video feature
Biennale de Cerveira 2001
FILE 2002
Mirror at the Bottom 2002
Cerveira
Until the 9/11 incidents, the year 2001 is in Wilfried’s life unusually active. Driven by the desire to conquer art as his personal life expression again, he is looking for chances where they are offering them to him. On 18 August he is present with his interactive art works on two prestgious events – Bienal de Cerveira 2001, focussed in that year on art & technology, and in 2002 in FILE – Electronic Language Festival Sao Paulo. While at Cerveira Biennale, Wilfried prepared a special digital art composition of works – called – Agricola Lighthome – including three Flash based audio-visual works and a collection auf visual/textual poetry – the participating artists were asked to name their contributions like that, Wilfried is showing in Sao Paulo two of his latest interactive Works ]and_scape[ and the other one “Mirror at the Bottom – artists portraying themselves” – created in Flash – the multi-media software, including 154 artists and their audio-visual self-portaits, many of them were created in technologies which are nowadays not supported any longer, so also this wonderful work is consisting partially of dead links. It is the destiny of most of the art works created in the early years of the new millenium, they are even dead or threatened with extinct.
So, the readers of the articles are encouraged to take the chance to view these type of works, as long as Flash is still supported (31. December 2020).
Biennale de Cerveira
Agricola – Lighthome
View the Flash version – requires the Flash plug-in
“Identity of Colour”, 07:07:07, 2016
Film created by media artist Agricola de Cologne, based on the artist’s poem and voice performance of the same name created and executed in 2001.
The work combines DaDa like poetic texts, vector grafics and musical components created by the artist himself.
There are two work versions:
1. The netart piece, 2001, looping
developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne.
2. the video, 2016, 07.07.07
voice and sound performance by Wilfried Agricola de Cologne
The video is representing a reconstruction of the piece originally programmed in Flash (Macromedia) as netart which ist still existing as a completed netart work, however due to a specific, non-linear programming which could not be transferred to the linear structure of the video a complete reconstruction was necessary. Therefore the video is standing as an art work individually for itself.
Screenings/ participations
1. Netart Version
2003
*ArteMedia 2003 – Buenos Aires/Argentina
*Digital Sur Festival- Arte Digital Rosario 2003 – Rosario (Argentina)
*PEAM 2003 – Electronic Art Festival 2003 Pescara/Italy
*Chiang Mai 1st New Media Art Festival – Chiang Mai (Thailand)
2002
*Cyborg 01 Festival – III International Arts Festival Valencia/Venezuela
*X Canarias International Festival of Video & Multimedia
*e-magic – cybermedia events – 43th International Filmfestival Thessaloniki (Greece)
*VideoMarathon Contemporary Art Centre Chisinau (Moldavia)
*Liberarti – Liverpool Biennial (UK) – Violence Online Festival –
*Asolo Art Film Festival – Asolo (Italy) – www.asolofilmfestival.it
*ISEA 2002 Nagoya (Japan) – Electronic Theatre
*17th Videoformes Festival – Clermont Ferrand (F)
*COOP Media Festival – Museum of Contemporary Art Bucaresti (Romania)
*IV SALON Y COLOQUIO INTERNACIONAL DE ARTE DIGITAL – Havanna (Cuba)
*’Visions Festival’ at St. Kilda Film Festival – Melbourne (Australia)
*Free Manifesta/Manifesta 4 – Kunstverein Frankfurt (Germany)
*Free Biennial New York (USA)
*About Vision – digital art exhibition London (UK)
*New Media Line – online exhibition on KanonMedia, Vienna (Austria)
*IDEA – Indian Documentary of Electronic Arts
2001
*Condominium – Webart at – HICETNUNC 10 – San Vito a/T (Italy)
*Cerveira Biennale 2001
*File – Electronic Language Festival 2001 Sao Paulo and Curitiba City (Brazil)
*2nd INTERPOETRY Exhibition Sao Paulo (Brazil)
*DMF2001 – Digital Media Festival 2001 Manila (Philippines)
*4th International Meeting of Experimental Poetry Buenos Aires (Argentina)
*Net_working – Exhibition at Watershed Media Centre Bristol (UK) and
*4th International Conference on Modern Technology and Processes for Art, Media and Design, Bangkok (Thailand)
Copyright © 2001 by Agricola de Cologne. All rights reserved
Watch – Seconds Forever, 2001, 3:20
Surveillance can become an obsession for those who observe and those who are observed. For the victim captured and tortured, seconds are never ending.
*DMF2001 – Digital Media Festival 2001 Manila (Philippines) – Moving Picture Collection 2001
*Art Of Torture – Art against Torture – NCCA Kaliningrad (Russia) – Seconds: Forever 2001
*Lite Show Festival at Boston Cyber Art Festival 2001 (USA) – Screening: Seconds: forever 2001
*Media Art Festival Friesland 2001 (The Netherlands) – Watch: seconds: forever 2001
*Viper Media Festival Online Competition (Switzerland) – Screening – Seconds: Forever – Award Nomination 2001
*’Visions Festival’ at St. Kilda Film Festival – Melbourne (Australia) 2002
*Next5 Minutes Festival 2003
*V SALON Y COLOQUIO INTERNACIONAL DE ARTE DIGITAL 2003
Transience
an atonal composition, 2001, interactive
Synopsis
Transience is an interactive, experimental Flash composition based on different text, sound and music components created by Agricola de Cologne.
Both the creator and user are or become composers of sensual perceptions on different levels. Confronted with essential questions of human destination and while acting through the artistic environment the user starts creating a virtual sculpture consisting of images, associations and processes on different levels.
The work is developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne.
The movie is developed in Flash, directed and produced by Agricola de Cologne.
Technical details
Year of production: 2001
Duration: interactive
Format : Flash/HTML, Windows Projector
Aspect ratio: 1000×700 pix
Programmed: Flash
Exhibition format: Internet, DVD
Sound: yes
Colour: yes
Sound/music: Agricola de Cologne
Credits:
Director, producer, editor, script/concept, cinematography, programming: Agricola de Cologne
Copyright © 2001 by Agricola de Cologne. All rights reserved
Note: It is highly recommended to use a fast computer device and broadband Internet connection, as DSL.
Festivals/participations
*Links/Ligacoes Conference and Prize OPORTO (Portugal) 2001
*Net_working – Exhibition at Watershed Media Centre Bristol (UK) and
*4th International Conference on Modern Technology and Processes for Art, Media and Design, Bangkok (Thailand) 2001
*Art on the Net – Postcagian Interactive Sounds (Japan) – 2001
*4th International Meeting of Experimental Poetry Buenos Aires (Argentina) 2001
*Incident.net (2002)
*THAW 02 – film, video, digital and sound festival – Iowa City (USA) 2002
*COOP Media Festival – Museum of Contemporary Art Bucaresti (Romania) 2002
*Free Manifesta/Manifesta 4 – Kunstverein Frankfurt (Germany) 2002
*e-magic – cybermedia events – 43th International Filmfestival Thessaloniki (Greece) 2002
*(6th) Media Arts Festival, Tokyo Metropolitan Museum of Photography 2002
*PEAM 2003 – Electronic Art Festival 2003 Pescara/Italy
Sao Paulo
Mirror at the Bottom
154 artists from 37 countries
001 Melissa Gould (USA), 002 Brigitte Neufeldt (Germany), 003 Letitia Gaba (Germany/Romania) 004 Lisa Cianci (Australia), 005 Carla Della Beffa (Italia), 006 Melissa Ulto (USA), 007 Agricola de Cologne (Germany), 008 Yevgeniy Fiks (USA), 009 Sam Norris (USA), 010 Coco Gordon (USA), 011 Angelo Ricciardi (Italy), 012 Dan Boyer (USA, 013 Moataz El Safti (Egypt), 014 Gavin Spielman (USA), 015 Janez Zalaznik (Slovenia), 016 Karin Ulrike Soika (USA), 017 Thomas Ulbrich (Germany), 018 Eileen Doman (USA), 019 ZANNI.org (Italy/USA), 020 Geffrey Thomas (USA), 021 Aimo Hyvärinen (Finland), 022 Tina Consalvez (Australia), 023 Bittermann und Duka (Germany), 024 Beate Veszely (UK), 025 Jorge Margolles (Spain), 026 Ewa Lewarne (UK), 027 Rene Joseph (Belgium, 028 Martin Sachse (Germany), 029 Jess Loseby (UK), 030 Cezar Lazarescu (Romania), 031 Mauro Ceolin (Italy), 033 Jeremy Owen Turner (Canada), 034 Robert Dohrmann (USA), 035 Mary Lynch (USA), 036 Tantra Bensko (USA), 037 Bulent Bas (Turkey), 038 Bovey Lee (USA), 039 Jo Cook (USA), 040 Harold Olejarz (USA), 041 Paula Cordova (Argentina), 042 Gabor Papp (Hungary), 043 Rita Barros (Portugal/USA), 044 jimpunk (France), 045 ken segal (USA), 046 Hai Dai (Vietnam), 047 Cornelia Heier (Germany), 048 Domenico Olivero (Italy), 049 Congelo (USA/Italy), 050 Joachim Holz (Germany), 051 Don Gray (USA), 052 Florentine Perro (Canada), 053 Andres Yepes (Colombia), 054 Anton Roca (Spain/Italy), 056 Meino.de (Germany), 057 ERP (USA), 058 Roswitha Wengel (Germany), 059 John Murphy (Spain/Ireland), 060 Solveigh Kjok (Norway/USA), 061 Barry R. Jones USA), 062 Xavier Cahen (France), 063 Andrew Eyman (France), 064 Tamara Lai (Belgium), 065 Igor Ulanowsky Israel), 066 Valery Grancher (France), 067 Frim Parado (Germany/Mexico), 068 Casaluce-Geiger (Italia), 069 Raivo Kelomees (Estonia), 070 Greg Giannis (Australia), 071 Harriet Jameson Pellizzari (Austria), 072 Vittorio Bacelli (Italy), 073 Antonio Sassu (Italy), 074 Susanna Viale (Italy), 075 Barry Smylie (Canada), 076 Nicolae Comanescu (Romania), 077 Floe Tudor (Romania), 078 Mona Vatamanu (Romania), 079 Brian Judy (USA), 080 Ivan Pope (UK), 081 Robert Montini (USA) Marinara, 082 Enrico Christion (USA), 083 Max Greenberg (USA), 084 Jose Vieira (Portugal), 085 Alberto Guedea (Mexico), 086 Ilse Hilpert (Germany), 087 Beatrix Salcher (Austria), 088 Kanarinka=Catherine D’Ignazio (USA), 089 Tomasz Konart (Canada), 090 Gintas K. (Lithuania), 091 Jaideep Mehrotra (India), 092 Petra Campanella (Germany), 093 Misa Nikolic (Canada), 094 Annekatrin Zint (Germany), 095 Shirin Kouladjie (Canada), 096 Oleg Tchebunin (Germany/Russia), 097 Yves Aubrymore (France), 098 Gerry Clara (Belgium), 099 ego (Italy), 100 Kerstin Michaela Vornmoor (Germany), 101 Helen Ungerer (Germany), 102 Oleg Kirillow (Russia), 103 Nicolas Clauss (France) 104 Andrei Mikhailov (Russia), 105 Oliver Holtzer (Germany), 106 Milos Jankovic (Yugoslavia), 107 James Oliveto (USA), 108 Timothée Rolin (France), 109 Rebecca Hackemann (Germany/USA), 110 Anna Urzyn (USA), 111 Judith Gaida (Poland/Germany), 112 Fred Stuart (The Netherlands), 113 Karen Kuslansky (USA), 114 Arlene Rabinowitz (South Africa), 115 Jorge Manghi (Argentina), 116 Paul Tulipana (USA), 117 Kathleen Newman (New Zealand), 118 John Boone (USA), 119 Abhika G. Sandkuehler (Germany), 120 Nikola Pilipovic (Yugoslavia), 121 Maria Vauda (Yugoslavia), 122 Alexander Urban (Germany), 123 Barbara van Ittersum (the Netherlands)
124 Anahi Caceres (Argentina), 126 Bernhard Karlowitz (Germany), 127 j.d.beltran (USA), 128 son:DA (Slovenia), 129 Franziska Kerf (Germany), 130 Luiza Rizea (Romania), 131 Michael von Karkowski (Poland), 132 Mirella Musri (Argentina), 133 David Golumbia (USA), 134 Elena Panayotova (Bulgaria), 135 Richard Lubrich (USA, 136 Laurent Montant (France), 137 Reynald Drouhin (France), 138 Sara Pernecka (Slovakia), 139 Ante Kustre (Croatia), 140 Linda Pieke (The Netherlands), 141 Fernando Garcia Delgado (Argentina), 142 Deborah Garwood (USA), 143 Ned Menenses (Bolivia), 144 Frederique Santune (France), 145 Irene Coremberg (Argentina), 146 Yeheshua Johnson (USA), 147 Evgenia Bechrakis (Greece), 148 Molly Hankwitz (Australia), 149 Natasa Radovic (Italia), 150 Tiia Johannson (Estonia), 151 Steve Armstrong (Canada), 152 Feargal O’Malley (Ireland), 153 Portrait of the Artist as a Home Page (USA), 154 Dagmar Kase (Estonia)
Enter – Mirror at the Bottom – here
]and-scape[, 2002, interactive
“]and_scape[”
Synopsis
Interactive moving picture created in Flash by media artist Agricola de Cologne
inspired by poetic texts of Liubov Sirota, an Ukrainian Tchernobyl survivor.
The work is telling something about landscapes
imaginary landscapes, flourishing landscapes
landscapes of illusion, landscape of hope, landscape of innocence
landscapes of being home, landscapes of unscathed genetics
landscape of giving home to all beings of the Creation.
Are there any landscapes any longer, did not they dry out, blasted, shrinked to minimalism through the will for destruction, the bombs over Hiroshima, Chernobyl the completely mined enviroment which leaves no air to breath, the mountains of garbage collapsing……………..
who will remember all those little children
who will be born again and again
who will never get any chance to survive.
We will remember,
we will reconstruct forgotten landscapes
But will we succeed?
The work is developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne.
Technical details
Year of production: 2002
Duration: interactive
Format : HTML, Flash
Aspect ratio: 1000×700 pix
Programmed: HTML, Flash
Exhibition format: Internet, DVD, CD-Rom
Sound: yes
Colour: yes
Sound/music: Agricola de Cologne
Credits:
Director, producer, editor, script/concept, cinematography, programming: Agricola de Cologne
Copyright © 2002 by Agricola de Cologne. All rights reserved.
Festivals/participations
*MAXXI – Museo of 21st centrury Rome 2006/2007
*Fibreculture Conference 2003 – Brisbane/Australia :: Digital Literacies 2003
*PEAM 2003 – Electronic Art Festival 2003 Pescara/Italy 2003
*Chiang Mai 1st New Media Art Festival – Chiang Mai (Thailand) 2003
*File 2002 – Electronic Language Festival Sao Paulo (Brazil) 2002
*X Canarias International Festival of Video & Multimedia 2002
*August Art 2002 Festival New York (USA) 2002
*Con|text – Stasis_Space – curated by John Kannenberg (USA)2002
