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| Kino Eintrittspreis: | ||||
| Mo - So | 8,00 Euro | Saal 1 | ||
| Mo - So | 7,00 Euro | Saal 2/3 | ||
| Jeden Tag | 3,00 Euro | für Freundeskreis-Mitglieder more | ||
| Ab 130 Minuten Filmlänge plus Euro -,50 | ||||
| Ab 150 Minuten Filmlänge plus Euro 1,- | ||||
| Kinderfilm | 4,- Euro | Gruppen ab 10 Kinder 2,50 Euro | ||
| Bei Sonderveranstaltungen gesonderte Preise (laut Aushang) | ||||
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videoart at midnight: an artists’ cinema project by Olaf Stüber and Ivo Wessel |
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 Ivo
Wessel und Olaf Stüber begeistern sich - als Sammler einerseits und als
Galerist andererseits - seit mehreren Jahren für Videokunst mit der
Überzeugung, es dabei mit einer der interessantesten Ausdrucksformen
zeitgenössischer Kunstproduktion zu tun zu haben.Neben der inhaltlichen Auseinandersetzung fasziniert sie auch immer wieder von neuem die Frage der Inszenierung eines Video und die Besonderheiten der Rezeption: Wie zeige ich ein Kunstwerk adäquat und wie schaffe ich ein Umfeld, das den optimalen Zugang zu diesem Werk ermöglicht – in einer Sammlung, auf Messen, in einer Ausstellung? So unterschiedlich die Formen von Videokunst heute sind, und so schnell die Entwicklung voranschreitet, ist auf die Frage der bestmöglichen Präsentation keine eindeutige Antwort zu geben. So funktioniert die eine Arbeit vielleicht auf dem Display eines Handys, die andere als im Loop laufende Installation im musealen Raum und eine dritte etwa mit Monitor und Kopfhörer. Ivo Wessel und Olaf Stüber loten in ihrem gemeinsamen Interesse insbesondere an narrativen Videoarbeiten einen jener Aspekte aus, der sich bei Künstlern der jüngeren Generation häufig zeigt, nämlich Arbeiten zu schaffen, die nach dem Format des Kinos, der großen Leinwand und der cineastischen Atmosphäre verlangen. In einer glücklichen Kooperation mit dem Kino im Babylon am Rosa-Luxemburg Platz in Berlin-Mitte laden Ivo Wessel und Olaf Stüber ein, ihre Obsession für diese Form von Videokunst zu teilen. So monatlich wie möglich, immer an einem Freitag, immer um 24 Uhr. |
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Programm |
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Videoart at Midnight |
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| (Eintritt frei | admission free) | |
| Videoart at Midnight an artists’ cinema project by Olaf Stüber and Ivo Wessel | |
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Videoart at Midnight #86: Andy Graydon |
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Friday, June 16th, 2017, 24:00 | midnight |
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 Andy
Graydon’s work explores the interstitial spaces between sound and video.
His recordings and layered performances, which integrate diverse field
recordings with electro-acoustic compositions, unhinge known sonic
territories and open up environments that allow listeners to experience
natural or found sound in new ways. Graydon claims a variety of
influences including musique concrète, minimalist and environmental art,
cinema auteurs, and the constellation of artists and musicians he works
with today. His recent works have increasingly approached what the
artist describes as a “science fiction ecology”, in which he engages
with the speculative future state of a given environment, often in flux
or crisis. – Lauren Cornell, Executive Director, RhizomeGraydon’s films train our vision on processes of materialization rather than upon objects themselves. These films attempt to arrest moments that haunt the wings of the material world’s stage, from nostalgia and the traces of the past, to the ellipses and guesswork of the present, to the suspense and speculation that define futurity. Graydon’s interest in these undecided zones has led him to work with improvised music and performance, with ekphrastic speech and mental projection, with architectural and infrastructural modeling, and with the cultures of scientific inquiry. Andy Graydon will show: Wrongdoing, 2017, 15:00 min Presented in a special cinema edit for Videoart at Midnight, Wrongdoing revisits and re-appropriates from Graydon’s ongoing Berlin-based project The Findings. A stuttering and looping meditation on rehearsal as a model for existence, it appears in episodes between the other works in the program. |
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| The Transect in Three or Four Modes of Observation,
2017, 30:00 min The Transect follows two Portuguese ecologists as they search for traces of the elusive Ope’ape’a bat, the only land mammal indigenous to the Hawaiian islands. Their arguments over method prove as illuminating as their findings. Clean Room Light Trap, 2017, 15:00 min Equal parts flicker film and ethnography of science reel, the film presents a technician building telescope parts in the “clean room” at the Institute for Astronomy in Honolulu, and simultaneously details the construction of a “light trap” to attract nocturnal insects for entomological study. Through a strobing alternation the two images come to form a single dynamic space that hovers in the intervals of the flicker. The work of American artist Andy Graydon (b. 1971, Maui, Hawaii) explores experiences of absence and displacement, such as those encountered in travel, in writing and in recording. This work across media has been exhibited, screened, performed and published internationally, including shows at the New Museum, Art in General, and Participant Inc. (all New York); Berlinische Galerie, Berlin; the Frye Art Museum, Seattle; Massachusetts Museum of Contemporary Art, MA; Utah Museum of Contemporary Art, Salt Lake City; Honolulu Museum of Art, Hawaii; the Hong Kong & Shenzhen Biennale of Urbanism/Architecture; Galerie Stadtpark, Krems, Austria; WRO Media Arts Bienniale, Wroclaw, Poland; and PROGRAM Initiative for Art and Architecture Collaborations, Berlin. Awards include a Rhizome Commission and grants from the Princess Grace Foundation, the Laila Twigg-Smith Art Fund and the Experimental Television Center. Graydon received his MFA in Radio, Television, and Film from Northwestern University, and is currently based in Cambridge, Massachusetts and Maui, Hawaii. |
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