• Light Industry: Kevin Jerome Everson, May 18

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    Light Industry
    Films by Kevin Jerome Everson
    220 36th Street, 5th Floor
    Brooklyn, New York
    Monday, May 18, 2009 at 7:30pm

    Grounded in historical research and a strong sense of place, Kevin Jerome Everson¹s films and videos combine documentary and scripted elements with a sparse, rugged formalism. His ongoing subject matter is the lives of African Americans and other people of African descent, often working class, but he eschews standard realism in favor of strategies that abstract everyday actions and statements into theatrical gestures: archival footage is re-edited or re-staged, real people perform fictional scenarios based on their own lives, historical observations intermesh with contemporary narratives. His films suggest the relentlessness of everyday life?along with its beauty?but also present oblique metaphors for art-making.

    Many of his works return to Mansfield, Ohio, where Everson was born and raised. The community's past is examined in Company Line, in which city employee Curley Lanier explains why he and his family left Alabama in the late 1950s to migrate North: ³To do better?I guess.² The remarks betray a sense of deep ambivalence about the promises of upward mobility in America that runs through this collection of recent projects; fifty years later, the people of Mansfield still aren¹t sure what ³better² means.

    - Company Line, 2009, 30 mins
    - Lead, 2009, 3 mins
    - North, 2007, 2 mins
    - Second and Lee, 2008, 3 mins
    - Fifeville, 2005, 14 mins
    - Ike, 2008, 3 mins
    - Undefeated, 2008, 2 mins
    - The Reverend E. Randall T. Osborn, First Cousin, 2007, 3 mins
    - Home, 2008, 2 mins
    - The Wilbur, 2008, 2 mins
    - Two-Week Vacation, 2005, 1 min
    - Honorable Mention, 2009, 2 mins
    among others.

    Followed by a conversation with Everson and Michael Gillespie.

    Born in 1965, Everson now lives and works in Charlottesville, Virginia. Everson¹s artwork and films has been exhibited at the Museum of Modern Art in New York; the Whitney Museum of American Art, the Cleveland Museum of Art, the Studio Museum in Harlem; the Armand Hammer Museum in Los Angeles; Whitechapel Gallery in London; the Palm Beach Institute of Contemporary Art; Wurttenbergischer Kunstverein, Stuttgart, Germany; the Spaces Gallery in Cleveland; the American Academy of Rome in Italy, the Sundance Film Festival, Rotterdam International Film Festival, Cinematexas, Ann Arbor Film Festival, New York Underground Film Festival, and many other venues worldwide. He is the recipient of a Guggenheim Fellowship, a NEA Fellowship, two NEH Fellowships, two Ohio Arts Council Fellowships, an American Academy Rome Prize, residencies at Yaddo and MacDowell Colony and numerous university fellowships.

    Tickets - $7, available at door.

    About Light Industry

    Light Industry is a venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

    About Industry City

    Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of low-cost studios for artists in need of reasonably priced space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production. For more information:


  • Parakino Florian Wüst/Screaming City: West Berlin 1980s

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    Parakino Florian Wüst/Screaming City: West Berlin 1980s
    Centrum Sztuki Wspólczesnej Laznia
    ul. Jaskólcza 1, 80-767 Gdansk
    13 June 2009, at 6 p.m.

    Between the end of the 1970s and the fall of the Berlin Wall in November 1989, a vast number of films were produced in and about West Berlin, dealing with the ambivalent realities of the enclosed city. Highly subsidized by the Federal Republic of Germany as a "shop window of the Free West", West Berlin had become an island, an inverted fortress for all those who saught to experience themselves without economical pressures, and to express themselves by all means. It wasn't about devoting oneself to the World Revolution anymore, but to implement alternative life styles and ways of housing, giving rise to social resistance, strident underground cultures and sexual border-crossing. Pessimism and apocalyptic moods, not least driven by the enhanced arms race and nuclear threats of the period, mixed with extravagance, punk and queerness.
    Where images lived a special life inmidst the deadlock of socialist and capitalist ideologies that nowhere else materialized as spectacular as in the divided city of Berlin, an idiosyncratic crossover of music, performance, art and super-8 movement developed. For many young filmmakers, super-8 facilitated the production of low cost and truly independent films. The technical limitations of the medium embodied a strong means of spontaneity and purposeful dilettantism, while super-8 was easy to distribute and show in underground cinemas, clubs and cafés. Even institutions like the German Film and Television Academy in Berlin (dffb) fostered a spirit of radical subjectivity and experimentation among students.
    Screaming City: West Berlin 1980s presents a selection of short experimental and documentary films based on an extensive retrospective in October 2006 at Kino Arsenal, Berlin, entitled Who says concrete doesn't burn, have you tried?. Since then, Schulte Strathaus and Wüst have been showing selected tour programs of West Berlin '80s films internationally, and published a book of the same title in November 2008, casting light on this unique historical period and urban site of German film production.
    With films by, amongst others, Brigitte Bühler & Dieter Hormel, Michael Brynntrup, Christoph Doering, Die Tödliche Doris, Yana Yo.


  • Expanded Cinema Seminar: Expanded Cartography And The New Live Cinema

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    Expanded Cartography And The New Live Cinema
    London Central Saint Martins
    Wednesday 20 May 2009, from 10am

    Expanded Cinema Seminar: Expanded Cartography And The New Live Cinema

    Session one will look at the different spaces of expanded cinema and its unique interrogation of media reception. 20-30 minute illustrated papers will be followed by discussion with the audience. Session two will consider expanded cinema in an age of digital technologies and their effect on the ever changing live forms of visual media. The day will culminate with a new digital video performance work by artists Steven Ball & Martin Blazicek.

    Abstracts for the papers and performance information are available here.

    10am - Session One

    "Parameters of Practice - Annabel Nicolson’s 1970s Practice"
    Patti Gaal-Holmes (Portsmouth University)

    "Figurative Interventions: A Narrative in Expanded Cinema"
    Emile Shemilt (University of Dundee)

    "Expanding the Event Structure and the Effect of Presence"
    Ingrid Boeck (Graz University of Technology)

    "Levels of Unreality"
    Ken Wilder (Chelsea College of Art)

    1pm - Lunch Break

    2pm - Session Two

    "Through the Dark Room – An Approximation between the Movie Theatre and the VJing Space"
    Gabriel Menotti (Goldsmiths)

    "The Spectator in Expanded Cinema of the Digital Age: A “Body Without Organs”?"
    Bill Balaskas (Royal College of Art)

    "Expanded Cinema: Teaching New Media"
    Martina Bramkamp (LCC/Kingston University)

    "Light Sculptures: Marinella Pirelli’s Expanded Cinema"
    Matilde Nardelli (British Academy Post-Doctoral Fellow, University College London)

    "Interface: The Move to Global Participation"
    Craig Smith (London College of Communication)

    4.30pm - Drinks Reception

    6pm - Performance


    For five days Ball and Blazicek will capture moving image, still image and audio material around and about Central St Martins’ Lethaby Building. They will be concerned with interrogating a range of spatial, historical and other phenomena of the space and its use. The material will be developed into a one-off live audio-visual performance conceived specifically for this event at this site. The exact nature of the work will be determined during its development, which will be documented over the days preceding the performance at http://blazicek.net/lethaby

    This performance has been made possible with the support of Film Academy of Performing Arts Prague (FAMU) Prague and International Centre for Fine Art Research (ICFAR) UAL, with thanks to Judy Lindsay, Head of Museum and Contemporary Collections, Central St Martins.


    Room G12
    Central St Martins College of Art and Design, Southampton Row, London,
    WC1B 4AP
    Nearest Tube: Holborn

    This event is free but places are limited.
    To book, email Duncan White



  • HEP Portugal

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    hepFirst Human Emotion Project event in Portugal.
    First out-door event of the HEP worldwide tour.

    Two screening sessions: May 16, 21h00 - 22h00 and 23h00 - 24h00.
    Place: Garden of the Ceramic Museum (State Museum)
    Location: Caldas-da-Rainha, Portugal

    Curated by Alberto Guerreiro
    HEP Global Director: Alison Williams

    Festivities: Museums Night 2009 - fest event integrated in the International Museum Day celebrations.
    Production: HEP Global | Museu da Ceramica | IMC (Portuguese State Museums Institute)


    21h00 - 22h00

    - Two in One (Debbie Douez, SP, 03:18)
    - Genesis (Neil Howie, AUS, 10:00)
    - God Shaped Hole (John Criscitello, USA, 03:29)
    - The Source (Mads Ljungdahl, DN, 01:47)
    - Absent (Alberto Guerreiro, PT, 03:20)
    - Nine Deaths (Tatjana De Luxe, GER, 04:11)
    - For Sore Eyes (Anders Weberg, SWE, 02:17)
    - Title (Kyle Van Osdol, USA, 04:39)
    - Concerto Azzuro (Michael Chang, DN, 06:14)
    - Red Yellow Blue (Alison Williams, SA, 03:43)
    - There & Back (Alicia Felberbaum, UK, 02:57)
    - Error Lips (Masha Yozefpolsky, ISR, 03:34)
    - outes (Karina Smigla-Bobinski, GER, 04:47)
    Length 54:25

    23h00 - 24h00

    - The Narcissist (Jose Drummond, PT, 03:02)
    - OOC (Adamo Macri, CAN, 05:54)
    - Bluescape (Ebert Brothers, GER, 02:57)
    - Isolation (Christy Walsh, USA, 03:29)
    - Fragility (Glen Church, UK, 05:33)
    - Agonized (Manfred Marburger, UK, 02:59)
    - Niro (Robertina Sebjanic & Nika Autor, SL, 02:21)
    - Silent Cry (Wilfried Agricola, GER, 03:09)
    - Closer to Fall (Tim White-Sobieski, USA, 04:10)
    - The Slaves of The System (Irina Gabiani, GEO, 03:56)
    - Opus Incertum (Ektora Binikos, GRE, 07:02)
    - 17 South (Marty McCutcheon, USA, 01:23)
    - The Book (Bill Millett, UK, 06:46)
    - Fluid Transfer (Niclas Hallberg, SWE, 03:02)
    Length 56:11

    More information at:



  • London Light Reading series 9: Bernd Behr with Brian Dillon

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    Light Reading Series 9
    Bernd Behr with Brian Dillon
    Wednesday 20 May 2009, at 7pm

    Light Reading’s ninth series continues with a dialogue between artist Bernd Behr and writer and critic Brian Dillon. The event will include Behr discussing his current project WEIMAR VILLA, as well as screening his recent works HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006).

    Behr’s work is produced at the investigative intersection between art and architecture, and more precisely on the instances and possibilities of architectural performativity in the moving image. Behr’s new work in progress, WEIMAR VILLA, addresses notions of an archaeology of modernity and the archeologically modern in relation to the Bauhaus. Spanning locations in China and Germany, the film conflates the construction site of a Bauhaus-themed luxury suburb on the outskirts of Shanghai with the recently exhumed ruin of Laszlo Moholy-Nagy’s house, originally part of Walter Gropius’ row of prototype "Master Houses" in Dessau. The project follows his exploration of the spatial conditions of a 1972 lecture by Robert Smithson in HOTEL PALINDROME and HOUSE WITHOUT A DOOR (both 2006) which collapses a WWII US military test site with 1920s Expressionist Film.

    Behr’s work can often be seen to employ a method of lateral investigation; in place of neutral documentary, the camera performs the archeological act, examining architectural topographies of the 20th Century and their social implications. In Behr’s practice, the research process infiltrates the perception of the work as a finished product, enabling it to actively question the production of knowledge with regards to its subject. In this way, Behr’s work simultaneously performs a subtle operation of current investigation and retrospective consideration, creating work that performs contemporaneously not only through its medium of video, but also acts as a proposition for potential re-engagement with the ruins and/or failures of its subjects.

    Bernd Behr lives and works in London and has exhibited in numerous solo and group projects in the UK and internationally. Recent solo projects include “House Without a Door” at High Desert Test Sites, California, USA, 2008, e-raum, Cologne, Germany, 2007 and Chisenhale Gallery, London, 2006. Group exhibitions and screenings include Wurttemburgischer Kunstverein, Stuttgart, Germany, 2009, Blancpain Contemporary Art, Geneva, Switzerland 2008, Lewis Glucksman Gallery, Cork, 2007, Chelsea Space, London, 2007, European Kunsthalle, Cologne, Germany, 2006 and Palais des Beaux Arts, Brussels, 2005.

    Brian Dillon is UK Editor of Cabinet magazine and AHRC Research Fellow in the Creative and Performing Arts at the University of Kent. He writes regularly for Frieze, Art Review, Modern Painters, the Guardian, the London Review of Books and the Wire. He is the author of a memoir, “In the Dark Room” (Penguin, 2005) and his “Tormented Hope: Nine Hypochondriac Lives” will be published in September 2009.

    Light Reading is an ongoing series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. To book or to be included on the mailing list for future events, please contact:

    Light Reading
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
    Nearest Tube / Train: Bethnal Green

    Tickets: £5 door / £4 advance
    Telephone: 020 7729 4494
    Email: [email protected]
    Places are limited so booking is essential



  • Tank tv: John Bock

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    John Bock
    1st - 15th May 2009
    on www.tank.tv

    tank.tv is extremely pleased to present John Bock’s first online solo show. The special selection of fourteen videos includes several recently completed works and tank.tv will offer a unique opportunity to view these strong, chaotic and inventive videos : Alice Cooper, Boxer, Gast, Kleinodtodsod, Trecker, Fischgrätenmelkstand kippt ins Höhlengleichnis Refugium, Hysterie im Nonchalance, Pied de Porc, Bilanzgeraden, Schattenkanten Abfahren, Messi Mecker, Das Baumstück and Tierauflauf.

    Bock (b. 1965 Gribbohm, Germany) attended the Hochschule für Bildende Künste (HfBK) in Hamburg. He has exhibited internationally for over 15 years including solo exhibitions at the Schirn Kunsthalle in Frankfurt, The Moore Loft in Miami, Institute of Contemporary Arts in London and Insa Art Space, in Seoul. He has also participated in Documenta 11 (2002), the 2001 Yokohama Triennial, and the 48th, 50th and 51st Venice Biennials. Bock lives and works in Berlin.


  • Summer Video Workshop - Michal Brzezinski / Arjon Dunnewind

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    Summer Video Workshop - Michal Brzezinski / Arjon Dunnewind

    30 July - 1 August 2009, 10 AM-5 PM
    Centrum Sztuki Wspólczesnej Laznia - Centre for Contemporary Art Laznia
    Jaskólcza st. 1, 80-767 Gdansk
    tel. 058 305 40 50
    fax 058 305 26 80
    [email protected]

    This year's summer workshops will broaden the cycle of presentations of PARAKINO. Practical activities organized by Michal Brzezinski and Arjon Dunnewind ( Dutch IMPAKT Festival director) will take place.  The structure of the workshops will be similar to the dialog of audiovisual presentations prepared by the moderators. There will be an opportunity to see the newest works promoted by organizations, awarded on festivals, as well as getting acquainted with history of experimental cinema within the help on particular works. System of esthetical references in which these works will appear will be a source for discussion and creation of works. Ways of reevaluating and sorting creative space, which are operated by European structures of organizations taking care about promotion of art, will be another field for discussion, and participants will have opportunity, by using their own audiovisual forms make their own answers, enriching this discourse of the contemporary art. They will also master practical knowledge about those dominant contexts.
    The closing date for entries is 12 July 2009 - [email protected]
    Admission free.


  • Hannes Schupbach: Cinema Elements

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    Hannes Schupbach: Cinema Elements
    London Tate Modern
    Saturday 9 May 2009, at 6pm and 7:30pm

    The stunning films of Swiss artist Hannes Schupbach extend the tradition of the meditative and lyrical film diary alternately defined by the work of Gregory Markopoulos, Robert Beavers and Nathaniel Dorsky, filmmakers united by an interest in the power and limits of the single shot and an idea of beauty grounded in a fascination with nature.

    An accomplished painter and expert on textile art, Schupbach uses 16mm cinematography to explore cinema’s painterly dimensions, bringing to his films a keen attention to colour and light and their effect on mood and tempo. Schupbach’s meticulously structured silent films, like those of Dorsky, discover a multi-layered world, often using superimpositions and reflections to explore the hidden depths of the places and people evoked within them. We are pleased to welcome Hannes Schupbach for a program of recent and early work that includes his lovely debut film PORTRAIT MARIAGE (2000) as well as paired portraits of his mother and father –SPIN (2001) and VERSO (2008), respectively – and L’ATELIER (2008), a meditation on light and gesture within a gorgeously appointed artist’s studio in Paris.

    Schupbach’s work has been shown in the solo exhibition "Stills and Movies" at Kunsthalle Basel from January to March 2009, which is followed by film screenings at the Reina Sofia Museum in Madrid, the Harvard Film Archive and Tate Modern.

    Programme 1 at 6pm

    - Spin (Hannes Schupbach, 2001, colour, silent, 12 min)
    Turning toward the interior. The concept of SPIN, an inherent turning momentum of electrons, stands for the constancy of time passing and for time itself. The unstoppable process of change is translated into film via the gliding movement of the camera. Bright light and blurring portray the environment of the film’s elderly subject, my mother, as pure atmosphere. Her slight calm gestures in the face of diminishing time and energy convey a personal presence undisturbed by specific goals. She sits and breathes quietly. When walking she travels across space. A tree full of apples turning away evokes regret, as does a sharp light which narrows and dissolves. In the final image my mother seems to taste a bitterness which is difficult to comprehend. I reveal our encounter through brief, selected insights.

    - Verso (Hannes Schupbach, 2008, colour, silent, 16 min)
    A portrait with my father.

    - L’Atelier (Hannes Schupbach, 2007, colour, silent, 16 min)
    Sight and thought. The atelier is the place where the artist dwells, the space for his actions and his thoughts. What comes into being here belongs to this place and is shaped in part by its presence. In the passage of days, inner advancement thus corresponds with a piece of the outer world, the real condition that allows the inner digression and enables the artist to return anew to this window, this tree, the house just in front. In the ‘drawing’ on film, described by the gestures of the recorded image, the physical space itself becomes the work. The space evolves in a counterplay to internal movement. Following an insight, a glance falls on one object, then another. The described manner of embracing, in the very making of the work, the sight of objects and the movements that lie resolved within them got me thinking admiringly of the two painters Paul Cézanne and Pierre Bonnard: Cézanne, the master of line and the ‘painterly quantum,’ who depicts space as a reality composed of individual moments, Bonnard, the master of painting that renders an animated space.

    - brief intermission -

    Programme 2 at 7:30pm

    - Portrait Mariage (Hannes Schupbach, 2000, colour, silent, 9 min)
    Portrait mariage begins and ends with a textile motif. A pattern of ribbons on a damask tablecloth becomes a broad network extending into the depth of the image. Guests are gathering for the wedding of friends. A picture of relationships shines through the smallest of gestures. Single details and movements are brought together and become part of the coloured and transparent film space. The rite of passage is superimposed upon landscape textures and moments of preparation. The image as a precious border displays visible surfaces while also preserving an interior of bodies and spaces left open to the imagination. The sequences condense spontaneous recordings into metaphoric clusters.

    - Toccata (Hannes Schupbach, 2002, 16mm, colour, silent, 28min.)
    Il tocco means not only touch; it can also mean a small quantity, a single brushstroke in painting, the striking of a bell or piano keys. The surroundings meet the eye. The direct touch releases an interior impulse. Surfaces open to states of being. Out of this encounter arises the image. From the images, an inner place. In film, as in the mind, are brought together distant spaces and bodies, and the layerings of time. A house, a city in Italy, traffic, and the movements of people are filmed visibly in the present. But the images embrace a living and extended continuity. The light of one day links my eyes to the eyes of someone who lived in the same city two, three, or five hundred years ago. On a church wall, a sculptor has left an arched curtain in stone. Through the rhythm of its inward and outward foldings, the film becomes … still.

    - Falten (Hannes Schupbach, 2005, colour, silent, 28 min)
    In the form of folds: separate areas of a piece of fabric come together at new points of contact and angles. Individual sections come to the fore while others remain hidden. In motion, the surface of a cloth gleams like the delicate impression of light in film. The French experience includes forms of discovered, singled out or artificially employed nature. And parallel to this, the search for the natural in art. Leaves and flowers appear as if drawn. One’s own hand becomes an object, a figure. How are the leaves arranged on a tree? It is a culture of the aesthetic, of that which refers to perception in its most direct sense.

    All films are 16mm, colour and silent.

    The screenings will be followed by a book launch for the new publication, "Hannes Schupbach: Cinema Elements", with texts by Adam Szymczyk, Eleonore Frey, Philippe-Alain Michaud, Andrea Picard, and Hannes Schupbach. Published by Verlag Scheidegger & Spiess, Zurich, 2009.

    Made possible by a generous grant from SWISS FILMS / Pro Helvetia, Arts Council of Switzerland. With support from the Embassy of Switzerland.


    Tate Modern Starr Auditorium
    Bankside, London, SE1 9TG
    Nearest Tube: Southwark / London Bridge / Blackfriars

    Tickets: £5 / £4 concessions (one ticket for both programmes, includes drinks reception)
    Box Office: 020 7887 8888



  • The Sound Source: Turned Off, Tuned Out With Andrew Lampert

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    The Sound Source: Turned Off, Tuned Out With Andrew Lampert

    London King's Place
    Tuesday 12 May 2009, at 8pm

    Featuring Okkyung Lee, Steve Beresford and Peter Evans

    An evening of live music / cinema featuring a new performance by New York artist Andrew Lampert. Lampert makes films and expanded multi-projector performances, curates avant-garde film / music events, and works as a film archivist. His performances teeter on the brink of chaos, casting aside any usual expectations we might have of film /art / performance / music; replacing them with an unfixed, improvisatory and playful approach that confuses the relationship between artist, performer and audience.

    The evening will combine elements of film and live performance, including a collaboration between Lampert and an ensemble of three maverick musicians; Korean cellist Okkyung Lee; British multi-instrumentalist Steve Beresford; and New York trumpeter Peter Evans.

    Curated by Sound and Music and no.w.here


    Kings Place
    90 York Way, London, N1 9AG
    Nearest Tube: Kings Cross

    Tickets: £9.50
    Box Office: 020 7520 1490

    Limited number of advance tickets available for only £6.50.
    Call 020 7520 1490 and quote 'Development Offer'.



  • Parakino: Blanca De La Torre Garcia - Some Politics Of Appropriation

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    Parakino: Blanca De La Torre Garcia - Some Politics Of Appropriation

    15 May 2009, at. 6 p.m.
    Centrum Sztuki Współczesnej Łaźnia
    ul. Jaskółcza 1, 80-767 Gdańsk - Poland

    The term appropriation art came into common use in the 1980s with artists such as Sherrie Levine, who addressed the act of appropriating itself as a theme in art. Challenging ideas of originality, drawing attention to relations between power, gender and creativity, the social sources and uses of art, Levine plays with the theme of "almost same".

    Aspects of appropriation appear in all areas of visual art history if one considers the basic act of making art as the borrowing of images or concepts from the surrounding world and re-interpreting them as art.
    Some even might classify Leonardo da Vinci as an appropriation artist, because he used recombinant methods of appropriation, borrowing from sources as diverse as biology, mathematics, engineering and art, and then synthesizing them into inventions and artworks. Duchamp also went so far as to use existing art in his work, appropriating an apparent copy of the Mona Lisa into his piece, L.H.O.O.Q. What would our culture be without borrowing, adaptation and derivatives? In the area of visual art, such a question has taken on additional relevance given the extent to which appropriation and the recycling of pre-existing materials have become crucial factors in contemporary practice.

    The following artists utilize methods of pseudoappropriation taking some classic subjects in the History of Art and using them as starting point of their videos, establishing an iconographic bridge between video and history of art, in an attempt to mixtify and enhance both traditions.  In order to illustrate this point, artist Evaristo Benítez in D Apres Courbet tells a story using a succession of gripping abstract images and Andreas Berzotti Death of Arts  reinterpretes Hitchcock s psycho s death as some kind of Arthur Danto s death of Art. While Luis Bezeta creates a moving painting in Moviecuadro, Julia Oschatz evokes the XIX  century romantic experience of the Sublime (Between Caspar, David and Friedrich). Antonia Fritche (Bump), films with a mobilephone a very impressionist aesthetic valued with the choice of a full screen, enlarging pixelisation and so picture decomposition. In her videos, Sabine Gross refers to popular works of art history, such as The Scream, by Edvard Munch, or Happy Tears, by Roy Lichtenstein. Through computer animations, Gross amplifies the intense emotional quality inherent to these pictures, allowing such very distinct aspects to dissociate themselves from their source and become independent. Andreas Sachsenmaier s L Ultima cena shows an apparent image of The Last Supper by Leonardo da Vinci where female figures are sitting and standing at a long table, all well-known prototypes, which we can see daily in the media. Inspired by a painting by Jan Vermeer, in Mariana Vassileva s video The Milkmaid the motif becomes transformed, not only into our present but also into a virtual spaceless and timeless sphere. As she remains motionless and only the milk flows one could say that in this work, photography, video and sculpture unite in one medium. In Where to Sleep, Goya, Eugenio Ampudia spends the night sleeping inside the Prado Museum and under The Executions Of The Rebels of the 3rd of May by Francisco de Goya, raising questions regarding the construction of the social space and the struggle against conventions. Cristina Lucas (Talk), strikes and questions Michelangelo s sculpture Moses, as, according to the legend,  its creator did when it finished, and Lucas tries to find the truth about it.

    Have these pieces some aura of the originals? Is to carve tombstones for the past the only way left to be original?
    All the works could be seen as as a head-on confrontation with the anxiety of influence, and this creates the possibility of an allegorical reading of the work.

    Together, these videos restate the history of art on an original point of view, miming moving image and enigmatic art history stereotypes with a strange blend of camp and genuine feeling. In creating such compilation, I try to pay homage to classics of Art History while at the same time asserting that there is some threadline that has been continued  along history, and not necessary a breaking point, a before and an after marked by the born of Video Art.
    Therefore, the margins, the sites, the question of concept versus the whole panorama or the medium of video have to be reevaluated and brought into a different kind of discourse.