WOW Jubilee III 1-31 March 2020
WOW Jubilee III Köln
1 March 2020
in virtual space complemented by
Videoart feature Rhineland artists Cologne/Germany On 01 March 2020, WOW Jubilee 2020 took place at Halle Zollstock Cologne. Letitia Gaba and Wilfried arrived already on 12h in order to prepare the even starting on 14h. It was as a nice improvised event, as Wilfried had in mind. Some of the…
Videoart feature Tel-Aviv/Israel Ankara Today, Wilfried is holding his lecture at Camera Obscura School of Art in Tel-Aviv. It is his 4th lecture while he is visiting at first Bethlehem in Palestina (14 -19 February 2005) lecture at Cathlolic University Bethlehem on 16 February & International Center on 19 February,…
net feature Wilfried is paying a particular attention in NewMediaFest2020 to the field of “netart” – Internet based, mainly interactive art, which has its rights to exist only through the net. This fact is generating certain consequences: on one hand it is a new type of public art, which has…
Videoart feature solos Today, 04 March 2003, TURBULENCE NYC – releases “Spotlight on Agricola de Cologne – http://turbulence.org/spotlight/agricola featuring 3 Internet based works – Violence Online Festival, ]and[-scape and Family Portrait – Read more details This article would like to spotlight the field of moving images which got a particular…
net feature The RRF Project Bucharest National Museum of Contemporary Art Bucharest/Romania BEK Bergen/Norway Bucharest Today, 5 March 2004, is an important day in Wilfried’s life, the 1st two (of 65 exhibitions) of his [R][R][F] Project open @ Kalinderu MediaLab at MNAC – National Museum of Contemporary Art in Bucharest…
video feature Urban_ealy sunday morning _raw San Vito /Tagliamento Tokyo On 6 March 1967, Wilfried’s mother is shooting a foto of her son in the kitchen. Wilfried is actually an excellent cook,, who is cooking for lunch for the family after his mother had decided to return as a teacher…
video art feature selection for Sarajevo Tel-Aviv Today, 7 March 2012 – 20:30h Liliana Orbach will open the Exhibition “Aspects of Love” @ Tel-Aviv Artists House, presenting also Wilfried’s video Passion . The footage was shot while Wilfried was visiting Buenos Aires in 2005. Today 7 March 2008, Wilfried is…
video feature Art & the City Melbourne Manila Today, the topic is about definitions and mentality. Today in 2009 is the final day for Wilfried for presenting his video Silent Cry @ Guildford Lane Gallery, Melbourne, Australia – 25 Feb – 8 March 2009 – Guildford Lane Gallery is a…
video feature Refugee Film Collection 2.0 Artneuland Berlin Really, Wilfried does not understand why people think – the Internet would not forget. Instead, the Internet is the biggest and the worst cemetery and that place where the “forgetting” is truly celebrated. The Internet does not exist through itself, and in…
video feature Videoformes Clermont-Ferrand Today. the article would like to honour one of the few, after so many years (founded in 1986!) still relevant festivals in the field of art & moving images – Videoformes – International Festival of Video and New Media Clermont-Ferrand/France and the typical event dates in…
video feature Traverse Video Festival Toulouse Les Abbatoirs – Museum of Contemporary Art Toulouse This article would like to honour another French collaboration. The month March is annually reserved for video art in France. Besides Videoformes Festival in Clermont-Ferrand, it is Traverse Video Festival Toulouse which is celebrating the uprising…
video feature Santa Fe Oslo Today 12 March, Wilfried is physically in Oslo/Norway and virtually in Santa Fe/USA. Oslo Screen Festival is an unusually nice event organized by Margarida Paiva @ Oslo Filmens Hus (now – Cinemateket) – that place in Oslo dedicated to non-commercial moving images programs. Wilfried is…
feature 20 years NewMediaFest Prokuplje Today 13 March 2001, Wilfried is launching NewMediaFest in order to expand the project of “A Virtual Memorial Foundation” through a festival context. Already in 2000, Wilfried Agricola de Cologne recognized that he needed an activity orientated platform complementing the content orientated one of “A…
video feature CologneOFF 2011 selection Sevilla Art Channel Sevilla Today in 2006, Wilfried is participating for the 2nd time in Zemos 98 – Festival Audiovisual Sevilla/Spain, after he had participated in 2005 already and will do it next year in 2007 in the 9th festival edition, but is not attending…
About the redesign of JavaMuseum JavaMuseum – Forum For Internet Technology in Contemporary Art The netart section is representing a serious issue in the framework of Wilfried’s new media art activities. 20 years after the foundation of JavaMuseum, it would be wrong to say, the museum would be completely obsolete,…
Kharkiv (Ukraine) National Karazin University Municipal Art Gallery
Violence 5.0 Iraq War video feature: war! Budapest Dimensioniste World Meeting Iraq War Today, 19 March 2003, Wilfried is launching Violence 5.0 – the war edition of Violence Online Festival – and hardly to believe – tomorrow, 20 March, Geoge W. Bush will start the Iraq war and Videoformes Festival…
Iraq War Prague Bangkok The RRF Project Clermont-Ferrand Today on 20 March 2003, George W. Bush, President of United States starts the Iraq War, which will be lasting until 2011. Wilfried is presenting Violence 5.0 – the war edition of Violence Online Festival @ Videoforms digital Arts Festival Clermont-Ferrand –…
Paris LatinoNetaArte.net Today 21 March, CologneOFF is visiting Paris. Wilfried is presenting a selection from CologneOFF X – Brave New World @ Parachute Light Zero Festival 2015 organised by Gabriel Otero in Paris. In 2000, creator of the structure «Rattlesnake Multimedia Design Productora Independiente», Gabriel Otero, director in audiovisual and…
Video feature animateCologne 2012 Nicosia /Cyprus Today, Wilfried is on Cyprus in order to present the “Best of animateCOLOGNE 2012”, a special selection made for 2nd Motion Festival in Nicosia Cyprus – 22-24 March 2013. The Festival is organised by The European University Cyprus located in the Greek part of…
Video feature Corona The 1st Corona Festival! Corona – It is a virus that is changing the world! But Corona isn’t the plague, killing all infected people. It is rather the warning to mankind to be very careful and becoming aware that the capitalism of the globalisation was a completely…
Video feature Refugee 3.0 Syria in my mind Today, Wilfried is launching – Refugee 3.0 – the 3rd edition of Refugee Film Collection. As the basis for “The Refugee Memorial” – Refugee Film Collection ” is representing an unique collection of shortfilms dealing with the topic of “migration” from different…
feature Le Musée di-visioniste Exhibition Hall Edition 04 The New Museum of Networked Art is the marriage between Le Musée di-visioniste and NewMediArtProjectNetwork:cologne. While the latter was aimed to art creations and activities dedicated to new media, Le Musée di-visioniste was the manifestation of philosophical ideas based on holistic points…
feature Iceland Reykjavik CologneOFF IV CologneOFF VII Schedule for 27 March •Mediateca -CaixaForum-, Barcelona 14 February – 7 April – “Violencia sin cuerpos” 2006 •Traverse Video Festival Toulouse/France – VideoChannel – 4 Videos by Unnur A. Einarsdottir – Traverse Video Festival Toulouse/F – 11-28 March 2009 •VidFest07 – Museum of…
feature Refugee 4.0 The Loss of Humanity? Today, Wilfried is launching Refugee 4.0, the 4th edition of The Refugee Film Collection, which again is representing the basis of The Refugee Memorial. By releasing the new edition, Refugee Film Collection is now encompassing more than 120 videos, and in this way…
feature Launch 4th edition of NewMediaFest2020 Launch of 4th edition of NewMediaFest2020. It is the 1st edition of the 1st Corona Festival. It is the aim of each festival edition, to present the diversity of digital art creations in a retrospective (2000-2020). Actually, in April 2020 two collaborations – with…
in physical space operated by
Halle Zollstock Cologne
The event in Cologne on 01 March 2020 would like to honour particularly the participating artists from the Rhineland region and the twin-cities Tel-Aviv and Bethlehem @
Letitia Gaba, Johanna Reich, Beate Gördes, Irena Paskali, Peter Wolf, Myriam Thyes, Enoh Lienemann, Kai Welf Hoyme, Shahar Marcus, Masha Yosefpolski,
Doron Polak, Dova Cahan, Boaz Kaizman, Peter Rosenthal, Marcus Seibert, Tammy Mike Laufer, Samar Ghattas, Faten Nasdas, Larissa Sansour and more.
is an exhibition hall in the Cologne quater “Zollstock”, originally a kind of workers suburb, a kind of place for the underpriviledged, Zollstock became meanwhile a quater for young families due to the reasonable rent prices, so the structures change also due to some artists run initiatives like Halle Zollstock. It is also the home of some artists studios. Letitia Gaba, one of the Cologne based artists who partcipate since 2000 in Agricola de Cologne projects, is part of a group of female artists who organizes now and then exhibitions and events at Halle Zollstock, and WOW Jubilee III Köln – is such an event just for one day, thanks to her! Improvised due to its open structures, WOW Jubilee III Köln would like to be a kind of meeting in order to thank the local artists for participating in Agricola de Cologne’s projects since 2000, it is a kind of open reception during the opening hours 14-18h on Sunday, 1 March 2020.
WOW Jubilee III Köln
curated by Wilfried Agricola de Cologne
The 7 Memorials for Humanity
represent a media art context created by Wilfried Agricola de Cologne, the Cologne based media artist & curator, realized during the years 2000-2020 – including works of digital art – video, sonic art, netart, digital photography by 2500 artists from 70 countries.
This event would like to honour participating artists from the region of Rhineland and the twin-cities of Cologne – Tel-Aviv and Bethlehem – for the collaboration during the past 20 years – by screening/projecting a selection from the video collection, featuring
Letitia Gaba, Johanna Reich, Beate Gördes, Irena Paskali, Peter Wolf, Myriam Thyes, Enoh Lienemann, Kai Welf Hoyme, Shahar Marcus, Masha Yosefpolsky, Doron Polak, Dova Cahan, Boaz Kaizman, Peter Rosenthal, Marcus Seibert, Tammy Mike Laufer, Samar Ghattas, Faten Nasdas, Larissa Sansour and more.
Program – Sunday, 01 March 2020
14.00h-18.00h screening/projection of – videos/films
16.00h Author reading by – Wilfried Agricola de Cologne
Halle Zollstock – Gottesweg 79 – 50969 Köln – http://www.halle-zollstock.com
01 March 2020
Kai Welf Hoyme, Irena Paskali, Wilfried Agricola de Cologne, Enoh Lienemann
projection of the video program featuring Rhineland based artists
video installation of programs featuring a selection from “The 7 Memorials for Humanity”
Hall Zollstock – outside/inside
see also full documentation on
presenting selections from the incorporated media art collections in physical and virtual space
The 7 Memorials for Humanity
media art project context created and curated by Wilfried Agricola de Cologne.
Based on 7 differently aimed ongoing audio-visual media art contexts, launched between 2001 and 2020, the project is dealing with new forms of commemorating, respectively generating awareness, related to topics that really matter in the currently globally and locally escalating political, social, ecological and cultural situations endangering a free, open and democratic society and Humanity as that fundamental human value, at all. It is a plea to the contemporarily living people to keep and defend humanity as the highest human value also for future generations,
Film Collection featuring - Inês von Bonhorst, Cristobal Catalan, Manuel Granados, Farid Hamedi, Haleh Jamali, Anna Knappe, Miss Muffet aka Lisa Seidenberg, Oksana Chepelyk, Virginia Eleuteri Serpieri, Lucija Konda Labas, Elena Knox
Vanane Borian, Wilfried Agricola de Cologne
The 7 Memorials for Humanity
The Refugee Memorial
There are currently more than 60 millions of refugees on the globe, people who left their home country in order to escape war, persecution and murder, but also poverty and the lack of any perspectives.
The Refugee Film Collection including videos by 100 artists, initiated by Wilfried Agricola de Cologne, the Cologne based media artist and curator, is focussing on the human dimension, since the refugees are human individuals who are forced to leave their home countries in order to get shelter, protection and perspectives for survival elsewhere. Do or did they find the “promissed land” – temporarily or for sure?
Artists and video makers from all over the world spotlight this human dimension and the diversity of reasons and motivations to become a refugee. The collection will be presented individually – in total and in parts – in the context of the major exhibition project.
Cristobal Catalan (Spain) – Res Nullius, 2014, 3:46
Manuel Granados (Spain) – Dancing Man, 2015, 1′ 07″
Farid Hamedi (Rohina) (Iran) – The Smoke and the Dream, 2015, 13:24
Haleh Jamali (UK) – Crossing the Line, 2016, 5:40
Miss Muffett aka Lisa Seidenberg (USA) – Flight, 2015, 3:51
Oksana Chepelyk (Ukraine) – «Face to Face», 2014, 10:00
Virginia Eleuteri Serpieri (Italy) – THE SUN BENEATH THE SEA, 2016, 2:00
Lucija Konda Labas (Croatia) – We are the dogs – Wir sind Hunde, 2016, 1:11
Elena Knox (Australia) – Radical Hospitality, 2014, 6:16
Shoah Film Collection featuring - Istvan Horkay, Vanane Borian, Dova Cahan, Ela Goldman, Agricola de Cologne, Dana Levy, Miri Nishri, Tammy Mike Laufer, Doron Polak & Uri Dushy, Holger Kiess, Yonatan Weinstein, Rolanda Teicher Yekutiel, Elana Schwadron Minkow, Myriam Thyes, Shelley Jordon, Daveed Shwartz, Deborah Sfez, Hadas Tapouchi, Boaz Kaizman, Peter Rosenthal, Marcus Seibert
The d/i/light Memorial
100 artists from 30 countries commemorate the Holocaust showing face against Intolerance, Racism & Anti-Semitism. As an artistic tribute to the victims of Holocaust, this media art initiative is realized in an open concept at the same time online and offline. The conceptual center is representing “SFC _ Shoah Film Collection” – a worldwide unique media art and peace initiative addressed to young generations of artists and film makers to deal with the topic of SHOAH (Holocaust) and collective trauma caused by totalitarianism by using new technologies and contemporary approaches in art.
NewMediaFest 2020 Selection
at Halle Zollstock on 1 March 2020
Boaz Kaizman, Peter Rosenthal, Marcus Seibert (Germany) – Tiger Leap, 2017/2018, 27:00
Vanane Borian (Israel) – 1915-“, 2015, 2.33
Dova Cahan II (Israel) – My aunt Mina and her son Shmuel never came back from Auschwitz”. 2015, 9.18
Ela Goldman (Israel) – What Has Been Will Be Again, What Has Been Done Will Be Done Again, 2013, 3:49mishri
Agricola de Cologne (Germany) – Memory Game, 2010, 8:00
Miri Nishri (IL) – Troubled Water, 2007, 12:00vimeoshelley jordon
Tammy Mike Laufer (IL) – Memory of the Holocaust is not dead!, 2009, 7:05
Elana Schwadron Minkow (IL) – Those I Never Knew, 2012, 10:00
Shelley Jordon (USA) – Anita’s Journey, 2011, 8:28
Daveed Shwartz (IL) – I saw a Mountain, 2009, 5:00
Deborah Sfez (Israel) – A Journey to the Land of Memory, 2017, 5:30
Hadas Tapouchi (IL) – Moel Yad, 2009, 6:00
SFCIP – Shoah Film Collection Interview Project
Vanane Borian – http://sfcip.engad.org/?page_id=157
Myriam Thyes – http://sfcip.engad.org/?page_id=171
Ela Goldman – http://sfcip.engad.org/?page_id=80
Dova Cahan – http://sfcip.engad.org/?page_id=38
Shelley Jordon – http://sfcip.engad.org/?page_id=17
Film Collection featuring - Sopheak Sao, Molyka Bin, Student of Royal University of Phnom Penh
The Cambodia Memorial
Founded in 2012 by Wilfried Agricola de Cologne, the Cologne based media artist and curator, The Cambodia 1975-1979 Memorial – is commemorating the genocide executed by the Khmer Rouge in Cambodia.
The film collection “Cambodia 1975-1979” -consisting primarily of documentaries – is dealing with the Cambodian genocide 1975-1979. It is a collaboration between artvideoKOELN international, MetaHOUSE – German-Cambodian Cultural Centre Phnom Penh and DMF @ Royal University of Phnom Penh.
The collection includes videos by young Cambodian film makers educated at the filmschool @ MetaHouse Phnom Penh and Depart6ment of Film and Media @ the Royal university. All videos try to re-establish an own individual and collective identity by reflecting the genocide all Cambodian families are still suffering from.
NewMediaFest 2020 selection
Film Collection featuring - Roland Fuhrmann, Karl F. Steward, Ausin Sainz, Francesca Fini
The iTERROR Memorial
As a collaborative media art project, The iTERROR Memorial would like to be a place for commemorating the victims of Terror and threats related to terror, and consequently the victims of war, particularly all contemporary wars on Earth which all represent war and terror of potentates against the own people.
The commemorative project has been initiated on occasion of the islamist terror attack in Paris, 13 November 2015, standing in a long row of previous islamist attacks starting in the early ’80ies of 20th century and it was not the first and it will be not the last place targeted by islamist terror.
Karl F. Stewart (Germany) – I Don’t Need Their Voices, 2014, 00.05.30
Ausin Sainz (Spain) – 3 2, 1 Liberty, 2015, 4:44
Francesca Fini (Italy) – SOAPOPERA, 2015, 10:47
Film Collection featuring - Jean Gabriel Periot, Jerome Cluckers, Brandon Bauer, Nico Winz, Mengyu Chen, Maria Korporal, Mark Kadota
The Hiroshima/Fukushima Memorial
On occasion of the 70th return of the Hiroshima bombing and the5th return ofthe nucleardesaster of Fukushima – the Hiroshima // Fulushima Memorial – had been launched.
6 August 2015 – 70 Years Hiroshima – and a never ending collective trauma. That we did not learn from history showed the nuclear desaster of Fukushima on 11 March 2011.
Artists show face the uncoltrollable nuclear power and its desastrous effects on human existance and, appeal even more to theworldfor Peace and the renouncement of violence for resolving international conflicts. Hiroshima and Fukushima are representing symbols that it is not yet too late to rethink and stop and give mankind and humanity a chance to survive.
Jeroen Cluckers (Belgium) – Oneiria, 2014, 3’52”
Brandon Bauer (USA) – AN602: Tsar Bomba, 2014, 03:21
Nico Winz (France) – Fukushima Beach
Mengyu Chen ( USA) – Simulacra, 2013, 2:20
Maria Korporal (Netherlands) – Underwater Desert, 2015, 2:35
Mark Kadota USA) – “Persistence of Emotion”, 2015, 9:55
Wake Up ! Climate Change! featuring - Susanne Wiegner, Moshe Collach, Gabriele Stellbaum, Julie Stephenson, Borin Marinin, Alan Sondheim, Arie Sigal & Ben-David Sigal, Irena Paskali, Renata Padovan, Uri Kloss, Ronnie Sluik, Lino Strangis, Andrea Torrice, Dee Hood, Jean-Michel Rolland
The Wake Up Memorial
Wake-Up climate Change!
The Wake Up! Memorial is adding a new commemorative site focussed on preserving the natural environment on Earth for future generations.
Artists working with audio-visual media were invited to submit works in order to sensitize the open-minded viewer.
As a term or catchword, “Climate Change” is ambivalent – it describes a process, development or state which can be reversible, as well as irreversible – reversible, this includes for an individual the option to take personally influence on one’s environment and prevent actively “the climate change” as an irreversible process or state – irreversible, it is too late to take any influence, and “climate change” means nothing else than the “Last Days” (of humanity, of the natural environment, the world as we know, etc). One has to accept the inevitable destiny. In its widest sense, “climate” can be understood as “environment”.
Moshe Vollach (Israel) – 31 Cubes, 2013-2016, 8:35
Gabriele Stellbaum (Germany) – Shame, 2019, 1:11
Julie Stephenson (Australia) – Melting Memory, 2019, 2:34
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Irena Paskali (Macedonia) – 2202m, 2018, 2:36
Renata Padovan (Brazil) – The Scale of Desaster, 2013, 9:41
Uri Kloss (Israel) – Word, 2017, 1:29
Lino Strangis (Italy) – DREAMLIKE OF A PRESENT FUTURE, 2019, 4’49”
Andrea Torrice (USA) – A Message from the Island of Kiribati, 2013, 5:11
Dee Hood (USA) – Game of Chance, 2019, 2.02
Jean-Michel Rolland (France) – Waste, 2018, 4:08
the solo feature of Shahar Marcus
Shahar Marcus (b. 1971) is an Israeli based artist who primary works in the medium of performance and video art. His initial works dealt with the exploration of his own body and its limitations- incorporating various perishable materials, such as dough, juice and ice. His body served as an instrument, a platform on which various ‘experiments’ took place: lying on the operating table, set on fire, dressed in a ‘bread suit’ and more.
Food is also a major theme in Marcus’s works. For instance, his recurrent use of bread as a symbol of essentiality and survival is juxtaposed with military symbols. By working with food, a perishable, momentary substance and by turning it into a piece of clothing or a set, Marcus also flirts with art history; transforming arbitrary objects and materials into something immortal and everlasting.
Shahar Marcus (Israel) – Freeze, 2008, 4:44
Shahar Marcus (Israel) – Leap of Faith, 2010, 3:02
Shahar Marcus (Isarael) – 1,2,3 Herring, 2011, 2.27
Shahar Marcus (Israel) – The curator, 2011, 4:2S
Shahar Marcus (Israel) – The Packing House, 2014, 07:21
Shahar Marcus (Israel) – King of Falafel, 2016, 8:03
Shahar Marcus (Israel) – El Rujim, 2019, 9:14
Shahar Marcus’ early video-performances feature himself along with other artists, with whom he had collaborated in the past. However, in his recent works, Marcus appears by himself, while embodying different roles and characters. ‘The man with the suit’ is a personage that was born from an intuitive desire to create a ‘clean-cut’ version of an artist, juxtaposed to the common visual stereotype of the artist as a laborer. Drawing influence from Magritte’s familiar figure- the headless suit, a symbol of Petite bourgeoisie, Marcus embodies this man with a suit as an artist who is in charge, a director.
His most recent works deal with local political issues, by approaching iconic Israeli landmarks with a critical and humorous point of view. Thus, Marcus reflects on his own heritage, environment and the creation of local historical narratives. His works are influenced by the visual language of cinematography along with familiar themes and tributes to art – history and artists, such as Ives Klein, Paul McCarthy, Peter Greenway and Jackson Pollack.
Shahar Marcus is an active artist for over a decade and has exhibited at various art- institutions, both in Israel and around the world, including: The Tate Modern ,The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art , Charlottenburg, Copenhagen- Kunsthalle , Moscow Biennale, Poznan Biannale, Moscow Museum of Modern Art The Hermitage in Saint Petersburg and at other art- venues in Polland, Italy, Germany, Georgia, Japan, the USA and Turkey. Many of his works are a part of various important collections, such as The Israel Museum, Tel Aviv Museum of Art, Petach Tikva Museum of Art as well as art- intuitions in Poland and Italy.
Kai Welf Hoyme (D) – Nocturn, 2012, 3:58
Karl F. Stewart (Germany) – I Don’t Need Their Voices, 2014, 00.05.30
Enoh Lienemann (Germany) – In My Head, 2015, 6`34 min
Kristina Kanders (Germany) – Human Rights, 2011, 4:20
Myriam Thyes (Switzerland) – Global Vulva, 2009, 6:20
Beate Gördes (Germany) – Been a war child / Kriegskind gewesen, 2014, 3:22
Johanna Reich (Germany) – A State of Crystal, 2010, 3’19
Robert Olawuyi (Hungary) – Freedom is.., 2014, 4:14
Wilfried Agricola de Cologne (Germany) – Silent Cry, 2008, 3:40
a screening program with the special focus: artists from Tel-Aviv, twin city of the City if Cologne, including
Jasmine Kainy (Israel) – Comes from Outside, 2011, 3:35
Tagit Klimor (Israel)- Fcity, 2011, 4:50
Yoav Peled (Israel) – My Own Private Israel, 2012, 4:15 min
Eitan Vitkon (Israel) – Convergeance, 2011, 1:17
Miri Nishri (Israel – Who is Miri Nishri, 2008, 9:40
Tammy Mike Laufer (Israel) – Visions of Another War, 2009, 2:15
Shahar Marcus (Israel) – Still Burning, 2010, 3:02
Masha Yosefpolsky (Israel) – Noli Me Tangere, 2008, 6:20
Guli Silberstein (UK/Israel) – Disturbdance, 2012, 3:25
Yuval Yairi & Zohar Kawaharada (Israel) – Land, 2013, 4:36
Ran Slavin (Israel) – Facial Witness, 2006, 2:00
Boris Marinin (Israel) – Greenhouse, 2019, 3:19
Uri Kloss (Israel) – Word, 2017, 1:29
Arie Sigal & Ben-David Sigal (Israel) – Perlite, 2018, 4:17
Lital Dotan & Eyal Perry (Israel) – Embracement, 10:00, 2004
Doron Golan (Israel) – Try Yah Love, 2006, 4:46
Elyasaf Kowner (Israel) – Around the Fire, 2004, 10:00
a screening program with the special focus: artists from Bethlehem, twin city of the City if Cologne, including
Beyond All Borders
artists – Larissa Sansour, Samar Ghattas, Faten Nasdas
List of videos
Happy Days, 2006, 3:00
Run Lara Run, 2008, 2:23
Soup Over Bethlehem, 2006, 9:30
Contaminated Progress III
Claudia Borgna (Italy) – Sweep and Weep, Weep and Sweep, Under, Over, In, Out, Away, 2010, 11:09
Carolin Koss (Finland) – Plastic Child, 2016, 12:11
Francois Knoetze (South Africa) – Plastic, 2012, 5:00
Liu Wei (China) – Hopeless Land, 2009, 7:28
Towards a plastic free environment
curated by Wilfried Agricola de Cologne
The private and industrial use of plastic is contaminating meanwhile the living environment on Earth so profoundly, that microplastic can be proven in nearly all living resources for animals, plants and not to forget the human individual. It is no question of an idiological view any more, but a survival necessity to ban plastic in any form from the cycle of life. Who will win the race? Ecology or economy?
In September 2019, The New Museum of Networked Art – was supporting the initiative for a plastic free Kolkata (India) by launching the video art screening program “Contaminated Progress” – which became part of “The 1 Minute Before 12 Memorial @ The Wake Up! Memorial,
About the curator
Agricola de Cologne
interdisciplinary media artist, director of experimental shortfilms and videos, curator of media art and the designer of culture (2000- )
founder & director of artvideoKOELN – the curatorial initiative „art & moving images“ (2005 – ),
founder and director of The NewMuseum of Networked Art –the experimental platform for art and new media (2000), a global network on different virtual and physical levels
Besides for a broad bandwidth of dynamic curatorial contexts he is initiating in physical & virtual space like JavaMuseum (2001), NewMediaFest (2002), Violence Online Festival (2003), SoundLAB & VideoChannel (2004), CologneOFF (2005), netEX (2007), Agricola de Cologne is standing also for the co-curator & co-organiser of events like festivals & exhibitions of contemporary art, but also for the jury member of divers festivals.
VIP – VideoChannel Interview project – selected interviews 03
VIP – VideoChannel Interview Project
selected interviews 02
Oksana Chepelyk (Ukraine) – http://vip.newmediafest.org/?page_id=1722
Susanne Wiegner (Germany) – http://vip.newmediafest.org/?page_id=368
Brit Bunkley (New Zealand) – http://vip.newmediafest.org/?page_id=1611
Lisi Prada (Spain) – http://vip.newmediafest.org/?page_id=2239
Maria Korporal (NL) – http://vip.newmediafest.org/?page_id=859
Ausin Sainz (Spain) – http://vip.newmediafest.org/?page_id=1597
Francesca Fini (Italy) – http://vip.newmediafest.org/?page_id=656
Gabriele Stellbaum (Germany) – http://vip.newmediafest.org/?page_id=2303
Tammy Mike Laufer – http://vip.newmediafest.org/?page_id=459
Miri Nishri – http://vip.newmediafest.org/?page_id=140
Francois Knoetze – http://vip.newmediafest.org/?page_id=1770
Dee Hood – http://vip.newmediafest.org/?page_id=496
Kristina Kanders – http://vip.newmediafest.org/?page_id=867
Enoh Lienemann – http://vip.newmediafest.org/?page_id=2266
Solo feature of the month MARCH 2020 – MEZ – Mary Ann Breeze
Recipient of JAYA’01 – The JavaArtist of The Year 2001 Award
MEZ – Mary-Anne Breeze
“Mez does for code poetry as jodi and Vuk Cosic have done for ASCII Art: Turning a great, but naively executed concept into something brilliant, paving the ground for a whole generation of digital artists.” (Florian Cramer).
The impact of her unique code/net.wurks [constructed via her pioneering net.language “mezangelle”] has been equated with the work of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall.
The data][h!][bleeding T.ex][e]ts
.be a][h!][ware that the texts make use of the polysemic language/code system termed _mezangelle_, which evolved/s from multifarious email exchanges, computer code re:appropriation and net iconographs. to _mezangelle_ means to take words/wordstrings/sentences and alter them in such a way as to extend and enhance meaning beyond the predicted or the expected. it’s similar to making “plain” text hypertextual via the arrangement and dissection of words & n.sertion of symbolic and actual code manipulation. the use of fragments like programming language-shards & operating system echos – such as ][knit 1][Pearl][ tree-structures, wildcard refs, booleanisms, unix shell commands, bare html conventions, ascii][esque][ tracks [as well as the repeated allusions 2 hyperlinks and html code via bracketing & directory slashings] – all act 2 illustrate the x.pansion of software potentialities of co:d][iscours][e in an environment x.clusively reliant on it. mezangelling attempts to expand traditional text parameters through layered/alternative meanings embedded in languages and the codes that create them, with notions of language play, software n.vocations and identity swapping being the key to comprehension; various fiction avatars have been used in the construction of these texts, & they shift through many incarnations such as data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker, Purrsonal Areah Netwurker, etc. the real-life author is mez ][mary-anne breeze][.
_][ad][Dressed in a Skin C.ode_
[ad][Dressed in a Skin C.ode_ ho.][email][list.ically documents select phases of the
mezangelle language system and its ][r][evolution[1995-2001]. the texts presented here act as residual traces from net.wurk practices that thrive, react N shift according 2 fluctuations in the online environment in which they ][initially][ gestated.
Mez has been at the center of the center-less discourse about networks, writing and codework ever since the listserv started to be a vehicle for the dissemination of artistic ideas among artists. Rather than explore or critique network communication from an implied “outside,” however, mez has situated herself within the very operations of the network, her writing never entirely separating itself from the protocols that govern the transportation and presentation of words and images. The bountiful work of mez is everywhere but nowhere, the mystical overtones are intentional as she calls her digital-creole “mezangelle”, and this most software-aware project is actually software independent, as mez has no patience or capacity for operating within the fixity of an “application,” not to mention that of the person, place or nation-state.
Author description: _cross.ova.ing ][4rm.blog.2.log][_ is a “netwurk repository” that’s been in operation since 2003. these “wurks” r inscribed using the infamous polysemic language system termed _mezangelle_. this language evolved/s from multifarious computer code>social_networked>imageboard>gamer>augmented reality flavoured language/x/changes. 2 _mezangelle_ means 2 take words>wordstrings>sentences + alter them in such a way as 2 /x/tend + /n/hance meaning beyond the predicted +/or /x/pected. _mezangelling_ @tempts 2 /x/pand traditional text parameters thru layered/alternative/code based meanings /m/bedded in2 meta-phonetic renderings of language. _cross.ova.ing ][4rm.blog.2.log][ /m/ploys a base standard of code>txt in order 2 evoke imaginative renderings rather than motion-based>flashy graphics.
][selec][text documents rite][ual][s of passage thru stylistically driven e-communication. It is also a writing crè][ative][che, 1 that reveals & critiques the very mechanism/form][s][ that it m.mploys in order to exist.
V[R]ignettes: A Microstory Series (2019)
Originally titled A Million and Two, V[R]ignettes is a series comprised of Virtual Reality crafted microstories. Each individual microstory, or vignette, is designed to encourage a kind of ‘narrative smearing’ – where traditional story techniques are truncated and mutated into smears (kinetic actions and mechanics, collage-like layered building blocks, visual distortions, dual-tiered text annotations) which requires a reader to make active choices in order to navigate each microstory space (storybox).
An anthology of VR works that integrate 3D illustration with poetic text and a reading experience of visceral intensity. Each piece explores unique textures, atmospheric sound design, and texts that are by turns enigmatic, impassioned, and humorous. The navigation is intuitive, recalling page turns, but also allows for free non-linear exploration.” – Judges’ commentary about the project winning the Queensland University of Technology Digital Literature Prize as part of the 2019 Queensland Literary Awards.
has exhibited extensively since the early 90s [eg Wollongong World Women Online 1995, ISEA 1997 Chicago USA, ARS Electronica 1997, The Metropolitan Museum Tokyo Japan 1999, SIGGRAPH 1999 & 2000, _Under_Score_ @The Brooklyn Academy of Music USA 2001, +playengines+ Melbourne Australia 2003, p0es1s Berlin Germany 2004, Dissention Convention @Postmaster Gallery New York USA 2004, Arte Nuevo InteractivA Yucatan Mexico 2005, Radical Software @Turin Italy 2006 + DIWO @ the HTTP Gallery, London 2007]. Her awards include the 2001 VIF Prize [Germany], the JavaMuseum Artist Of The Year 2001 [Germany], 2002 Newcastle New Media Poetry Prize [Australia], winner of the 2006 Site Specific Index Page Competition [Italy] + awarded the 2007 “Deep Structure: Deep Play” Neutral Ground/Soil Digital Media Commission [Canada]. Mez is also an online journalist [@ Furtherfield, Metamute, CyberSociology Magazine, and fineArt Forum], co-moderator of the _arc.hive_ experimental mailing list and online curator and lecturer in Netwurking.
Alan Bigelow, Aleksandar Mira Janicijevic, Stefan Baltensberger, Russet Lederman, Andre Sier, Chris Basmajian, Katty Vandenberghe/Chris Diedericks , Tamar Schori & Oded Perry, Lisa Cianci
US media artist
writes digital stories for the web. These stories are created in Flash and use images, text, audio, video, and other components.
Work title: “Love Is…”
Year of production: 2008
Used technology: Flash
“Love Is…” is an attempt at a definition, and as with all
definitions that try to explain what love is, precision is not
possible, and perhaps not even desirable. This piece moves toward a
definition of love in three stages: first through a standard, accepted
lexicon; then via a series of individual expressions of love; and
finally as defined within randomly selected statements about love
provided by readers.
The work is created in Flash and, at the end of the piece, offers
viewers the opportunity to write their own definitions of love into
the site. These definitions are saved in a database so the next
visitor can view them as they are randomly displayed. “Love Is…”
takes approximately five minutes to view. No special downloads or
plugins are required.
This work uses videos and audio files acquired online, and modified by
the artist. A credits page is included on the site.
Aleksandar was born and educated in Beograd, former Yugoslavia and relocated to Canada in 1993. He graduated Architecture and Design from University of Beograd, and continued his education after relocation to Canada with numerous certified courses, workshops and seminars
In search for psychographs
year of production: 2010
used technology (software etc): psychogeographical perfomance recorded using digital camera, location and information found using google search, maps and wikipedia, photoshop and other adobe software are used to create site.
required plug-ins; none
During psychogeographical or mythogeographical walks [DRIFTS] one is expected to shift focus from one plain to the other. Most of the time a mental reaction is established early on. Senses are overwhelmed with primary ambience leading to the state of open minded “blindness”, entangled by the forces of decisive attraction. In my case occasionally “recomposed drift focus” glides [drifts?] to the unexpected or sights usually unrecognized as significant. I call them: psychographs. Psychogeography is a window to the urban future. Psychographs are illustrative individual examples, they are recorded moments of sensuous touch by genius loci.
Everyone has the right to find in the cities the conditions necessary for his or her political, economic, cultural, social, and ecological realization while assuming the associated duties of solidarity.
Psychographs are items, points, stages, elements in psychogeographical search to help us understand the multiplicity of language of urban space.
Starting point in everyday practice is opening your mind and of course all other senses. Positioned to absorb you are focused on the place itself, genius loci [spirit of the place] is beginning to expose to you “psychographs”, small individual scenes preparing you for the powerful experiences in longer and more purposely oriented psychogeographical walks – drifts. When made in common praxis genius loci is willing to reveal – uncover things otherwise deeply hidden or with unrecognizable importance. that is when you notice that shifting focus suddenly makes thing fundamentally changed.
there are only three instances recorded now [september 2010] in this work, I am planning to add many more, site is intended to be ever expanding and influenced by other participants and contributions.
Swiss New Media artist.
year of production 2009
used technology (software etc)
Java, Processing, html
short work description
In the social process of alteration, not only the view of the human itself changes, but also the familiar and social structures.
Standardized solutions replace individual solutions and make global systems work on the one hand, on the other though, they segregate merciless societies and individuals who don’t fit into the norm.
In the artwork „baltensperger“ I use the language as a medium, that in my understanding gives identity since it is intuitively associated with regional identities. Computer codes epitomize the modern and standardized language.
I created my own programming language in my personal dialect. Thus, I extract the code from its original meaning to be global, standardized and functional, giving it a fragment of my local and personal identity.
US media artist´
Russet Lederman received a Masters of Fine Arts degree in Computer Art from the School of Visual Arts, New York City in 1999 and is currently pursuing her M.A/Ph.D track in Media Studies at The New School University, NYC. Recently, she collaborated on events and screening for Franklin Furnace Archives and the X/Fest Experimental Video Festival. In 2001-2002, she was awarded the Smithsonian American Art Museum’s New Media/New Century Award, a commission to create a fine art web work about the American landscape for the museum’s web site.
Barely Skin Deep
year of production: 2008
used technology (software etc): XHTML, Flash, XML, php, mysql, Final Cut Pro
Barely Skin Deep is an interactive online documentary video project, which explores the concept of feminine beauty from the perspective of 10 diverse women. Using video interviews collected over a 4-year period, this documentary work seeks to present a fragmented, pluralistic perspective on the personal and societal issues which influence a woman’s concept of self and group beauty.
About 4 years ago, I sought to uncover a range of personal viewpoints and experiences on this topic by video interviewing women from various ages and cultural backgrounds. At the time, I was unsure how I would use the footage. I approach fine art projects in a fairly organic manner: I collect material and then see what issues are revealed. As a result of seeing the vastly different perspectives presented in the interviews, I decided to create an online interactive work. This enables the viewer to access and evaluate these fragmented interviews in order to formulate his/her own opinion based on the presented materials.
Each interview fragment is 10 to 60 seconds and is retrieved from a database of over 200 clips using the XML language in a Flash interface. One of the key issues discovered as I was working on this project was that different people want to access the material from this database in different ways. As a result, the interview clips can be viewed by either interviewee or by one of 9 topics, where the viewer has the ability to further define the viewing constraints by selecting a specific interview question. In addition to the database clips, the viewer can also access background information on each interviewee in the Women section. Through a Forum section they can also participate in discussions related to the topics covered in the database interviews.
André Sier (1977, Lisboa) is an audiovisual artist-programmer. Has a degree in Philosophy (FCSH, 2005), having also studied Painting and Sculpture at Ar.Co. Produces objects that installs in exhibiting spaces since 1997.
title: CsO (BwO)
year of production: 2008
used technology (software etc): processing / java
‘CorpssansOrganes’ (CsO) is a seminal concept in Deleuzian philosophy. Made after Artaud declared war on the organs, it is a text that influences cyberculture, disrupts organization, and prompts this work. This ‘CsO’ is a work launched in 28 nov 2008, which visualizes and scatters every word of Gilles Deleuze’s & Felix Guattari’s text in 3d abstract space, celebrating 61 years since 28 Nov 1947, date that marks the banished end of Antonin Artaud’s radio broadcast ‘pour en finir avec le jugement de dieu’, that prompted this deleuzian concept.
All the words of this text from Mille Plateaux are floating in space, disembodied from their pages, interconnected by a luminous filament; the code follows every word in reading order, embodying a meta-body-without-organs in 3d space, charting diffuse abstract paths united by generative logic’s thread.
Chris Basmajian was born in San Jose, California, in 1972. He received a M.F.A. from Maryland Institute College of Art, and a B.A. from George Washington University in Washington, D.C.
Title: Attention Hog
Flash video game/widget
short work description:
Attention Hog is built on the model of “casual games”, a rising industry and pastime. The player is cast as a pig whose goal is to capture the love and attention of as many people as possible. The game’s subject reflects some of the social and psychological trends present in social-networking communities, including self-promotion, social anxiety, obsessive need for peer validation, and distraction as entertainment. The game operates on a conventional level, and can be shared with others and embedded on web pages, blogs, and social-networking sites such as Facebook and MySpace.
Katty Vandenberghe is a new media creative and educator. As a digital artist she has participated in numerous animation projects.
Fine Arts Cum Laude graduate from the University of Potchefstroom, Christiaan Diedericks has created an extensive body of work over the years. He went on to complete his Masters in Fine Arts with a practical Cum Laude at the University of Pretoria in 2000.
Visual blog and visual hacking – a collaborative work with Chris Diedericks
year of production – Initiated October 2006 – current
used technology (software etc) – html formatting (Dreamweaver), quicktime videos (iMovie), pixel editing (Photoshop)
Chris Diedericks “I am fascinated by an interdisciplinary approach in my work and am always searching for new solutions – it forms an integral part of my personal creative process. I have failed my own creative process, and myself, if I merely regurgitate former imagery. I never want two shows to ‘look’ the same. I encountered Iron John by writer Robert Bly as an art student, and realised then already that the text will remain relevant in my life for many years to come. A vast majority of heterosexual men still battle the same gender issues today. Especially the issue of gender diversity. Iron John is however, aimed specifically at heterosexual men, another exclusion of gay men in a solid study about masculinity. I have decided to visually re-write Iron John for all men without exclusion or selective inclusion.” Cape Town, 2007.
katty vandenberghe “I pretty much stay hidden in the structural aspects of the work. I act as Chris’ blog and organise the navigational infrastructure. Every now and then I also act as visual hacker and play around with Chris’ images and the web page architecture. Chris is the one who speaks, I am the one who transmits – and every now and then I interrupt that transmission. In a sense Chris cuts and pastes images he collects from his world into visual artworks, and I cut and paste his work into code. It matters to me how the images are cut up into squares or strips as the pages download. Some of my animation games only run once as the image is downloading, so there is a good chance that you might miss it. My favourite download scenario is that of a good old slow dial-in connection via landline – then you really have time to observe and absorb the structure I put into the work. Of course, that wouldn’t work very well for the video clips, which require faster download speeds. All my website architecture is consciously directed at lower end access to technology, equipment and the internet.” Johannesburg, 2007.
Israeli new media artists dealing with Flash and game like art environments.
year of production: 2010
used technology: flash
required plug-ins: current flash plugin
“The Ouroboros is an ancient symbol depicting a serpent or dragon swallowing its own tail and forming a circle. The Ouroboros often represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself…”
The Uroboros that swallows its own tail inspires the CycleScope project. As we are swamped by couples of image and words created by search engines one may offer a relief by allowing us to control the flow. Let us reclaim the word and image association by propagating our own associations. Let us detach from machine fabricated realities by slowly tailoring a group view of visual perceptions. Are we swallowing our own tail – reusing the same material that overflows to create even more noise?
CycleScope allow people to investigate the associated link between a word and an image. Together, you are invited to contribute to a local data base, where a word & image become a literary creation.
CycleScope, a web based gadget, is a mechanism that help you match a word of your choice with a selection of images that have been previously uploaded to match this word. Select one or add your own. Your choice becomes a CycleScope, a kaleidoscopic entity formed on the site and kept on the gallery for others to see and use.
Successful matches will appear frequently on the gallery, indicating their appeal to sites’ visitors. One can buy a redrawn version of a CycleScope printed on a T-shirt or a button via the gallery.
keywords: crowd sourcing, DIOS, Semantic Web, literary creation.
is an artist from Melbourne, Australia. Lisa produces work in both analogue and digital format, with her current focus on Internet-based dynamic, interactive art.
year of production: 2010
short work description
Colour Fields is a series of continuous flash animations using video, still image and AS3 code to manipulate visual content. The constantly changing blends and movement create animations that can play endlessly and may never have the same sequence of pixels twice.
The visual content is a combination of abstract and subtle figurative imagery taken from the blackaeonium archive project (link) exploring preservation of digital content and recombinant content creation.
This work also contains a new soundtrack “fishtank musicbox”.
JIP – JavaMuseum Interview project – selected interviews 03
JIP – JavaMuseum Interview Project
selected interviews 01
Andre Sier – http://jip.javamuseum.org/?page_id=127
Chris Basmajian – http://jip.javamuseum.org/?page_id=151
Tamar Shori – http://jip.javamuseum.org/?page_id=58
Katty Vandenberghe – http://jip.javamuseum.org/?page_id=78
Russet Lederman – http://jip.javamuseum.org/?page_id=104
“memoryscapes” featuring – Peter Wolf
He lives and works in Cologne as a researcher, performer, designer, author, writer, media artist, curator and organizer.
In 2003 he created the “KLANGDRANG Festival for incredible Music”, Cologne, which he organizes annually (http://www.klangdrang.org)
SoundLAB was one of the “memory channels” of The RRF Project – dealing with sound a tool for artistic creations, resulting soundart or sinic art (in German “Klangkunst”).
SoundLAB III was the 3rd major annually released soundart project, Wilfried Agricola de Cologne was realising in 2006, including also two curated contributions from Australia and Germany. The German one was curated by Peter Wolf presenting a selection from the the Cologne based festival “KlangDrang 2005” a Sonic Art Festival including 4 Cologne based sonic art groups SOUNDSO, FIM, DOPPELPLUS & Enselnble ALL TAG. While this feature can be listened to below on this page -the complete soundLAB III can be acessed by opening following link
“KlangDrang 2005 – A Festival for Incredible Music – Cologne”
In this case “Incredible Music” means the spheres of New Music, experimental and improvised music, Performance Art and New Media. This festival was brought into being 2002 as a hommage for the cologne citizen center Alte Feuerwache which enables the presentation of extraordinary music since more than 25 years. This year KlangDrang presented 4 ensembles from which you can hear each 3 cuttings of an each 45 minute performance.
F.I.M. (Free improvised music cologne)
Nobert Zajac (voc), Matthias Kaiser (violin), Frank Bersziek (sax, basscl), Michael Haverkamp (sax, perc), Karl Kruetzmann (fl, tr, piano), Joerg Koenig (git), Axel Hoeptner (piano), Frank Homburg (sax), Wolfgang Simmons (git). F.I.M. is an open collaboration between musicians, who let themselves in for the risk of a music without arrangements. If there are agreements, than just in view of the actual cast. The music is free improvised on stage. As a construct of the moment was never heard so, nor it will ever reproduced live exactly in that way. The stile flows between archaic sound, noise art, Free Jazz and New Music and so is based on the exitement of the moment.
Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf (all vocal) Vocal communication as an experiment – 4 singers test the possibilities of the vocal cords. Croaking, spitting and slurping a part of the repertoire of this vocal ensemble just as singing in extremly high registers and soundfull depth or the spontaneous inventions of cacophonic languages and onomatopoeic escapades. The personalities of the 4 improvisers meet, according to demand, harmonical, contrarily or meshed and meanwhile count on enthusiasm and the intuitive work with vocal sound.
Frank Bersziek (sax, bcl), Konrad Doeppert (analogsynth, objects), Matthias Kaiser (violin), Joerg Koenig (git). This quartett came from a combination of musicians, which got random selected while the KlangDrang festival in 2004.. Free improvised pieces are the basic of the musical collaboration. Experiences with the european free improvised music, the electroaccoustical art, the noise experiments of the eighties and in their origin outer musical elements come together while playing free. Results are subtle coded sound sceneries, where the audience finds space for free association.
Brigitte Kuepper (voc/tb/div), Wolfgang Simons (git/sax/div), Konrad Doeppert (synth/perc/div), Peter Wolf (voc/perc/div) these four produce live partially improvised sound films as from another planet. Doppelpluss musically darts sideways between all stiles. They sit down winkingly between all chairs and create alternating hot and cold acoustical baths of emotion. Dynamical meditative sound trips grow to impressive psycho drama, change to funny folk, change to philosophical tender loving care, change to absurd theater. Exciting music performance therefore and who knows where the journey goes to.
NewMediaFest 2020 selection