Dark Blue Sky

Bits and blocks are the home of the Super Vario Birds who are dancing to the 8bit symphony of Ludwig van Beethoven.

A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner. The dream is not a nightmare only because the set it is dreamt into is the seashore of the mare nostrum, where the dreaming subject is perfectly at home. A homeland which she, in turn, in her more secret thus naïf dreams would dream of being cleaner and tidier as in the reality, especially in front of such beauty of nature. As is right and proper.

Brief history of the video artist and the history of the video

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A portrait of Nam June Paik produced as a 'video catalog' for the exhibition 'The Electronic Super Highway', which premiered at The Museum of Art in Fort Lauderdale, Florida, with recent installations, historical background and interviews.

Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

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One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.

Ted Hughes's 1993 novel The Iron Woman is the springboard for this multi-media project by Mikhail Karikis. The video section of the installation features seven-year-olds from Mayflower Primary School in East London discussing the novel's environmental themes.

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In Junior War, a throng of highschoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.

On the occasion of the Taipei Biennale, Me, my friends and my gallerist went to Taipei city, then found mere materials in daily use which is you can easily find in most of asian city. We were collecting the moment of improvised "performance" with those objects to activate possibility of how we could see things differently. Originally made in 2006 for the installation version. And in 2007 I edited it into single channel.

A continuously running two-channel installation, presented on 9" and 13" CRT monitors atop pedestals and overlooked by a green Kit-Cat clock. The smaller CRT bears a painted green square and is framed by a pair of crossed silver opera gloves, at whose intersection rests a vintage push-puppet of two boxers sharing a single red stand. Together, the two monitors display distinct video collages interweaving footage from Emerald Square Mall and the strike during its 1989 construction with remixed interferences from Channel J's Emerald City TV (1976–1979), Huge Video's Heat in the Night (1989), Genet's Un Chant d'Amour (1950), various cigarette commercials, The Wizard of Oz (1939), and a performance of a mylar-clad entity wrapping one of the televisions in videotape. The work has most frequently circulated publicly through its primary video channel.

A collection of 8mm film reels from İlhan Mimaroğlu’s archive—once tucked away in whisky boxes—has found new life through art. Curated by director Serdar Kökçeoğlu and producer Dilek Aydın, the project brings together visual artists and musicians to reimagine these long-lost images. Over thirty artists transformed the footage into fifteen distinct audiovisual pieces, blending experimental soundscapes with contemporary video art. The project concludes with a special highlight: the first-ever screening of Mimaroğlu’s silent short film about a street jazz festival, accompanied by Erdem Helvacıoğlu’s dark jazz score.

Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

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A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.

A group of hometown friends come together after the loss of a loved one.