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Vibravoid : Düsseldorf Black Box Filmmuseum 31.10.2015 (Part 3)

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Works will be shown by three international artists who concern themselves with topics such as ecology and the body from a queer, feminist and decolonial perspective. The photographic and time-based works illustrate how images can be manipulated, staged, and distributed on the internet and mass media. When the Moon is Full 2007 and Lonely Planet 2018, a collaboration between Shane Aslan Selzer and Chelsea Knight have both been shown internationally. The script for Beretta was inspired by rape-revenge movies and portrayed a young mute woman out to avenge her perpetrators. T ime-based media art since 1996, explored video as a form of scenic art, strongly influenced by the so-called performative turn which pervaded not only the humanities but also society and art at the time. We are thus following the recommendations of the Robert Koch Institute.

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Vibravoid : Düsseldorf Black Box Filmmuseum 31.10.2015 (Part 3)

black box düsseldorf

These reenactments are interspersed with found footage and photographs of Vietnamese life and culture, as well as historical references of influential Vietnamese poets—among them a revisionist reading of nineteenth century poet Hồ Xuân Hương, known for her non-conforming attitude toward societal norms. Black Box Düsseldorf Seit 1992 ist Black Box Music im Bereich Veranstaltungstechnik tätig. He has designed a logo and sports clothing and has African immigrants act as brand ambassadors for the fictional brand, parodying the way African-American athletes feature in commercial advertising. The individual works are presented against a black background that is reminiscent of the black-box situation of a gallery. It is also valid for most special events at the Black Box. Screen 2 does not display an actual film, but a montage of digital photographs. This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery.

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Julia Stoschek Collection

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In the video, footage of the artist climbing large mounds of small rocks while spray painting short verses and questions onto their surfaces is interspersed with found footage of protesters painting on the east side of the Berlin Wall shortly after it was opened in November 1989. In addition to time-based art, the emphasis is on the genre of photography, which is also well-represented in the collection. Short quotes, music, literature, pop culture, autobiographical notes and events all serve as the basis for her video installations, performances, sculptures and works on paper. Part 1 focuses on the modernist idea of progress and part 2 centers around the aftermath of colonial violence. In seeking out Modernism, artists and intellectuals around the turn of the century developed new styles and forms that broke with tradition and were said to have left behind a conservative Europe and its historically oriented art. Her androgynous physique and the expressive force of her dancing counters the overwhelming loss of the physical and the de-personalization of social contact. In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality and fiction, identity and gender.

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The works also present alternatives and unconventional havens for grappling with the political and social uncertainties of our time. In addition to the feminist appropriation of traditional narratives and myths from the Middle East, the archive deals with notions of cultural heritage, political injustice, environmental destruction, and digital colonialism. Gaillard contrasts a Cancún hotel complex in Mexico built in the 1970s with the ruins of the once-mighty Mayan civilisation. In the contemporary photographs and video pieces by Lutz Bacher, Jen DeNike, Trisha Donnelly, Marie-Jo Lafontaine and Klara Lidén one can discern a change in the quality of contents perceived and how these are formulated artistically. Additional information on the works is provided including illustrations and over 120 introductions in German and English. The exhibition will focus on video installations, with collages, conceptual wall pieces and sculptural objects rounding out the selection.

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English Information

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As the film unfolds it presents a slow and gradual ascent, an intentional shift of position and point of view. Burns and curator Lisa Long, 16 November 2019, 3:00 p. The scenography of the exhibition corresponds to the videos in that it unfolds in a special rhythmic sequence that includes the interiors and spatial elements of the installation. Our team gives you all the information you need and makes an individual offer. The stream will be available at until midnight on Sunday, April 26, 2020. In the single-channel video loop Major Motions she impersonates the Torch Lady from the logo of Columbia Pictures, a Grecian style white woman holding up a shining torch as a symbol of enlightenment modeled after the early female personification of America known as Columbia. In Fainting Spells 2018 Hopinka combines recollections of youth, learning, lore, and departure by retelling an imagined myth of the Xąwįska, the Indian Pipe Plant used by the Ho-Chunk to revive someone who fainted.

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The oversized reproduction of the photographed page also breaks with the conventional perception of art. Formally, the exhibition will very visibly connect works, in a sort of straightforward, socially demonstrative way: projected works will be screened in choreographed sequences and in proximity to one another. The viewers visit the two rooms one after the other, so that the period of time between viewing the two screens reflects the time represented in the film. Bliss is played by American performance artist boychild. In her work she looks at the dark side of the human psyche — running through the whole gamut of perversions, sexual violence, fear, arrogance and vanity in a way that is both full of irony and at the same time almost painful to watch. Lonely Planet was also shot entirely on a phone. Following a different type of performance, the visual essay My Ecstasy is Your Rapture weaves together phone camera footage of various musical performances seen both onscreen and onstage.

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