduce dependence on fossil fuels and greenhouse gas emissions. In fact, the impacts of climate change are already noticeable The alerts are continuous and there is no time frame left to think about future actions.
Isabel Perez del Pulgar – born in Granada (Spain) with residence in France since 2015. Degree in Geography and Stories with the specialty of Art by the University of Granada. Specialized monographic courses on Color Theory, Painting, Drawing and Techniques recorded in the School of Arts of Granada as well as courses on design and digital art. In the mid-2000s she adopted as a way of creating and expressing the video. Video as an experimentation vehicle, where the movement is combined, sound and pictorial vision. At the same time, performance is acquiring a greater presence as a means of work. The body like protagonist element and narrative driver. Architecture of stressed physicality of space – time. Her work as an artist in the fields of painting, photography, and especially his work in video art and short films has been the object of numerous international exhibitions
Mikey Peterson (USA) – Gloriosa Superba, 2019, 3:52
From an unseen source, ominous plumes of smoke release into the atmosphere from above. Its uncanny beauty coincides with its unsettling terror, as the artificial mixes with the natural. The imagery and sound in this one-shot video are digitally manipulated, taking us into a surreal yet familiar place. A black bird cuts across this environment through the blossoming cloud and into the foreground. These two entities share the same space and time – possibly warning us of an inevitable future.
Mikey Peterson is a Chicago-based video-audio artist and musician. His work has shown at the Museum of the Moving Image in New York City Chicago’s Museum of Contemporary Photography; Chicago Cultural Center; University of Chicago’s Smart Museum; Rome’s MAXXI Museum; South Korea’s CICA Museum; Chicago’s Zhou B Art Center, Armory Center For The Arts in Pasadena, California; Seattle’s Northwest Film Forum; SIGGRAPH Conference in Los Angeles, California, Lucca Film Festival, London’s Visions in the Nunnery, CURRENTS New Media in Santa Fe, New Mexico, STREETVIDEOART exhibition in Paris, France, Brooklyn’s Ende Tymes Festival, and the Video Art and Experimental Film Festival at Tribeca Cinemas in New York. Publications include CICA Museum’s Digital Body: New Media Art 2018; Mexico City’s Blancopop; Paris’ Stigmart 10 – Videofocus; LandEscape Art Review and Text Sound. Peterson teaches courses at the School of the Art Institute of Chicago and Snow City Arts.
Ruzan Petrosyan (Armenia)- Wash My soul , 2019, 5:31
The video prepared in the scope of the Eco Art AiR the TAI’s artists’ in residency program in Talin, Armenia. The video was made as part of an art residency program in Talin, a town in Armenia. There the climate and the lack of irrigation water left all the nature, the trees dry. the city was dry. wash my soul – so that it does not dry out, and for that we need water!. A man suffers from dryness: wash my soul
Ruzan Petrosyan – I am a visual artist from Yerevan, Armenia with international interest. My scope of interests include drawing, photography, video art, experimental video and video installation. In 2018 I was awarded a grant to attend the course ”Exploring a void” (photography, film, video) at the Salzburg International Summer Academy of Fine Arts and she participated in a group exhibition in Salzburg. My works were showcased in several international exhibitions and festivals in Armenia and abroad, such as Traverse video festival in Toulouse, France(2018, 2019), VideoArt.Ist International Screening Program in Izmir In cooperation with IZDOF and as part of the 7th International EGEART Art Days, ”Lips of Pride” international collective exhibition in Armenia by HAYP Pop Up Gallery and “Where I lay my head is home” collective exhibition of female artists in ACCEA in Armenia.
Lisi Prada (Spain) – ELECTRonIC water, 2013, 3:14
This work tries to highlight importance of water in our lives and the need to preserve it, both as a cultural object as a vital object. Although water covers ¾ of the Earth’s surface and is a component of human body in the same proportion, we often forget that water is gold, that we are part of nature and that the future of human being as a species depends on its preservation. Water is a good conductor of electricity and —in contact with your eyes—, this work aims to produce a little tremor in your aesthetic and ecological conscience.
Soundtrack: Hatori Yumi. Rubble del EP Rhegma
Lisi Prada is a visual artist based in Madrid. In her creative work, from minimal resources against the empowerment of perfect machines [near at an Art Povera position], she is interested in a balance between conceptual and sensory search, between ethics and aesthetics. Prada also uses linguistic polyvalence as a resource for simultaneous multiple layers of meaning. With tree solo exhibitions in Spanish galleries she has received numerous honors and has participated in group exhibitions, screenings and festivals in over fifty countries.
Y. is humanity’s true pulse, as described by a heart of thirty nuclear bombs, yet only one beating. In its soft waltz, the impulse for creation and destruction follow one another, and in their
uncanny rhythm, all worries are swept away
Adrián Regnier Chavez (Mexico, 1989) has a degree in Visual Arts by the National School of Sculpture, Painting and Engraving, “La Esmeralda”. He has been awarded several grants, such as the ‘Artist in Residence Program’ by BBVA and the Digital Culture Center (México, 2018-19); the Program to Support Production and Research in Media and Arts by Multimedia Center, CENART (México, 2016-17), Artist in Residence at Casa de Velázquez, by MADATAC (Spain, 2016), in two occasions, the Young Creators Grant, by National Fund for Culture and the Arts (FONCA, México 2013-14; 2018-19), and the 2014 Grants and Commissions Program, by the Cisneros Fontanales Art Foundation (CIFO, U.S.A., 2013-2014). Adrián’s work has been selected and awarded in more than 300 video art, film, animation, and contemporary art festivals and biennials; and is part of more than 10 art collections over the world .
Oliver Ressler (Austria) – Everything’s coming together while everything’s falling apart, 2019, 10:00
This film leads us directly into the blockade of Bílina coal mine in the Czech Republic. In June 2018, climate activists entered the mine in an attempt to stop all activity there and to insist on the need to shut down climate-destructive mining operations. 280 of approximately 400 activists taking part were detained. The camera follows a group of activists awaiting deportation inside a police kettle, against the backdrop of a landscape defaced by lignite strip-mining. While the screen shows images filmed from inside a prisoner transport vehicle, we hear the voice of a semi-fictional character, reflecting on mass civil disobedience.
Oliver Ressler, born 1970 in Austria, lives and works in Vienna. He produces installations, projects in public space, and films on economics, democracy, migration, global warming, forms of resistance and social alternatives. He has completed thirty-two films that have been screened in thousands of events of social movements, art institutions and film festivals. Solo exhibitions: Lentos Kunstmuseum, Linz; CAAC, Seville; MNAC – National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler participated in the biennials in Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Venice (2013), Quebec (2014), Jeju (2017), Kyiv (2017) and Documenta 14, Kassel, 2017 (EMST exhibition).
Jean-Michel Rolland (France) – Waste, 2018, 4:08
Colored metal wastes, washed out by rain, poured into the soil.
A long time a musician and a painter, Jean-Michel Rolland brings together his two passions – the sound and the image – in digital arts since 2010. Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favorite mediums, the sound and the visual. His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.
Krzysztof Rynkiewicz – born in Lodz in 1952. He studied at PWSSP (State Higher School of Fine Arts) in Lodz between 1973-1978. He got a diploma at the Department of Graphics in 1978. In 1977-1987 he was working as a set decorator and actor for THEATRE 77 in Lodz. For the next 10 years he was working for SEMAFOR in Lodz where he made 3 animated films, a 25-minute-animated film for TV as well as a full length animated film for cinema. In STO FILMS in Lodz he realised 34 episodes of an animated series for children. At the moment he is an professor at PWSFTv i T (National Higher School of Film, Television and Theatre) in Lodz, the Cinematography and TV Production Department, specialization Animated Film and Special Effect.
At present, air travel has been popularized, as the prices of its tickets are very low. We all enjoy great trips, but we don’t realize what it means to our environment and ourselves. A plane emits up to 20 times more CO2 per kilometer and passenger than the train.
Ausín Sáinz creates integral installations mixing different plastic techniques with a great reflexive and critical load.
Marcha Schagen (NL) – Melt Less CO2, 2019, 3:48
With her latest project Mineral Waste Dutch artist Marcha Schagen explores if it is possible to create CO₂-negative objects and sculptures, using the mineral olivine. While processing raw materials mostly has the image of being polluting to the environment, olivine has the potential of purifying the atmosphere. This mineral, richly to be found in the Earth’s mantle, has the unique characteristic of being able to sequester CO₂. The natural process occurs relatively slow but can be accelerated by putting olivine in contact with water. The video-installation Melt Less CO₂ shows the process of creation and devastation in an anthropogenic world.
Marcha Schagen creates (wearable) objects, sculptures, installations and performances driven by society critical research. Taboos, the surreal and the inviolable in humankind. Finding oneself on the edge and making the unsaid visible. Out of the research and physical thinking process derives a creation which can be translated into (wearable) objects, sculpture, video and/or performance.
The composition where material, movement and surrounding come together, invites the audience to question and discuss the social issue – Design for Debate. Major themes Marcha works with are privacy, sustainability, time and ethnicity.
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Sigal Arie and Sigal Ben David collaborate on Perlite, a 4-min video-art that follows the evolving relationship between two characters in an abandoned industrial factory. the characters adopt the middle ground between organic and urban, a result of the visual and industrial culture of our times
while the set of the factory symbolizes a decaying aesthetic, a technological lingo that still believes in gender hierarchies and is incapable of expressing empathy to the natural environment.
By disguising the character’s gender identity in outfits that belong to beekeepers, the artists explore the ecological and artificial aspects of structure and make way for a new and open conversation about the deadly aspects of climat change.
Sigal Arie and Sigal Ben David, interdisciplinary artists and researchers, both graduate of the M.Ed.- art based research program in Oranim college, Israel. Since 2017 They have been working together in “Hama-On” a shared studio space which is located in a mechanical Institute for vehicles testing in Tel Aviv. Because of their unique studio location, they focus their artistic and academic research on ecological footprints and the possibilities for human collaborations in the space between the urbanic and the organic, the private and the public. Their multidisciplinary installations integrate video-art, sound, paintings and sculptures.
Alan Sondhein (USA) – American Life, 2018, 6:03
Virtual world work created on an OpenSim installation on my laptop It’s the future of America, it’s the desiccation of the landscape, rendered barren, a single character wandering; the landscape itself transforms; there is a group of theaters in the area which are destroyed – the past/history/ecology is destroyed – it’s the welcome to America, the welcome to the wasteland, all that’s left, nothing alive.
Alan Sondheim is a city-based new media artist, musician, writer, and performer concerned with issues of virtuality, and the stake that the real world has in the virtual. Sondheim is concerned with the examination of the virtual and how the body is inhabited. His virtual work is known for its highly complex and mobile architectures. He has used altered motion-capture technology extensively for examining and creating new lexicons of behavior. His work deals with crisis and inadequacy.
Ronnie Sluik (NL) – ronnie s attempts green animist genderfriendly artistic research, 2019, 1:43
an attempt to research the green
Ronnie Sluik – videonartist since 1981.
Michael Spahr (Switzerland) – Remember Civilization…?! Part Two – The Drought, 2019, 1:43
„Remember Civilization…?!“ reflects the current fear of a catastrophe due to climate change.
Michael Spahr a.k.a. VJ Rhaps is a media artist from Switzerland.
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11
Shame” picks up on the controversy of political and social responsibility via a standoff performance of a female public figure in front of a red curtain. The curtain sets into waving motion
and the performer stands silent and stoic against a movie background of a melting iceberg while the audience attacks her. On and off she slaps her forehead with her hand in speechless motion.
The notion of shame and anger is verbalized in the audience. Have political decisions caused the melt? Or is it just a performance gone bad with an audience not believing in these climate facts?
Gabriele Stellbaum was born in Berlin, Germany. She exhibited extensively in solo and group shows in Europe and the U.S. Her video work is in public and private collections in the US and abroad. Her video work has recently been reviewed at Artnet.com and Director’s Lounge. Stellbaum is director, producer, script writer and actor for her video works.
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Wandering, walking on the earth of Iceland, memories flashed.
Earth. Stone. Sea. Ice. Breath. Memory. Dreams.
Experiences of places of lifetimes past.
Julie Stephenson – I am a Journeywoman. I live my life as an explorer. An adventurer. An Observer. An Artist. There is no differentiation between how I live my life and the art that is an expression of it.
Lino Strangis (Italy) – DREAMLIKE OF A PRESENT FUTURE, 2019, 4:49
Dreamlike apparitions of an android brain that visualizes an allegorical dimension in which the difference between past, present and future is blurred. The race towards a consumption increasingly disconnected from the real needs of the peoples seems to reach the limits of sustainability and the earth gets irritated, nature rebels in unexpected ways while even if we know for some time we are facing disaster and today we see clear signs, let’s not stop accelerating.
Lino Strangis is a media artist (video art, experimental animation, virtual reality, sound art, experimental electronic music, multimedia installation and performance) was born in Lamezia Terme on 01.19.1981, lives and works in Rome and Turin.
Since 2005 takes part in many festivals, international exhibitions and historical exhibitions in Italy and abroad (ARS ELECTRONICA, Biennale del Mediterraneo, Videoformes, City Sonic, Proyector, Athens Videoart Festival, Invideo,…) and held several solo exhibitions in private galleries and prestigious museums including MACRO (Rome), MAXXI (Rome), MUSEO PECCI (Prato), FABBRICA DEL VAPORE (Milan), MUSEO RISO (Palermo), MAUTO (Turin), PAN (Naples), GAMC (Viareggio), WHITE BOX MUSEUM OF ART (Beijing), MUBA (S.Paulo). His works were exhibited alongside those of artists such as Nam June Paik, Bill Viola, Robert Cahen, Studio Azzurro, Miao Xiaochun, Steina and Woody Vasulka, Gianni Toti.
Studio Third World Collective (India) Watermark 1# SOS (Ganges river, India), 2017-2018, 2:00
A watermark is an identifying image or pattern that appears as various shades of lightness/darkness when viewed by transmitted light for purposes of identification and to discourage counterfeiting.
In the series ‘Watermark’, words are juxtaposed onto videos that are only revealed through motion. Appearing as digital glitches or ‘damages’ within the file, a careful scrutiny however reveals a disquieting suggestion of reality.
Watermark #1(Ganges river, India), is a field recording of the river Ganges in the city of Varanasi in India. While the Ganges basin provides livelihood to millions of Indians, it is also one of the most polluted rivers in the world. Numerous failed public schemes to improve the condition over the years and a surge of tanneries and other industries along its banks in response to a global demand for leather and other consumer products have left the densely populated landscape dangerously close to the threshold of irreversible damage.
studioThirdWorldCollective or studioTWC is a voluntary group of artists, writers and filmmakers primarily of south Asian origin, working either individually or collaboratively, but often anonymously, within challenging political conditions of a rapidly changing subcontinent.
Karin Till (Australia) – Song of Elements, 2015, 9:28
The natural world is the basis of all life. We need to immerse ourselves in an understanding of the elements of creation: the water without which we die, the earth which provides our nourishment, the clean air we need to breathe, the fire of creativity and renewal; all of which possess also the possibility of immense destruction.
I have described this in a poetic way in my video ‘Song of the Elements’, which urges us to be fully aware of nature’s beauty and the pleasure she provides.
We must finally be ready to cooperate with and protect our natural world.
Karin Till – Areas of work: photographs, digital images, video art and installations. From 1988 solo exhibitions in City Gallery Bremerhaven and galleries in Bremen, Germany. Solo exhibitions since 2001: White Hill Gallery, Dromana; Cube 37, Kinross House, Chapel on Station, Melbourne. Group exhibitions: Melbourne Fresh Media Group; Cube 37; Barcelona and Paris, 2006-9. CTM, Melbourne, 2009-2017. Multifaith Arts Festival 2007, 2008. Industrial 59, Ural Industrial Biennial, Ekaterinburg (Russia), 2010. External video installation, Cube 37, 2012. Cologne OFF participant in Mexico City; Sattal, Guwahati and Shillong (India); and Gainsborough (UK). Projection design, opera ‘Buckley’, Mornington Peninsula 2019
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
For 7 million people living on thousands of islands in the Pacific Ocean, global warming is not something that looms in the distant future; it’s a threat whose effects have already begun. Water temperature and the sea level are rising, threatening marine and terrestrial ecosystems and a way of life that has existed for thousands of years. This clips puts a human face on climate change on the island of Kiribati.
Andrea Torrice examines and humanizes a range of complex contemporary issues and then engages the audience to reflect, respond and act. She is an award-winning documentary filmmaker with over 20 years experience, whose work spans a range of contemporary issues. Her films have been featured on PBS, National Geographic World Channel, HBO, European and Japanese Television, as well as in museums, educational institutions, government agencies, galleries and festivals.
Alina Vasilchenko (Russia) – The Crows, 2014, 3:30
We see crows in a Moscow pond eating plastic bags
Alina Vasilchenko is an artist and filmmaker based in Moscow. In her short films and videos she tries to make a portrait of a modern person in the rapidly changing world, looking for something that will always remain constant.
Radhika Vyas, Ravin Vyas, Ramesh Vyas (India) – Panchtatva via Canvas, 2019, 1:44 Panchtatvapetrosyan-wash
Panchtatva is a Sanskrit word which means elements of earth.
My name is Radhika Vyas. I am from Gujarat, India. And I with my father and grandfather have created a video piece for the wake up – call for climate change. I have directed and shot it, it has my father’s (Ravin Vyas’s) writing and my grandfather (Ramesh Vyas’s) painting. Us three generation found the topic interesting and so we created something very short but valuable.
Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
A land-art project – 31, π x π x π, cubes aligned, π distanced from each other. A row of, 61 identical-size cubes, is stretched toward the horizon, composing a string of: matter cube – space cube – matter cube – space cube……The cubes are made of ice, placed in the desert on a hot summer day. The defrosting process is documented by 5 stills cameras from the air and from the ground (time laps of 15 sec). When the process is complete, a row of 61 identical cubes remains: space cube – space cube – space cube – space cube………..
Moshe Vollach – Multidisciplinary Artist – sculpture, video art, performance, photography
Group exhibition in Galleries and Museums: Israel, Italy, U.K., U.S.A. and more. The bulk of my work is Conceptual art, accompanied by an explanatory text. It corresponds with themes central to Art Philosophy, ideas and conflicts, as well as with the Artists who addressed them. The themes most prominent in my work are Space- matter correlation, nothingness and beingness, present and absent, drawing and erasing. My art work reacts to topics that engage and trouble me in our society, politics and environment.
Kate Walker (USA) – Cloudship, 2018, 14:33
“Cloudship” documents a choreographed group performance in a procession of a large-scale inflatable, through the Boise foothills. The inflatable is modelled after the EBR1, a nuclear powered airplane engine that was tested at the nuclear research site, the Idaho National Laboratory in the 1950’s but never made it off the ground.
The video taps into dystopian and utopian imaginings widespread in popular culture today. Environmental threats such as global warming, extreme climate events, and the existential threat of nuclear catastrophe are just some of the contributors to “disaster” culture. “Cloudship” reflects the drive to search for something better, that manifests through Utopian enterprises.
Kate Walker’s work encompasses painting, performance and video. Often collaborating with groups in the community, these include choreographed performances or staged events that speak to contemporary social issues. Recent projects focus on queer bodies, and Utopian and dystopian imaginings in popular culture.
Recent grants and awards include selection as a finalist for the 2018 New Zealand Painting and Printmaking Award, Idaho Commission on the Arts Grant, Alexa Rose Foundation Grant, and residencies at the Australia National University and Whitireia New Zealand. Walker has shown her work nationally and internationally including Art from Down Under: Australia to New Zealand, Turchin Center for the Visual Arts, Appalachian State University, Select 2, Garvey Simon, New York, Out of Sight, Seattle, WA, ‘REUNION’- LGBTQA Symposium Show, Greenly Gallery, Bloomsburg University PA, and 28th Festival Les Instants Video, Marseilles, France. Walker received her MFA from the University of Arizona in 2005
Susanne Wiegner (Germany) – Sunrise, 2019, 5: 46
The film shows soul landscapes – inner images that convey in their vastness a sense of loneliness and threat. Certain scenes are a reminiscent of German romanticism, like the paintings of Caspar David Friedrich, whose ambiguity is enhanced by cinematic means. The beauty of the sunrise marks the beginning and the end of a disaster scenario that reminds of climate change and war ruins.
Susanne Wiegner (Germany ) – Melting Fields, 2018, 8:16
A single camera movement explores a catastrophic scenario that cannot be classified neither spatially nor temporally. Is the flat overlooking the street just an illusion or the broken rooms in the inhospitable landscape. The title “melting fields” refers to climate change, the melting ice surfaces and glaciers as well as to an incipient loss of memory and orientation. How does our usual environment change when it is only fragmentarily perceived and reminded. How can this feeling of complete loneliness and despair in a fragmented and destroyed world be visualized?
Susanne Wiegner (Germany) – Listen 2019, 3:20
The film is based on a haiku poem that painfully recalls a time that no longer seems to exist. The flowering meadow is just a memory image on the retina of a dead bee in the midst of a dystopian-looking environment. At the very end “the silence is broken”.
Susanne Wiegner studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as a 3D-artist in Munich, Germany. Venues where her work have been shown include group exhibitions at the Pinakothek der Moderne in Munich, the ZKM in Karlsruhe, the Art + Technology Center EYEBEAM in New York City, FACT in Liverpool, Torrance Art Museum in Los Angeles, WRO Biennale in Wroclaw, National Taiwan Museum of Fine Arts, Taipei, Les Rencontres Internationales in Paris, EMAF in Osnabrück, Videonale in Bonn, Schusev State Museum of Architecture,
Moscow and festivals all over the world.
Müge Yildiz (Turkey) – Praise of ther Jellyfish, 2016, 3:42
Several scenery captures of Marmara Sea in Istanbul show us the pollution, when I saw the death of jellyfishes, I remembered Lucretius’s On the Nature of Things, and I decided make an experimental video with a passage of this book for praise of a jellyfish.
Müge Yıldız lives and works in Istanbul. The artist produces experimental videos and films, employs a shooting method she calls “ being ghost” and produces moving images based on everyday life observations in line with existential themes. She works with analogue films such as 8mm, super 8 and 35 mm, 16mm, digital videos, archive sound and footage
Yarik Z (Russia) – In Search of Lost Time, 2017, 5:55
Human civilization perished, leaving only ruins from itself. The man, once again alone with nature, is trying to find the cause of the incident. In the remnants of civilization and nature, he is looking for new meanings, trying to get a taste of simple things.
Yarik Z: I create experimental films and video clips, as well as writing music for them. From an early age I was fond of drawing, painting, and other various artistic endeavors. Furthermore, I was interested in biology and watching wildlife. After graduating from the Faculty of Architecture, and Faculty of Bioecology, I continued to further develop my creative interests. I am very concerned about environmental issues and climate change, as well as the extinction of species and biodiversity reduction of nature on earth. I talk about it in my art.
Tatiana Zubchenko (Ukraine) – Genus. Code Unsealing. , 2019, 3.15
This is a sculpture of 2.3 m high, which I made of polystyrene foam and clay. The female figure executed as analogue of products of ancient culture of Cucuteni (in Ukraine – Trypilska). She, as an old mother, wants to protect and warn her descendants from the terrible consequences of their carelessness. In this work, I explore the possibility of a man to get rid of fear of disaster and his readiness to act actively in preserving the ecology of the Earth.
In creating the audio-visual part, which interacts with the sculpture, I used the original audio reactive video content, sounds of earth from space, negotiations between dispatchers immediately after the Chernobyl disaster, the sounds of Geiger’s counter, installation shooting and performance of artists from the exhibition Artefact Chernobyl 33.
Tatiana Nikolaevna, media artist from Ukraine, work with video art and media installations. In my creative research I am interested in such topics as the development of human awareness, ancient art, its interpretation and modern rethinking.
I started my career as a costume designer, but a few years ago I decided to expand my creative potential with the help of media art.
Monika Zywer (Poland/Germany) – Arctic Holiday, 2019, 00:01:29
Our planet is governed by evil, deaf and blind people who cannot see the incoming ecological catastrophe.
But this is just a ruse.
They can see, and they know what is happening.
They are already scheming, planning how to turn tragedy into business.
Summer vacation in Greenland?
Spring break in Antarctica?
They are already coming up with ideas for mementos and cheap souvenirs for tourists who will come…
They don’t have children or grandchildren,
but know very well that even the biggest ecological disaster won’t kill trashy art.
Monika Zywer – born in Poland in 1971, received her degree in Painting from the Academy of Arts in Poland (1997).
She is currently living and working in Hanover, Germany.