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Agricola de Cologne videoartist

20 selected videos

Chernoshima, 2019, 6:40
Chernoshima, 2019, 6:40

Chernoshima incorporates the horror of the nuclear power as it could be experienced in Hiroshima 1945, in Chernobyl 1986 or Fukushima 2011. The belief in progress at its limits!

Prison of Mind, 2019, 5:40

Prison of Mind, 2019, 5:40


Life and time get a new meaning for those who wait for the execution of the death sentence, for them it is the question whether life is that true prison and death rather the liberation from this prison. The metaphorical video reflects the changing values in life during the process of approaching death.

Impatience, 2019, 2:55
Impatience, 2019, 2:55


The video reflects the intermediate phase from boyhood to adolescence, marked by new physical and emotional developments, internal and external fight to find one’s identity. It is the phase of not-knowing, of being eager to search for something new beyond the horizon.

For Europe – 2018!, 2018, 1:00

For Europe – 2018!, 2018, 1:00


What, if Europe would be an human being? – Agricola de Cologne is giving his answer

The Letter My Mother Never Sent, 2017, 4:30
The Letter My Mother Never Sent, 2017, 4:30

On 29 April 1944, my father was kidnapped by the Gestapo. My brother was born at the bombshelter on 4 May. My father returned unexpectedly on 9 May while the Allied Forces were bombing Dessau, which saved his life. My father was never talking aboout his most traumatic experiences, while my mother showed me after my father’s death all the letters to my vanished father she never sent off.

Dawn, 2017, 6:10
Dawn, 2017, 6:10

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.

I Am my Father: Song of Day After, 2017, 4:46
I Am my Father: Song of Day After, 2017, 4:46

Experimental autobiographical work using a metaphorical language to reflect the traumatizations of Past & Present.
The first film in a series of autobiographical works

The Plea – A Palestinian Trilogy, 2017, 40:00
The Plea – A Palestinian Trilogy, 2017, 40:00


The Plea – A Palestinian Trilogy
2017, 40:00

In October 2017, Agricola de Cologne completed his film project “The Plea – A Palestinian Trilogy” starting in 2005 when he visited the Westbank for the first time.

The project is consisting of three videos created between 2005 and 2016, a period when the political situation in Middle East escalated dramatically.

The footage of the first part, entitled “Message from Behind the Wall” released in 2005, is reflecting the erection of the big wall in Bethlehem in 2005.
The 2nd part, entitled: „One Day On Mars“, completed in 2008, is based on footage Agricola de Cologne shot 2006 when he was visiting Palestine for the 2nd time, while the footage of the 3rd part, entitled “Shatila – Lost Island” completed in 2016, was shot 2012, when he was visiting Beirut and the Palestinian refugee camp „Shatila“. The camp which is currently also shelter for Syrian refugees in Beirut is now a symbol for two most dramatic conflicts in Middle East and failed international politics at the expense of the Palestinian people.

Visiting Middle East and dealing with the Palestinian question is causing a differenciated point of view and thinking. While the problem is dominated by two (however, failed) political ideologies drawing reality black and white, the “true” reality shows multi-facetted shades of grey, in which the “normal” people are yearning desperately for living in peace, dignity and the perspectives for a future.

The film project “The Plea” is a plea for humanity on one hand and a self-determined life which is representing a human right.

The Plea – A Palestinian Trilogy

Message from Behind the WAll
2005, 10:00

The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. In 2006. however, the construction of the wall in Bethlehem was completed, and the hostile area around the wall is not used any longer as a playground for children.

One Day on Mars
2007, 8:00

A human being is obliged to spend at least one day in his lifetime on Mars. Mars the red desert planet, Mars the god of war. Mars can be anywhere, any place which is identified with the inhuman, violence, hate, rage, revenge and despair.
Agricola de Cologne filmed the original material 2006 during a visit in Palestine & Israel.

Shatila Lost Island
2016, 20:00

“It was a wonderful sunny afternoon, time for dreaming when my Palestinian guide catched me from the hotel in downtown Beirut. We were riding with his car about a quater of an hour but after a while the car was swimming in a kind of mysterious fog like a boat in the sea when suddenly the gate of an Arab town appeared from nowhere. Entering this gate I was entering a forgotten, enchanted world, happy and very sad alike crowded with people who seems to live in an ancient and contemporary world at the same time. They call it camp, but aren’t we all living in camps.”

Shatila –
that’s the name of this place. Seperated from the metropolitan area of Beirut, but at the same time in its center, but invisible to those who do not know, and for those who know a kind of “tabu” is speading the message of not existing.

Errected as a Palestinian refugee camp in Beirut in 1949, its actual purpose was to give Palestinian refugees – expelled from their home land Palestine a temporary shelter – lasting probably in the beginning just for a few months, to be later prolonged for some years, but since many years, however, for permanent. After nearly 70 years, still provisional and only for humanitarian reason tolerated by the Lebanese, the camp developped to a real Arab town – but an island of no return within the community of Beirut – where generations of Palestinians – followers of the first refugees – eke out their existance as “unwanted” – as eternal refugees – without any perspectives for a future.

People forgot its existance so that Shatila and its inhabitans became during the past decades invisble, until 2012 people remembered Shatila – this fogotten island – as an ideal shelter for refugees escaping from the Syrian civil war (which is since then escalating in a most horrible way).

While until his dead the Palestinian leader Yasser Arafat represented the only hope for these Palestinian refugees living in camps in and outside Palestine, after his death 2004, however, it was Bashar al Assad, the current Syrian dictator who took over this role but waging since many years a war against his own people with terror and death, causing since 2012 hundreds of thousands of Syrians to escape to Lebanon. Once the only hope for the Palestinians, Assad, is standing now for the abolute despair and hopelessness. How quickly Shatila turned again to that forgotten area and invisble area – an island – located in the middle of metropolitan Beirut.

The video is representing the final part of Agricola de Cologne*’s “Palestinian Trilogy”, which is including also the previously released videos “Mesaage from behind a Wall” (2005) and “One Day on Mars” (2008) based on original footage shot in Palestine (Westbank) and Israel.

Predator, 2012, 2:40
Predator, 2012, 2:40



The video is a metaphoric view on the predator in each of us
telling the everyday life story when youth gangs are attacking other people at lonesome locations without any witnesses. The predator as the victim of the circumstances. While acting as a social being, each of us uses its potential of aggression in order to impose one’s will, and mostly by doing anything to achieve one’s end, no matter how the consequences may look like.

The video is based on three individual video sequences recorded from acting experiences with the performance artists group “The Acting and Noise Company”.

Trauma, 2011, 1:00
Trauma, 2011, 1:00


Short synopsis
“Trauma” turns the inside out, it vizualizes the internal traces of violence, grief, rage and helplessness.

Copyright © 2009 by Agricola de Cologne. All rights reserved.

Memory Game, 2010, 10:00
Memory Game, 2010, 10:00

Short synopsis
Five friends meet each other once a year at another place on the globe for one day and play their memory game. In 2010, they meet in Berlin, a place where countless strings of memory come together at the focus of one place which is standing for the more than 6 millions of murdered Jews, the Memorial for The Murdered Jews in Europe.

The video was filmed in Berlin, Budapest and Auschwitz and is released on occasion of 65th return of the Liberation of the Concentration Camp Auschwitz on 27 January 2010.

Collection: The d/i/light Memorial – SFC – Shoah Film Collection – http://dilight.a-virtual-memorial.org
Screenings & exhibitions

A Virtual Memorial Timisoara 2014 – German Cultural Center – 27 Jan 2014
A Virtual Memorial Vilnius 2013 – Jewish Cultural Center Vilnius – District Museum Kedainiai 23 Sept – 28 Oct 2013
A Virtual Memorial Riga 2012 – NOASS & Riga Ghetto & Latvian Holocaust Museum Riga – 1-30 June 2012
CologneOFF 2011 Mexico- UAM Mexico City – 12-14 November 2011
Center for Advanced Holocaust Studies Ft.Wayne (USA) – 2-3 Nov 2011
NCCA – National Center for Contemporary Art St.Petersburg/Russia – 19-21 May 2011 – SFC – Shoah Film Collection
Art Museum of Arad/Romania – 31 March – 2 April 2011 – SFC – Shoah Film Collection
City Art Gallery Kharkiv/Ukraine – 16-20 March 2011 – SFC – Shoah film Collection
Prima Piano Gallery Lecce/IT – Language is a Virus – 08 Feb – 16 Feb 2011
Budapest International Short Film Festival – 1-5 September 2010

copyright © 2010 – all rights reserved.

Silent Cry, 2008, 3:06
Silent Cry, 2008, 3:06


Short synopsis
Silent Cry is the visualization of an internal cry happening all the time, when society does not allow to show deep emotional affection. The silent cry is always present caused by never ending traumatizations during decades hidden behind the facade people wants to see. And even if the cry would be be seen or heard, people would refuse to face it. The work release is giving sound a particular relevance.


Now & After Videoart Festival Moscow – April 2013

Cinemateca Nacional & Centro Cultural Metropolitano Quito/Ecuador -24 August 2012
A Virtual Memorial Phnom Penh 2012 @ Meta House Phnom Penh – 12-15 July 2012
Generation Loss Festival Manila 14-28 March 2012

Buenos Aires (AR) – Optica Video Festival – 16-18 December 2011
San Luis Potosi (MX)- Centro de las Artes – 8 December 2011 – CologneOFF 2011
Mexico City (MX) – Media Fest CologneOFF 2011 – UAM – Universidad Autonoma Metropolitana 14 & 15 Nov 2011
Mexico City (MX) – ExTeresa Arte Actual – 10 & 11 November
Bernado’s House Museum FONLAD Coimbra (PT) – 15 October
Encuentro en Zona de Moraña (Spain) – 9-10 Sept
Optica Video Festival Madrid – 16-18 Sept
Riga (Latvia) – Waterpieces Contemporary & Video Art Festival – 8-10 Sept
Beirut (Lebanon) – Shams – The Sunflower – 31 Aug – 3 Sept
Proyector Video Art Festival Madrid (Spain) – 14 July
Tallinn (Estonia) – Estonian Academy of Art – 1 & 2 June
Tampere (Finland) – Gallerija Rajatila – 26 May
St.Petersburg (Russia) – ProArte – 20 May
Szczecin Cultural Observatory 2016 (Poland) – 12-14 May
Arad Art Museum (Romania) – 30 March – 1 April
City Art Gallery Chrkiv (Ukraine) – 17-20 March
Goethe Institute Kiev (Ukraine) – 14 March


Videoart Festival Giessen/Germany – 30 October 2010 –
International Film Festival Naoussa/Greece 30 Sep – 3 Oct 2010
Festival internacional de cine y video alternativo y comunitario “Ojo al Sancocho”, Ciudad Bolívar La Paz, 17 – 24 September
memo.real project.collateral /august in art biennial.varna 2010 – 12-17 Aug 2010 – dora bulart gallery varna
“Festival Mediu Güeyu”, Fundacion Cardin -Villaviciosa (Asturias, Spain) 3-5 September 2010 – Optica selection
Galería Texu Oviedo (Spain) Optica selection – 5-31 July 2010
“Festival Proyector 2010” – Optica Videoart – Espacio Menos Uno Madrid (Spain) 5-31 July 2010
AllArtNow International New Media Art Festival Damascus/Syria – 25-30 May 2010 – Silent Cry
Loop Video Festival Barcelona – Optica selection – 13-17 May 2010
Emergenzaarte – videoart festival – Santa Maria die Sale (Venice) – 10 April 2010
Oslo Screen Festival – 12-14 March 2010 – Oslo/Norway
Videoformes Clermont-Ferrand/F – 11-28 March 2010


Rauland Kunstforeningen Rauland/Norway – 30 December 2009 – Art Video Exchange Norway
Yogyakarta International Videowork Festival #05 – 11 – 20 dec 2009
Visions in New York City – Video Art Festival – 02-13 November 2009
Cultural Centre San Martin Buenos Aires/AR – Optica Festival Review ’09 – 5-7 November 2009
MEM Festival Bilbao/ES – Optica Festival review 2009 – 4 November 2009
Optica Videoart Festival Gijon/Soain – 29-31 October 2009 – Silent Cry
ShootOFF – Experimental Video Festival Paris/F – 17-23 October 2009
Digital Fringe Melbourne (Aus) – 23 Sept- 11 Oct 2009 – Silent Cry
Optica Videoart Festival Madrid- Casa de America Madrid/Spain – 15-17 October 2009
Art Video Screening – Orebro/SWE – Bio Roxy – 17 October 2009
“…a very loud silence” curated by Avantika Bawa at Le Flash Festival Atlanta/GA – curated by Cathy Byrd and Stuart Keeler – 2 October 2009
Optica Videoart Festival Optica – Centro Contemporaneo Huarte/Navarra – 29 September – 2 October 2009
Optica Videoart Festival Paris/France – 24-26 September 2009
FestiNova Festival Garikula/Georgia – 5 Aug – 20 Oct 2009
Optica Video Festival Cordoba/Spain – 11-13 September 2009
Optica Video Festival La Paz/Bolivia – 20-26 August 2009 –
Optica Video Festival Buenos Aires/Argentina – 27-29 August 2009 –
FILE – Electronic Language Festival Sao Paulo/Brazil – 27 July – 30 August 2009
Ceramic Museum Lisbon/PT – 16 May 2009 Screening
Gallery La Sala Cigüñuela/Spain – 17-29 April 2009
Brancaleone Club Rome – screening 14 March 2009
CeC – Carnival of e-Creativity New Dehli/Sattal (India
27 February – 1 March 2009 – part of “the solo retrospective “Some Minutes of a Time”


Digital Salon at MACZUL – Museum of Contemporary Art Maracaibo/VE
2-10 october 2008 – part of the solo presentation “Some Minutes of a Time”

Copyright © 2008/2016 by Agricola de Cologne. All rights reserved.

En (code) ed, 2008, 5:40

En (code) ed, 2008, 5:40



Digital video inspired by a visit of Thessaloniki.
The work describes the principle of “code” or “coding” in form of an allegory, a metaphoric story as a ritual of meeting, dominating and resigning. The code is identified as a state of the static, dogmatic and conservative, which asks for obedience, but gives no chance to escape.

Voice and sound performance by Agricola de Cologne. The movie is edited, directed and produced by Agricola de Cologne.

En[code] ed – an interview with Agricola de Cologne -by Jeremy Hight


Videoholica – Videoart Festival Varna/Bulgaria – 12-17 August 2010
4th Gaza International Videoart Festival – 19-24 June 2010
Urban Reasearch@Directors Lounge Berlin – 11-21 February
Traverse Video Festival Toulouse/France – 12 March 2010

5th FF600 Shortfilm Festival Lubljana/Slovenia – 28 & 29 May 2009
CeC – Carnival of e-Creativity New Dehli/Sattal (India
27 February – 1 March 2009 – part of “the solo retrospective “Some Minutes of a Time”

Digital Salon at MACZUL – Museum of Contemporary Art Maracaibo/VE
2-10 october 2008 – part of the solo presentation “Some Minutes of a Time”
24 Hours of Nuremberg Shortfilm Festival – Filmhaus Nuremberg – 7 & 8 Nov 2008
AZA – Digital Cinema Film Festival Thessaloniki/ Greece – 25-28 Sept 2008
MiniMinutes Film Festival Muenster/Germany – 29-30 August 2008
Videoart Festival Miden Kalamata/Greece – 4-6 July 2008
Traverse Video Festival Toulouse/France – 11-15 March 2008

Copyright © 2008 by Agricola de Cologne. All rights reserved.

Urban.early sunday morning_raw, 2008, 3:50
Urban.early sunday morning_raw, 2008, 3:50


Video based on a poetic text by Agricola de Cologne inspired by the Central Station of Milan (Italy).

Metropolis: sunday morning, between open end and twilight, between hope and resignation, between following a dream and returning that night to the home town or village outside.
Coming from the disco, full of the impressions of that juicy girl or that horny boy, doubtful of whether preserving innocence or following the instinct for an outstanding erotic adventure.
It is the moment of not yet knowing, vacillating between yes or no.
It is a same ritual each week-end, even if decisions are made once.
It is a game between identifying and identity.
The work describes the urban landscape as a scenario of a play, where the protagonists are embedded in without any chance to escape.

Voice and sound performance by Agricola de Cologne.

Copyright © 2002 -2016 by Agricola de Cologne. All rights reserved.


*Cinemania(c) – exhibition at 49th Pula Filmfestival – Pula (Croatia)2002
*Digitalclip Festival – GAM – Galleria Civica d’Arte Moderna e Contemporanea Torino (Italy) 2002
*Medi@terra – Festival 2002 – Fournos Cultural Centre Athens (Greece)2002
*Mediahexa Festival Seoul (Korea)2002
*Cyborg 01 Festival – Valencia/Venezuela 2002
*III. INTERPOETRY Exhibition Sao Paulo (Brazil)2002
*43th International Filmfestival Thessaloniki (Greece)2002
*5th International Meeting of Experimental Poetry Buenos Aires (Argentina)2002
*VideoMarathon Contemporary Art Centre Chisinau (Moldavia) – 2002
*Liberarti – Liverpool Biennial (UK) – Violence Online Festival – 2002
*ISEA 2002 Nagoya (Japan)
*COOP Media Festival – Museum of Contemporary Art Bucaresti (Romania)2002
*’Visions Festival’ at St. Kilda Film Festival – Melbourne (Australia)
*Nth ArtExhibit.001 – Nth Art Collective London/UK 2003
*Moving Media Multiplicator Vienna (Austria) 2003
*Artemedia 2003 – Universidad Maimonides Buenos Aires/Argentina 2003
*FiFI Festival 2003 – Paris (France) – Urban.early sunday morning_raw 2003
*File 2003 – Electronic Language Festival Sao Paulo (Brazil) 2003
*Digital Sur Festival- Arte Digital Rosario 2003 – Rosario (Argentina) 2003
*8th International Festival of New Film – Split/Croatia 2003
*Fibreculture Conference 2003 – Brisbane/Australia :: Digital Literacies 2003
*New Forms Festival Vancouver (Canada) 2003
*Film and New Media Festival Lancaster (UK) 2003
*Galerija ULUPUH Zagreb/Croatia 2003
*PEAM 2003 – Electronic Art Festival 2003 Pescara/Italy 2003
*Kunst aus Strom Festival/Art from Electric Power Festival 2003
*Kinokaze – Open Screen Belgrade (Serbia & Montenegro) 2003
*(6th) Media Arts Festival, Tokyo Metropolitan Museum of Photography 2003
*3rd Audiovisual Festival Lille/France – 2003
*Belgrade Summer Festival – Open Screen Belgrade 2004
*The Wiggle Room San Antonio TX (USA) 2004
*FAIM Madrid – El Viernes Curvado curated by Antonio Alvarado 2004
*Biennale de Montreal 2004
*Museo de Arte Contemporáneo del ZULIA, MACZUL – Salón de Arte Digital -2005
*Cyber Poem 2.1 – International Meeting of Digital Poetry 2005
*FONLAD – Online Festival Coimbra/Pt 22/10-30/11
*Micropolis – Internation contest and Exhibition Athens/Greece 2005
*Museum of Contemporary Art Santa Fe/Argentina – Orilla#05 – International Show of Digital Art – 8-11 September

Bareback – serial DIScharge, 2007, 6:40
Bareback – serial DIScharge, 2007, 6:40

The experimental film tells the story of a homeless person, who lost its identity in all the traumatic experiences it was undergoing. Again, Agricola de Cologne uses the form of the allegorical representation for pointing to essential questions of human existence. All people are homeless in on or the other way, most however, suffer from it without being aware of it. The film is a mirror of our time which has lost its roots.

Videoart Award Bele Arte Lamia 2007 – high commendation

FONLAD Video Award 2007
FONLAD – Digital Art Festival Coimbra/Pt

Transfera TV Madrid /Spain –
14 & 15 December 2007
17 & 18 October 2008


Interntional Film Festival Jelenia Gora (PL) 17-22 Feb 2009

Optica Videofestival Gijon/Spain – 6-8 November 2008
Optica Videofestival Madrid 16-18 October 2008
13th Canariamediafest 2008 – Gran Canaria (Spain) – 28 Oct – 1 Nov 2008
Museum of Contemporary Art MACSUL Maracaiobo/Venezuela 2-8 October 2008
Experimental Film Festival Images contre Nature Marseille/F – 2-5 July 2008
Naoussa International Shortfilm Festival /Greece – 7-11 May 2008
Video Art Screenings Örebrö/Sweden 18-19 April 2008
Athens International Video Art Festival 2008 (Greece) 11-12-13 April 2008
Artpool Budapest/Hungary – Budapest Spring Festival – Dimensioniste World Meeting – 19-28 March
Videoformes – Int. Festival of Video & New Media Clermont-Ferrand (F)
11-15 March 2008
Traverse Video Festival Toulouse/France 11-15 March 2008
Centre Culturel Andrè Malraux Sarajevo/Bosnia-H 7-21 March 2008
FILE – Electronic Language Festival Rio de Janeiro/Brazil 26/02-29/03 2008
CeC &CaC – India International Centre New Dehli/India – 15-17 Feb 2008
Kinolevchuk Videofestival Lvov/Ukraine 11-13 January 2008

Atomic Unicorn – online mag – 1st edition – feature – December 2007
Instant Videos Marseille/France on 12 December Liege/Belgium
Pantheon Experimental Film Festival Nikosia/Cyprus 24 November
3rd International Digital Art Festival Rosario/Argentina – 15-17 Nov 2007
Fonlad – Digital Art Festival Coimbra/PT – 1-30 November 2007
Belle Arte Lamia Video Art – Lamia/Greece – 9 November – 2 December 2007
24 Hours of Nuremberg – film festival Nuremberg/Germany – 9/10 Nov 2007
Studio Art & You – Digital Art Paris/F – 14-31 October 2007
ShootOFF L’Espace Canopy Paris 6-14 October 2007
D-Neff – European Experimental Film Festival Vitoria Gasteiz/Spain 4,5,6 Oct
SENEF – Seoul Net and Film Festival/South Korea 8-16 September 2007
FILE – Electronic Language Festival Sao Paulo/Brazil 13 Aug – 9 Sept
Videofestival Celje/Slovenia – Videorats Dream Video Dreams 6 -8 July 2007
Izolenta – Digital Film Festival St. Petersburg/Russia 11-13 May 2007
Version07 Festival Chicago/USA 19 April-2 May 2007


House of Tomorrow, 2005, 3:10
House of Tomorrow, 2005, 3:10


The house of tomorrow is the house of one’s identity, it does not need to be a concrete house or building, but represents a secure and protected place where people can stand for what they are and represent, a human being. And this human may have many identities in different fields, the sexual identity represents only one among many others.

Magmart Award
Magmart Video Art Award Naples (Italy)
VideoArt Award
Bele.Arte.Lamia Video Art Award Lamia (Greece)

Festivals/Screenings (34)

Crosstalk Video Art Festival Budapest/Hungary – 25-30 June 2009

Traverse Video Festival Toulouse/France 11-30 March 2008
Les Inattendus Film Festival Lyon/F 25-28 January
Kinolevchuk Video Festival Lvov/Ukraine – 11-13 January 2008

VIP Gallery Belgrade/Serbia – 19 November 2007
1st Digital Art Festival Bahia Blanca/Argentina 2007 – 13-15 October
6th Digital Art Festival Maracaibo/Venezuela 2007 – 7-17 October
Signals 5 – INSIDE OUT Festival London/UK – 8 September 2007
Mobile Institute Brussels – Cinema Styx – 17/24 August 2007
International ShortFilm Festival Budapest/Hungary 2007
P’Silo, Festival Image contre Nature Marseille/France 2007
Enter Caravansarai Festival 2007 Istanbul/Turkey 2007
Visions in the Nunnery London 2007
CeC & CaC – India International Centre New Dehli/India 2007
Video Art Screenings Västeras/Sweden 2007
Dutch Electronic Art Festival – unDEAF Rotterdam/NL 2007
FILE – Electronic Language Festival Rio de Janeiro/Brazil 2007
VideoFormes – Int. Festival of Video & New Media Clermont-Ferrand/Fr 2007
VidFest2007 – Museum of New Art Detroit (USA) 2007

3rd Carbunari – experimental film festival Baia Mare/Romania 2006
8th CHROMA – Festival de Arte Audiovisual Guadalajarra/Mexico 2006
2nd Festival de Arte Digital Rosario/Argentina 2006
Canariasmediafest’06 – Gran Canaria/Spain 2006
FILE – Electronic Language Festival SaoPaulo/Brazil 2006
Visionaria Video Festival Siena/Italy 2006
PI 5 Video Festival – National Museum Szczecin/Poland 2006
Play IV Video Art Festival Buenos Aires/Argentina 2006
Moskow International Film Festival Moskow/Russia 2006
Pixeldance Festival Thessaloniki/Greece 2006
Bele.Arte.Lamia – International Video Art – Lamia/Greece 2006
MAGMART Video Art Festival Naples/Italy 2006
Art Gallery of Knoxville/USA 2006

Biennale of Video & New Media Santiago /Chile 2005
VAD – Video & Digital Art Festival Girona/Spain 2005
Mezipatra – Gay and Lesbian Film Festival Brno/Czech Republic 2005
Lisbon Gay & Lesbian Film Festival Lisbon/Portugal September 2005

Copyright © 2005 by Agricola de Cologne. All rights reserved.

(Dis)tortion_Projected, 2005, 4:50
[Dis]tortion_Projected, 2005, 4:50

In 1998, Agricola de Cologne became a victim of a terror attack. The video is the attempt to make the traumatic experiences perceivable via metaphoric images on an emotional level .
The artist’s voice performing one of his musical compositions uses sound instead of words in order to symbolize the speechlessness and inability of the people surrounding him to react properly.

Kinolevchuk Videofestival Lvov/Ukraine 2008
3rd International Shortfilm Festival Budapest/Hungary 2007
D-NEFF – European experimental video festival Vitoria-Gasteiz/Spain 2006
Pixeldance Festival Thessaloniki /Greece 2006
Intro-Out Video Festival Thessalonik/Greece 2006
Camargo Cibernetico Media Art Festival Camargo/Spain 2006
Carbunari 2006 – experimental filmfestival Baia Mare/Romania 2006
The Art Gallery of Knoxville/USA 2006
Groundworks – Regina Gouger Miller Gallery Pittsburgh/USA 2005
Biennale of Video & New Media Santiago /Chile 2005
Asolo Art Film Festival Asolo Italy 2005
International Centre Bethlehem/Palestina 2005
Biennale of Electronic Art Perth Australia September/November 2004

Inability of Being Nude, 2004, 2:00
Inability of Being Nude, 2004, 2:00

The moving picture takes the classical theme of the “nude” in a contemporary interpretation as a psychological condition.
The viewer is confronted with different levels of movements of baring/exposing.
He becomes very quickly aware, that he did not enter a peep-show, but is disturbing intimacy, the process of emptiness. Emptiness in the sense of meditating.
The nude is a metaphor. The Inability of Being Nude becomes the inability of exposing one’s entire internal to other people, including those who are most intimate and this could be the viewer himself. This inability is in the same way protecting as separating.

Transfera TV Madrid /Spain –
14 & 15 December 2007
17 & 18 October 2008

Shoot Off Video Festival – Espace Canopy – Paris/F – 13-23 Nov 2008
Traverse Video Festival Toulouse/France 11-30 March 2008
Laisle Viodeotape & Sound – Espaço 27 Rio de Janeiro 16 November 2007
Carbunari – Experimental Film Festival Baia Mare (Romania) 2006
The Art Gallery of Knoxville/USA 2006
Stunned.org 2005
FILE – Electronic Language Festival Sao Paulo/Brazil 2005
Biennale of Video Santiago/Chile 2005
Cyber Poem Festival Barcelone/Spain 2005
3rd 0110 Digital Film Festival New Dehli/I 2005
SENEF Seoul/S.Korea 2005
VideoFormes Festival Clermont-Ferrand/F 2005
404 – Electronic Art Festival Rosario/Argentina December 2004

Copyright © 2004 by Agricola de Cologne. All rights reserved.

Never Wake Up, 2001, 2:40
Never Wake Up, 2001, 2:40

Never wake up

The “anti-war” moving image is based on Agricola de Cologne’s lyrics and musical composition “Never Wake Up” referring to the netart piece of the same name, he created 2001.

Loss of identity: Soldiers become distorted, veterans of war are not able to be reintegrated in society.

The poem/movie uses some fundamental images:
The soldier = metaphor for the human individual
War = metaphor for life, respectively the fights of all day life
Veteran of War = the human being who can not get rid of the Shadows of the Past.

The used footage is demonstrating the senselessness of war.
It is a plea for humanity, the question: who is the victim – is an ambiguous one.

There are two work versions

1. the netart piece “Never Wake Up”, 2001, 3:00 – copyright © 2001
the works is created in Flash (Macromedia) in the low screen resolution of 800×600 px.
The work uses usual images besides vector images, therefore any scaling to a higher resolution has an negative influence on the image quality.

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.

2. the video “Never Wake Up”, 2016, 3:45 – copyright © 2016 –
using found footage is based on the same poem “Never Wake Up” and the related composition of the same name.
The movie is referring to war situations of the past years, eg World War II, Afghanistan, Iraq, Syria, Ukraine and Islamist terror,
so its message and the related symbolism is going far beyond the small netart piece from 2001 taking the complexity of our current world into account.

Voice and sound performance by Agricola de Cologne.
The movie image is directed, produced and edited by Wilfried Agricola de Cologne
supported by The New Museum of Networked Art

Identity of Colour, 2001, 07:07
Identity of Colour, 2001, 07:07

On 4 January 2001,
Wilfried released his latest Flash video, entitled:
“Identity of Colour – Divisionistic Approach”.


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

*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)

*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)
*’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

*Condominium – Webart at – HICETNUNC 10 – San Vito a/T (Italy)
*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

After Wilfried had lost his memory due to the many months lasting coma 1998/99, it was a phenomenon that the basic structures of his personality were not affected.

Already as a child he was different than other children of his age, because he had an holistic point of view – this means he did not face the world by cutting them into pieces and face these pieces separately, but according to the analytic principle he set these pieces into relation to each other and, that’s relevant, in relation to the whole. Hardly born, the little Wilfried was already analysing his environment, the people surrounding him, he was scanning them and recognised if they had something evil in mind. Because the little blond boy, looking like an angel immigrated from the Nordic countries, was attracting adults, men as well as women alike, and Wilfried’s mother always was afraid, anybody might seduce the little boy, these fears however were in vain, even as a 2 years old boy Wilfried was able and ready to defend himself and preventing that people could do any harm to him by scanning the situation, people and their behaviour and reacting on the scanning results.

These holistic structures were supported by his openminded parents, who were offering the boy so many intellectual and emotional stimulations, so that already soon Wilfried had that kind general knowledge, that it was not necessary for him to have any specialized knowledge, because as creative person, the little boy was setting the pieces in relation to each other and the whole.

It became obvious, Wilfried felt particularly attracted to an art form, entitled “divisionism”, better known also as “pointillism” which was a French art movement of the 19th century. The artists were dividing in a kind of scientific method the visually seen into colour dots, they were painting on a canvas, and only in the eye of the spectator the dots were melting to the unity of a “whole”. Later when Wilfried started art-working himself about 12 years old, he found a kind of equivalent in the holistic philosophical ideas which became the basis to Wilfried’s later divisionism – an expression of his analytical personality – not the single art work was relevant but the wole Wilfried was defining.

Wilfried’s course of life and art-working can only be understood by taking these special characteristics in account. According to this analytical, respectively creative principle, which is not reduced to the field of art, all fields of life follow these genetic conditions.

After he returned to life from the coma 1999, it was these characteristics, which were helping Wilfried to recover so fast and return to artistic creativity, even it was completely different in its output than before. His analytical mind was open for new challenges in digital media, and particularly when he was looking for software supporting his ideas, he found the equivalent in Flash by Macromedia. He recognized the creative potential and hardly started, he was facing the lack of the low technological state at that time which did not allow to stream video via the Internet, yet.

His over 07:07 minutes lasting vector based Flash video – “Identity of Colour – Divisionistic Approach” – could be streamed 2001 under the technological conditions of that time in any size and any bandwidth – referring to these mentioned philosophical ideas by using a very special sustainable non-linear programming, the artist developed, which was packing all 10 minutes into 20 frames resulting a file size of about 400 KB.
The posted video, however, is a linear version in mp4.