passagen

Tags: Walter Benjamin, Song Tao, bosnia and herzegovina, Goethe-Institute, Thierry Davila Atlantic, Walter Benjamin Sound, photographs, Bepler Song Tao, Paris, Bird Head, infrared camera, personal memory, Francisca, lived experience, Pedro Mendes Siruffo, Wim Wenders, Yang Fudong, Bratislava, Ernst Rowohlt Verlag, passages
Content: passages passagen pasбze Hommage а Walter Benjamin
af afghanistan ba bosnia and herzegovina br brazil cn china cz Czech Republic de germany es spain fr france hr croatie hu hungary lb lebanon pl poland sk slovakia us United States passages passagen pasбze
artist
country
video title
year duration hh:mm:ss
Walter Benjamin EinbahnstraЯe (One Way Street) Ernst Rowohlt Verlag, Berlin, 1928 original book cover
Walter Benjamin`s dialectical fairy tale about the passages of Paris is one of the strangest texts in world literature. It may be completely wrong as theory, but it works beautifully as an inspiration for art and artists. Since the tragic death of its author, it has grown on us, and it has grown in stature to gigantic proportions. We cannot imagine the history of texts without the "Passagenwerk" (a book that does not even have a proper title and that had to be reconstructed from millions of notes on scraps of paper). Walter Benjamin is the last important German writer for whom Paris was the focus, the inspiration, and the main subject. He, the German Jew, who fled to Paris and was driven to suicide by the Nazis on his way to New York (a man between all borders) has become one of the last intellectual passages between Germany and France. I am happy and see it as symbolic that this passage now leads through Bratislava, the most western capital of Middle Europe. This passage must run somewhere on Panenska between the Goethe-Institute and Gandy Gallery. In my mind, I cut a red ribbon and declare the Walter-Benjamin-Passage Bratislava to be opened. Dr. Stephan Wackwitz Director of program department Goethe-Institut New York
lida abdul dome 2005 00:04:00
In Dome the camera swirls three hundred and af sixty degrees in a circular courtyard of a bombed building. The circular structure soars, leading the camera and the viewer`s eye up, towards the sky of the roofless structure`s remains. The camera, in the centre of the space, reveals the scene from the first person perspective of a young boy. As the camera pulls back, away from the space we can see the boy is spinning in the space, looking upwards at the sun, as we hear an aircra flying overhead. The helicopter is not seen, but the sound of its engine passing overhead drowns out the birds who have been chirping, creating a crescendo in the piece.
zbynk baladrбn letбk / paper 2007
Newer show any initiative. cz Never overexert yourself. Always speak second. Answer in no more than four sentences. If somebody tells you something is the case, it probably is, if he is the only one to make the claim, don`t believe him or play stupid. Decide the way the majority decides. Find someone you can take your anger on. (Make sure other people have chosen the same person.). Laugh at what other people laugh at, only louder. Focus on what`s near you, ignore things that are far off. Arguments with acquaintances are pointless. Try to be invisible and don`t go out much. Don`t complain.
sandor bodo paparazzi 2007 Text Bodo Sandor
hu
Monuments and sculptures are again alife in Eastern Europe. this metaphorical situation arises, when they are put in Hungary into a special reservat, like indian people in US. This is an attemp to transform a historical and political paradoxon into a souvenir objects. By the attempt to transfor them in a reservat (an outdoor museum near Budapest) into souveniers the possibility of racional analyisis is thrown away. Any possibilty of analysis of local and temporary meaning is rejected / blocked.
Long time ago I have A Plan to take photos or a video or historical or communist monuments and their natural and built enviroment with an infrared camera. This camera is not based on the light, but on the temperature of the enviroment. You would see on the photos the temperatures of the bronz monuments, our heritage from comunist times, but since these cameras are very sensitive you would see also all the nature, the little mostquitos flying around then, the trees the landscape and the warmth of the people moving around the big monuments. The difficulty and part of the conceptual consideration in this project is, that these infra cameras were and are used as special tool of spionage agains kgb or today in war in middle east.
But how can we catch (grab or understand) the depicting sculptures of our nearest past? What can we do, if we do not find any other new symbol in our New World, but superman and E.T. aer Stalin? Can we hope that we find other ways to read (interpret) the historical sculptures? Or is the mainstream born in Brave New World? Monuments which are placed outdoors has to suffers or stand inner and outer changes of temperature like any other objects. I would like to document these chanes of temperatures as a new interpretation of the monuments. It is a metapher of my interest towards these obejcts, I would like to express with this the politcal, environmental/social/ historical transformation in animated/moving image and in photographic stills.
pavlнna fichta cierna juvenile david r. 2004 00:03:30
sk
... and then we play even every day with cars, then we play such ... with cars, aer we have some ... for the cars ... they have binoculars for that, we play with those cars, which are once batteries, which are not flat, we charge them and every day charges the cars ...
Technical cooperation Dбvid Beracko Translation Mбria Sedlбkovб
danica dakic
ba
lullaby of the earth, novэ most
2000 00:09:00
Text by Reinhard Spieler Photo by Egbert Trogemann, VG Bild-Kunst, Bonn
A bridge, on which gentle voices are heard. Primitive tunes, lullabies conveyed by the human voice without any instrumental accompaniment, they transport us back to earliest childhood. The invisible auditory bridge is able to span distances quite other than those spanned by the architectural structure one is walking on. It traverses different languages and cultures: lullabies from all over the world sung in various languages to various melodies sound from loudspeakers spread over the entire bridge. Lullaby of the Earth ­ as this sound installation realized in Bratislava 2000 was called ­ not only traverses the world`s cultures, but above all straddles the memory gap to childhood. It carries us back to a poetic age when we were protected, when the sound of a mother`s voice was enough to instil in us a feeling of safety. It is a bridge that even reaches all the way back beyond personal childhood to the childhood of mankind, to that mythic age before the confusion of tongues at Babel, before cultures had separated and diversified, when the sound of a voice alone sufficed to convey its message, just as a child has no need to understand the words of these lullabies in order to experience their effect. It is a bridge to one`s own, still preverbal identity, to one`s own primal self as it exists prior to linguistic and cultural understanding.
david dempewol
us
site of lingering catastrophes... have you got it yet?
2006
deporting Benjamin (a Berlin based intellectual and Jew) back to Germany because the author lacked the proper French exit papers. That night, in a hotel room, Benjamin committed suicide. The narrative structure of the video references the Wim Wenders' film Wings of Desire. Wenders' film is loosely based on the allegorical Angelus Novus imagery in Benjamin's Theses for a Philosophy of History.
This project insinuates the desire/wish for Walter Benjamin to not have died at Port Bou in September 1940. Benjamin attempted to flee Vichy France with the weighty hand written manuscript for the Arcades Project in a suitcase. Aer crossing the Pyrenees Mountains on foot (with a weak heart and exhausted body), escorted by a handful of fellow evacuees, Benjamin was accosted by the Spanish/Franco Border Patrol and handed over to the police. The authorities considered
Within my video, an angel from Wenders' film inserts a copy of Benjamin's exit papers into a book from the Bibliotech Nationale in Paris that Benjamin references in the unfinished Arcade's Project. When Benjamin discovers the planted exit papers, perhaps the author will safely be able to leave Vichy France during the beginning of the 1940 German occupation.
yang fudong
cn
the half hitching post
2005 00:06:20
Text by Sine Bepler A beautiful panoramic landscape sets the scene for the narrative of "The Half Hitching Post" (2005). Here, we see only fragments of two stories taking place simultaneously: Two different couples are being witnessed in their attempt to ascend a mountain ­ a passage that takes place on a sloped and steep road. The viewer is le unaware of the couple's ultimative goal as they compete on reaching their destination. Focusing on the journwy up-wards the shiing perspective of the camera depicts the mutual hindrances engaged by the couples to sabotage their opponent's succes on reaching their final destination. Juxtaposing the race towards the top with the tranquility of the surrounding landscape lends the video a poetic vibe.
Yang Fudong's films and photographs articulate multiple perspectives. His works investigate the structure and formation of identity through myth, personal memory and lived experience. Each of his works is a dramatic existential experience and a challenge to take on. His work is open-ended and inconclusive, therefore open to individual interpretation. Each film and video is about the human condition. Yang Fudong's work epitomizes how the recent and rapid modernization of China has overthrown traditional values and culture. He skillfully balances this dichotomy to create works endowed with classic beauty and timelessness. Yang Fudong seeks through multiple vignettes to offer the poetics of place and people as an alternative to the prominent politics of power. Whatever occurs, Yang Fudong's film work and photography indicate that something remains untouched and unmoved, and perhaps all the more valuable for that reason.
jean charles hue sexodoloroso 2007 00:06:00
Hi boss ! My friend the Tijuana police sub fr commander, really likes my knife and his dad likes dogs. Together, web ring flowers on the black dog's grave which is on a moon really close by. Make one step or two and stab the blade into the stomach. Then a sort of blackish juice which tastes like my three years old comes out. Rabbits or dogs? Nevermind, they don't suffer anyway! Poco poco Don't be a fagget! You're not gonna cry are you?! Just look how beautiful it is. Looks like the moon. One step ahead, one step back. There I go, I'm flying... Flap flap!
francisca caporali & marta jourdan benjamin level #3 2007 00:07:00 Text by Pedro Mendes Siruffo & M. Wood
br
Francisca lives in New York; Marta lives in Rio. They produced this piece together yet they have never met in person. Through an a series of conversations and writings, these two video artists worked together around Walter Benjamin`s idea of the passage. They have put something together that is extraordinary: the interpolation of the Real and the Virtual along the lines of what Gilles Deleuze called ,the space in between.` Francisca`s life in Brooklyn is translated through Marta`s camera as at once Marta`s Rio is reflected in Francisca`s studio. The editing of the video was only achieved by the use of a make-shi -- a mirror doubling the image from the screen to the web cam. As Benjamin posits the artist`s work is the result of the reality`s instability. The work investigates the locus where the real and the virtual stand un-upheld -- exist on their own.
"I used to think believe that essence could not be behind, above things, though I knew that it was to be found within things themselves." WB
leopold kessler
de
import budapest­vienna
A cigarette pack is transported from Budapest to Vienna on the outside of a train. The action is repeated six times.
2006 00:15:40
Camera Jan Machacek, Zsolt Keserue
passages passagen pasбze
Stetinovб
Kozia
Panenskб ulica
Konventnб
Slбdkovicovб Stefбnikova
Palisбdy Panenskб street
Hodzovo nбmestie
Lэcejnб
Staromestskб
Bratislava
miro kohъt the road 2007 00:01:50
sk
Knife combat on the street is public intervention which refers to the life stereotypes we live in. Social and economical structures we are part of give us limited and predefined solutions. It is up to our individual strategies to find way away, to cut out.
melik ohanian
HD video on DVD with surround sound. 90mn fr Photos © M&V Ohanian
September 11, 1973 _ santiago, chile, 2007
2007
renata poljak skok/jump 2000 00:04:00
hr
The artist climbs a diving platform at the coast. She wears a bathing suit, cap and make-up. She walks along the springboard, back and forth, repeating in French, Shall I jump or not, shall I jump or not..., then in Croatian, If I jump all my make-up will be removed and starts over to walk back and forth obsessively. Her sweat makes the color in her face drip.
sergio prego
Through the undeniable visual impact of this es work, Sergio Prego provides a striking image of the circulation of the body in the city. This video
cowboy inertia creeps
was filmed in New York and San Sebastian, the Spanish Basque country. Everything is happen-
2003
ing as though this man who is lying down and whose features remain undisclosed, passed directly from one continent to the other, from old
Europe to the new world. On both sides of the
Text by Thierry Davila
Atlantic, a sense of wandering and isolation are
predominant. Unless it is about death, whether
here or there, that is lurking : a figure without
motion, the ,,gisant", essential motif in occidental
art, as a sign of the fatal character of Passages.
katarzyna skupny pl ghosts / а une passante 2007 00:04:00
The image of women in contemporary media, which is the Subject Matter of my current body of work (,,Women`s Studies") consists to a large extent in fragmented sound bites, impressions, fleeting imagery which is never substantiated by a closer look or thorough examination. It is almost as
Hommage а Walter Benjamin Sound installation
if female glamour has a ghost-like quality. I haunts the male imagination, the phantasy of the passer-by like the imagination of the flaneur in Baudelaire`s poem ,,А une passante" (which Walter Benjamin admired and wrote about extensively in his work ,,Passages"), in which there is not much more than the sound of the street-life and the image of a woman lasting no longer than the wink of an eye, the fraction of a second ­ enough to enamour the poet for a life-time, it seems. This poem is the model of the female image in the contemporary glamorous, frustrating, fascination surroundings of consumerist street life.
song tao
cn
three days ago
2005 00:09:40
Text by Sine Bepler
Song Tao's film noir "Three Days Ago" (2005) is a poetic venture into the nighttime terrain of Shanghai. Along the way, the viewer glimpses certain recurring leitmotivs, such as a child playing hopscotch, a brightly lit highway tunnel and a haunting building. An electronic score that plays throughout lends the film a flowing rhythm all its own. The loop-like structure encourages the viewer to focus increasingly on the atmosphere rather than over-all narrative plot. The elliptical repetition also builds suspense that seems to accumulate towards the end. The dramatic scenes appear eternally; the urban nightly journey could take place anywhere, anytime. Song Tao presents a slice of reality as kinetic views of urban space and fragments of memory. His vision is one of documenting and creating atmospheres ­ he is not concerned with staging grand truths.
His own life, that of his friends and the immediate surrounding metropolis serves as his material source, as exemplified by "The Floor" (2003), a project that spanned six months and culminated in nearly 20,000 photographs of daily life in Shanghai. He selected about 3,000 photographs to create his floor-piece that was eventually mounted at the ShanghArt Gallery in Shanghai. Another similar project that presently constitutes the floor of the gallery is a photographic patchwork of a lawn that he photographed meticulously throughout three changing seasons. These acts of recollecting come close to early conceptual and minimalist art approaches, that is, an incremental and repetitious alteration from one piece of work to the next. Mirroring Song Tao's pre-occupation with `ordinary reality' and the direct confrontation between the viewer and the artwork is his involvement with Bird Head. His work with the collective takes the form of a photographic survey of contemporary urban life in the metropolis and is a direct response to its immediate scenery of constantly changing circumstances and events. Here, the artistic practice becomes inseparable from real life: "Our hearts are filled with huge amounts of love and sadness" (Bird Head Statement, 2004/2005).
adam vackб zebra blurred 2007 00:01:48 Text by Timothйe Chaillou
A zebra was covered early in the morning with cz white powder which was dispersed and erased by passing cars and people. Documentation video and photographs capture the process of disappearance of the urban drawing, from the morning till the evening. The Zebra Blurred project is a new scheme of urban communication and it shis the idea of a collective itinerary. Adam Vackar`s extensive investigations do not consist of a descriptive and closed entity, but rather a space with infinite connecting lines which eternally shi its limits and inhibitions and in which the author prefers to search for the potential of employing a particular situation, rather than modelling it. The artist remains the owner of a given direction, the observer of a given trajectory. Through this artistic scheme ­ subject or fact ­ the transferred becomes interactive since ,,by now we should know that it is not people who communicate, but effects (of statements, images)." (Serge Daney)
akram zaatari video in five 2006 00:08:50
In the late 1950s, Hashem el Madani used to take lb his super 8 camera with him on holidays to film his family and friends. This video looks at how a still photographer -like him- conceived movement and spontaneously directed his friends and family including himself. The rushes used in the five movements were shot in the late 1960s and early seventies in Egypt, and in touristic sites in Lebanon such as the Beiteddine Palace, Kfarhonah (covered with snow), a picnic site in a pine forest in Dahr el Ramleh, and Jezzine, which used to be Madani`s summer residence.
www.open-player.com
open-PLAYER is an innovative platform for archiving, playback, synchronizing and transfering video art via Internet in optimal quality, high definition included. The openPLAYER initiative is led by a team of cultural producers and technologists who have joined efforts to increase the awareness of conditions of display and distribution of video art in the best quality possible.
thanks to
We would like to thank following companies for for granting permission to exhibit artworks at their premises at Panenskб street. Kozia 20 | Knнhkupectvo Artforum Panenskб 3 | Ocnб optika Diana, Raim Panenskб 6 | Forzet Panenskб 12 | Angels Panenskб 16 | Nene Panenskб 22 | Starozitnosti Panenskб 29 | FF Studentskэ pфzickovэ fond Panenskб 30 | Inter ­ Partner, Nбbytok Panenskб 34 | Koryna
special thanks to
Stephan Wackwitz | Goethe Institut, New York Nathalie Angles | Location One, New York Zuzana Beniacovб | Goethe Institut, Bratislava Daniela Borskб | Institut Franзais, Bratislava Jana Buriбnovб | Ceskй centrum, Bratislava Matali Crasset | Paris Thierry Davila | Bordeaux Wolfgang Franz | Goethe Institut, Bratislava Marta Gili | Musйe du Jeu de Paume, Paris Lorenz Helbling | ShangART Gallery, Shanghai Pйter Krasztev | A Magyar Kцztбrsasбg Kulturбlis Intйzete, Bratislava Viera Legйnyovб | gandy gallery, Bratislava Philippe Legros | Institut Franзais, Bratislava Iveta Letasiovб | Cascaya Slovakia Zbigniew Machej | Instytut Polski, Bratislava Antonia Majaca | gm-k, Zagreb Giorgio Persano | Torino Pedro Mendes Siruffo | Belo Horizonte Peter Siko | gandy gallery, Bratislava ubomнr Zburin | FF Studentskэ pфzickovэ fond, Bratislava
passages-passagen-pasбze December 7 2007 to January 4 2008 Panenskб street, Bratislava Curator Nadine Gandy Scenography Matali Crasset Graphic design Boris Melus © gandy gallery 2007 gandy gallery panenskб 30, 811 03 bratislava, slovakia t/f +421 254 410 801 [email protected] www.gandy-gallery.com
Bratislava
Panenskб ulica
www.gandy-gallery.com

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