La Biennale de Montreal 2004
49th Venice Biennale 2001 – Azione Parallela Bunker by Caterina Davinio
50th Venice Biennale 2003 – Wandering Library Project curated by Doron Polak
51st Venice Biennale 2005 – Isola della Poesia – curated by Achile Bonito Oliva – June – Nov
52nd Venice Biennale 2007 – Divine_in.tent – curated by Doron Polak & Amir Cohen – 7-30 June 2007
53rd Venice Biennale 2009 – Scalamata Gallery -“Souvenir Art” – International Artists Museum – 6-26 June 2009
49th Venice Biennale 2001
Azione Parallela Bunker by Caterina Davinio
49th Venice Biennale 2001 – – Azione Parallela Bunker by Caterina Davinio 7 June 2001
PARALLEL ACTION – BUNKER (49th Venice Biennial, general director Harald Szeemann, virtual happening for the Bunker Poetico) technology: e-mailed poems and visual poetry, web site, html, gif, jpg, e-mail and web communication. In the contest of the Poetry Bunker. 60 poets and artists connected with Karenina.it Redaction, sent their contribution by e-mail, which were published in real time during a real happening at the Orsogrill delle Artiglierie (A Net of Voices). Presented in numerous international sites, in the essay Techno-Poetry and Virtual Realities, Mantova 2002).
POETRY BUNKER(Marco Nereo Rotelli Curator) in the 49th Venice Biennial (General Curator: Harald Szeemann)
A net-poetry event (the online happening “Parallel-Action-Bunker”) was featured in the Biennale di Venezia in 2001. It was produced and curated by the digital artist and poet Caterina Davinio in the context of Bunker Poetico, a collaborative installation by the artist Marco Nereo Rotelli which involved 1,000 international poets. The virtual happening “Azione-Parellala-Bunker” (Parallel Action-Bunker) was held online contemporaneously with real performances at Orsogrill delle Artiglierie, a real space of the Venice Biennale. With this event, a relationship was created between real and virtual poetry events – a new connective and collective network of poetry, based on communication, and similar to some events and happenings organized by Fluxus, e-mail art and relational art, and including Wilfried.
Biennale de Cerveira
Agricola’s Light Home – Identity of Colour”
“Identity of Colour”, 07:07:07, 2016
Film created by media artist Agricola de Cologne, based on the artist’s poem and voice performance of the same name created and executed in 2001.
The work combines DaDa like poetic texts, vector grafics and musical components created by the artist himself.
There are two work versions:
1. The netart piece, 2001, looping
developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne.
2. the video, 2016, 07.07.07
voice and sound performance by Wilfried Agricola de Cologne
The video is representing a reconstruction of the piece originally programmed in Flash (Macromedia) as netart which ist still existing as a completed netart work, however due to a specific, non-linear programming which could not be transferred to the linear structure of the video a complete reconstruction was necessary. Therefore the video is standing as an art work individually for itself.
Agricola’s Light Home – Watch: Seconds Forever
Surveillance can become an obsession for those who observe and those who are observed. For the victim captured and tortured, seconds are never ending.
Agricola’s Light Home – Transience – an atonal composition, 2001, interactive
an atonal composition, 2001, interactive
Transience is an interactive, experimental Flash composition based on different text, sound and music components created by Agricola de Cologne.
Both the creator and user are or become composers of sensual perceptions on different levels. Confronted with essential questions of human destination and while acting through the artistic environment the user starts creating a virtual sculpture consisting of images, associations and processes on different levels.
The work is developed according the principle of SAMAC
(Simultaneous Associative Media Art Composing) which describes Agricola’s individual way of experimental electronic writing: words, sound, images, animation, music and voice performance are developed simultaneously –depending on each other – in one long single process.
Voice and sound performance by Agricola de Cologne. The movie is developed in Flash, directed and produced by Agricola de Cologne.
Credits: Director, producer, editor, script/concept, cinematography, programming: Agricola de Cologne
2002 – 2nd International Media Art Biennial 2002 – MediaHexa Seoul/South Korea
media art festival : HEXA
mediahexa lounched 2nd shape, hexa_phase 07 at Nov. 3th.
Hexa Project is a media art festival that is to be launched as a part of the ‘cyber mind project’ of “media_city seoul 2002” (The 2nd International Media Art Biennal)
Hexa is an endlessly evolving project which is regulary updated by media artist’s participation. It is an unfinished ongoing task.
The evolution of Hexa will be activated simultaneously with media artist’s participation. Hexa absorbs various genres such as web art, video art, sound art, digital photo and any other type of hybrid arts.
Hexa welcome works of media arts whether they are new projects or old ones.
The ideal goal of Hexa is to attract various artists from diverse areas. In this two-way communication era, Hexa provides an idea space to freely exchange media artist’s novel ideas with other participants. Participation of media artists will help the project to move forward to the new media arts of the next generations.
(http://www.mediahexa.org / http://www.mediatrans.org)
2002 – Liverpool Biennale (UK) – Liberarti Art Festival
The first thing to say is a big thanks to all those who took part in the last liberarti lounge. The lounge was spread over two hotel rooms in the Adelphi Hotel and was viewable all weekend. We had a wide range of artists come in at a wide range of hours, some to look at some of the art and others to come and sit with others.
On show were a number of xeroxed images either from the website or posted to us, these were stuck around the walls and handed out along with the art
objects also posted in. There were performances from robots and humans, artists and poets all keen to share their art with anyone who was there.
Continuing each night until late, when the hotel staff would shut us down the lounge would shed its shell and meander through the corridors to another artists room for the process to start again.
Such was the impression liberarti.org (as part of the aconvention) left with its public the broadsheets got involved and liberarti.org was mentioned in October 31st edition of The Guardian.
The latest manifestation of liberarti lounge will be in Plymouth, UK on the night of December 16th at the Barbican Theatre’s BBar. It is set to be a popular event with plenty of interest from local artists who have been called through the local newspaper and poster campaigns. In addition to this there are artists submitting work through liberarti.org to be disseminated at the event. The rule of non-curation that frames liberarti.org means local artists can exhibit next to internationally renowned artists on a level footing. Being a gift economy the liberarti lounge ensures no piece is given any monetary value so it may be handed out free.
There will of course be some performances (two have already been submitted), short films, net art, xeroxed art and poetry. All are invited to attend and all are invited to participate so if you have any art you want to show /swap/ give away, whatever the medium, whatever the message, see if you can swapyou art for someone else’s, or just give it away.
This is therefore an official invite to either submit work online, by post.
Karen Eliot, PO Box 85, Liskeard, mPL14 3ZN.
2002 – Manifesta 4 – Free Manifesta Sal Randolph ä Kunstverein Frankfurt/Main
Venice Biennale 2003 – Blogwork
Violence Online Festival
Wandering Library Project curated by Doron Polak
2003 – 50th Venice Biennale 2003 – Wandering Library Project curated by Doron Polak – “Banners III”, Projectives-Artists Museum, Lubbock, TX
“Wandering Library”, Project of the International Artists’ Museum in 50th Venice Biennale, Venice, Italy
“Wandering Library”, Project travels to: City of Meinz, Germany, Umbria, Italy, United Nations Center, New York, Alexandria, Egypt, Jerusalem, Israel
Book of Violence – art object by Agricola de Cologne
A short notice
Already the title indicates, the book is about violence.
But where is the book?
Has it to be protected from physical violence?
It is indeed this way, that “Book of Violence” does not represent a book in a conventional sense. The small art object reflects the relevance and meaning the printed book has or has not in the contemporary media society.
The book as the art object is a closed CD case (which can be opened, of course), containing the relicts of a partially destructed book (which can be read, of course), a manifestation of physical violence against the book, against freedom of the written, printed and spoken word, which is always in danger in times of repression (totalitarian systems or nowadays the global conflicts). Book burning, censorship and manipulation are only a few tools to use violence on the “word” and their authors, thus the art object represents simultaneously a Memorial for the victims of that kind of violence.
The destructed book inside which finds protection through the CD case represents a symbol of the position the printed word has (at least in this context), reduced to the dimensions of a CD-Rom. The protection, however is not safe at all, the printed book within the media (seems to be nearly “old fashioned” and not able to save its content), the book relict in the given case is in addition the result of an home computer inkjet printing using a water soluble ink which points also to the destructive acid containing papers used for contemporary book printing, further the plastic material the CD case is consisting of is very breakable, nearly the slightest pressure may cause damage, and finally the protection in form of saving the written word digitalized on one of the currently used and available storage systems is also anything else than secure, as all of them are made for being consumed (with a life time of not more than 15 years) and not made for permanent saving. Anything has violent structures and is more or less temporary and very vague.
The art object reflects this way also what a library may represent and in the given case, what a wandering library also can mean, as the word in which form ever is damned to wander/move in order to survive.
The mission of the book object is: take care!
Take care for the word, as such!
Take care for the printed word !
Take care for preserving intellectual property of any kind.
Take care of the future and the heritage of the past.
The Book of Violence contains texts written by Agricola de Cologne, and images either created or selected and printed by Agricola de Cologne on an inkjet printer.
The art object is made especially for the project “Wandering Library” curated by Doron Polak for the 50th Venice Biennale and will remain in the collection of the “Wandering Library”.
Copyright © 2003 by Agricola de Cologne. All rights reserved.
2003 – Interactiva’03 – Biennale for New Media Art 2003 – Museum of Contemporary Art Merida/Mexico
Today is a very important day in Wilfried’s artistic /curatoral course of life, Interactiva’03 – Biennale for New Media Art is starting in Merida/Yukatan/Mexico. It is not the tropical, exotic place hosting a new media art event, but the fact Wilfried was invited by Raul Moarquech Ferrera-Balanquet, curator of Interactiva, to prepare an artistic / curatoral project for the Biennale and become this way a co-curator. The three Rs are standing for “Remembering – Repressing- Forgetting – so the topic is dealing with memory in most different ways- It is not the first time, that Wilfried was inviting a guest curator for one of his projects, but this project includes in all its consequences 8 curators and their curatorial contributions on the topic, a way to present and demonstrate diversity, not only the diversity of different curatorial concepts, but via the selected artists also a diversity of artistic concepts and all in one project, keeping the options to be installed in virtual space (Internet) as well as in the virtual space of a physical exhibition running from CD-Rom on an a computer monitor. Also consequently, Wilfried is curating virtual space, eg. the space available on the user’s monitor. He creates a special exhibition design, for each involved curator an individual interface which is thematically connected with the curatorial contribution. Wilfried’s way of realising his project is in these days very provocative, because he is acting as an artist, as well as the chief curator curating other curators. Probably such ideas can be realized in 2003 only in the experimental context of an experimenting Biennale, because the conventional art scene would not allow such an experiment, yet. Because each curator is coming from a different country, even different continents, The RRF Project v.1.0 is the forrunner of the subsequent global networking project, as it is manifesting itself as RRF 2004 and later. In this way RRF v.1 has a key function for all of Wilfried’s following artistic and curatorial projects. In 2003, it was invitation to initiate the RRF project, later in autumn 2003 he will receive the invitation to participate in the Biennale of Electronic Art in Perth (BEAP2004) starting in September 2004, both invitations have an enormous enncouraging and creative effect on Wilfried, in fact during 2003, Wilfried’s professional course of life will determined already, but Wilfried doesn’t know it, of course. Even if past articles were mentionning already, that Wilfried started on 1. January 2000 his (new) life from point zero, for a better understanding it is necessary to point here again, that in the process of re-shaping himself as a human and artist, these moments giving Wilfried’s creativity a push forward have a fundamental relevance, also in a psychological concern, they stabilize Wilfried’s personality. He will not attend the event in the Maya country Yucatan, he is not prepared, yet for long distance travels, one year later, however, he will be so far to stay several weeks in Australia when he will attend the Biennale in Perth. Wilfried will be visiting Mexico only in 2011.
MACAY – Museum of Contemporary Art Merida
The Fernando García Ponce – MACAY Museum is a museum complex dedicated to contemporary, pictorial and sculptural art, located in Mérida, Yucatán, México. It is located in the Plaza Mayor of the Yucatecan capital, in the heart of its historic center, next to the Cathedral of San Ildefonso.
In 1994, during the administration of Governor Dulce María Sauri and with the promotion of Carlos García Ponce, brother of the abstract painter Fernando García Ponce, part of whose work is displayed in the museum rooms, the MACAY was inaugurated occupying the building described above , with the mission of promoting the dissemination of national and international contemporary art. It has a total area of 3,500 m2, an area in which the following takes place:
Fifteen rooms for temporary exhibitions, two galleries and four rooms with permanent exhibitions. In the latter, the work of three stellar figures of Yucatecan art is exhibited: Fernando Castro Pacheco, Fernando García Ponce and Gabriel Ramírez Aznar.
There are two interior spaces: the Jardin de las Tinajas and the Expoforo, the latter with a capacity for 500 seated people. Both spaces are used for presentations and public events of various kinds and, occasionally, to be added to the exhibition spaces.
The museum presents a multiple sample of the Mexican national pictorial and sculptural talent. It gathers in its temporary exhibition rooms samples of the work of various national and foreign artists.4
The work of local artists who normally act as hosts to those foreign creators – national and foreign – whose work is presented simultaneously is presented.
Interactiva’03 – Biennale of New Media Art
Interactiva’03 – Biennale for New Media Art – @ MACAY – Museum of Contemporary Art Merida/Mexico
11 July – 28 September 2003
Agricola de Cologne and
[R]-[R]-[F] Festival – Version 1.0
Curador Ejecutivo/Executive Curator: Raul Ferrera-Balanquet
Curadores Invitados/Guest Curators:
Fatima Lasay, Pooja Sood, Agricola de Cologne
Ensayos/Essays: Laura Baigorri – Heidi Figueroa-Sarriera
Museografia/Museographer: Jose Luis Rodriguez de Arma
[R]-[R]-[F] – version 1.0
The RRF Project 1.0
[R]-[R]-[F] – version 1.0
was launched in 2003 as an individual project in the framework of Biennale of New Media Art Merida/Mexico, and was incorporated in the RRF project environment on 1 January 2005.
review on NEURAL
The RRF Project has a development since 2003, when on 1 July 2003, version 1.0 was launched. In 2004, independently from version 1.0 version 2.0 was released, only in 2005 both projects version fusioned to version 3.0 – resulting The RRF Project XP
From its structures, [R] – [R] – [F] – Festival is an extraordinary experimental New Media art project in form of an online festival created, programmed and realized by Agricola de Cologne.
Its central subject, abbreviated in the capital letters of the title, is Remembering, Repressing, Forgetting. A new way of art working is practiced: networking as artworking.
Experimental fields of memory are developed by inviting curators from different countries around the globe, eg directors of media festivals or curators specialized in New Media, who have to select a number of artists of their choice according the terms of the project.
The dynamic of this ongoing and continously changing project, as it is set up for being presented in festivals and media exhibitions, manifests itself not only in the artistic online environment,
especially created for [R] – [R] – [F] – Festival, but also progressing when for each new presentation a new project version is created, including new subject related aspects, new curators and new artists and new visualizations of the connected memory fields. Continuously expanding, these memory fields containing curators and artists of the previous project versions,will be always present in the background while slowly a networking universe of collective memory comes up. The project uses the Internet not only as an artistic environment, but primarily also as a communicating medium and a data base which is closely connected to memory and loss of memory, thus the subject of the festival project. The Internet represents not only the ideal medium in many ways, but allows above that direct intercultural networking like no other medium. [R] – [R] – [F] – Festival is closely connected to another net based art project by Agricola de Cologne “A Virtual Memorial – Memorial project against the Forgetting and for Humanity – http://www.a-virtual-memorial.org
Version 1.0 is featuring the curatorial contributions by Wilton Azevedo (Brazil), Anna Hatzianaki (Greece), Branca Bencic (Croatia),, Caterina Davinio (Italy) ,
Fran Ilich (Mexico) , Evgenyi Umansky (Russia), Vincent Makowski (France)Melody Parker-Carter (Germany) and Agricola de Cologne (Germany) .
List of curators and selected artists
the names are connected with the biographies
the curated contributions, hosted by Artopos – http://artopos.org/projects/rrf/ is using Shockwave, but Shockwve is discontinued since 2017.
2004 – Biennale of Electronic Art Perth/Australia
7 September – 17 November 2004
[R][R][F] 200X —> XP // Remembering-Repressing-Forgetting – the global networking project
has been realised by Wilfried Agricola de Cologne on occasion and invitation of BEAP 2004 – Biennale of Electronic Art taking place between 7 September and 12 November 2004 in Perth/Australia.
Agricola de Cologne was requested to create a global networking project dealing with the phenomenon of “memory” in avariety of different aspects. The global aspect is manifesting itself in the Location of the Internet based project, as such, in the concept to research how people from different contries rooted in different cultures, religions and social background deal with memory, by including artists and curators from different countries, cultural, religious and social background. It was the idea to demonstrate this dealing via different “memory channels”, each one dedicated to a different artistic digital medium.
BAEP 2004: Beap curator Jeremy Blank (right) & Agricola de Cologne (center)
While the Biennale exhibitions were installed at numerous art places and institutes, Agricola de Cologne was installed at the artist in residence gallery @ Central Taffe Institute of Technology Perth/Australia in an exchange between virtual and physical space, where he also was an artist in residence. Wilfried’s work was curated by Jeremy Blank, at that time teacher at Central Tafe School for Art, Design & Media which is also running the Artist in Residence Gallery.
Inauguration, presentation and installation
2004 – Biennale de Montreal 2004 –
curated by Anne-Marie Boisvert – La ville virtuelle –
23 September -31 October 2004
Urban.early sunday morning_raw
video based on a poetic text by Agricola de Cologne inspired by the Central Station of Milan
Please note –>
Urban.early sunday morning_raw
was originally created in Flash – non-linear – in times when streaming video did not exist yet. The media technology using very light files was allowing online streaming even by using low K modems. Originally developed by MACROMEDIA and later owned by ADOBE, Flash software, like earlier before Shockwave, is not longer supported and in this way the original file is no longer available online, but on demand the Flash version can be exhibited and viewed offline.
However already in 2007, a linear video version nowdays available for screening in mp4 is replacing the original version in Flash, see streaming video above.
Urban.early sunday morning_raw, 2002, 4:40
multimedia work based on a poetic text by Agricola de Cologne inspired by the Central Station of Milan
49th Pula Filmfestival – Cinemania(c) – curated by Branca Bencic– Pula (Croatia)2002
GAM – Galleria Civica d’Arte Moderna e Contemporanea Torino (Italy) – *Digitalclip Festival – 2002
*Medi@terra – Festival 2002 – Fournos Cultural Centre Athens (Greece)2002
*Media Art Biennale – Mediahexa Festival Seoul (Korea)2002
*Cyborg 01 Festival – Valencia/Venezuela 2002
*III. INTERPOETRY Exhibition Sao Paulo (Brazil)2002
*43th International Filmfestival Thessaloniki (Greece)2002
*5th International Meeting of Experimental Poetry Buenos Aires (Argentina)2002
*VideoMarathon Contemporary Art Centre Chisinau (Moldavia) – 2002
*Liberarti – Liverpool Biennial (UK) – 2002
*ISEA 2002 Nagoya (Japan)
Museum of Contemporary Art Bucaresti (Romania) – *COOP Media Festival – 2002
St. Kilda Film Festival – Melbourne (Australia) – Visions Festival’ 2002
*Nth ArtExhibit.001 – Nth Art Collective London/UK 2003
*Moving Media Multiplicator Vienna (Austria) 2003
*Artemedia 2003 – Universidad Maimonides Buenos Aires/Argentina 2003
*FiFI Festival 2003 – Paris (France) – Urban.early sunday morning_raw 2003
*File 2003 – Electronic Language Festival Sao Paulo (Brazil) 2003
*Digital Sur Festival- Arte Digital Rosario 2003 – Rosario (Argentina) 2003
*8th International Festival of New Film – Split/Croatia 2003
*Fibreculture Conference 2003 – Brisbane/Australia :: Digital Literacies 2003
*New Forms Festival Vancouver (Canada) 2003
*Film and New Media Festival Lancaster (UK) 2003
*Galerija ULUPUH Zagreb/Croatia 2003
*PEAM 2003 – Electronic Art Festival 2003 Pescara/Italy 2003
*Kunst aus Strom Festival/Art from Electric Power Festival 2003
*Kinokaze – Open Screen Belgrade (Serbia & Montenegro) 2003
*(6th) Media Arts Festival, Tokyo Metropolitan Museum of Photography 2003
*3rd Audiovisual Festival Lille/France – 2003
*Belgrade Summer Festival – Open Screen Belgrade 2004
*The Wiggle Room San Antonio TX (USA) 2004
*FAIM Madrid – El Viernes Curvado curated by Antonio Alvarado 2004
*Biennale de Montreal 2004
*Museo de Arte Contemporáneo del ZULIA, MACZUL – Salón de Arte Digital -2005
*Cyber Poem 2.1 – International Meeting of Digital Poetry 2005
*FONLAD – Online Festival Coimbra/Pt 22/10-30/11
*Micropolis – Internation contest and Exhibition Athens/Greece 2005
*Museum of Contemporary Art Santa Fe/Argentina – Orilla#05 – International Show of Digital Art – 8-11 September 2005
*3rd Digital Art Festival Rosario/Argentina 2007
Int. Experimental Film Festival Carbunari Baia Mare/Romania 2007
*Traverse Video Festival Toulouse/France 11-30 March 2008
Video Art Screenings Örebrö/Sweden 18-19 April 2008
Videoholica 2008 – August in Art Biennial Varna Bulgaria 8-15 August 2008
21st Instants Video Marseille – screening at St. Denis/F – 16 October 2008
2005 Hong Kong Artists’ Biennial: Moonstruck
2005-04-01 until 2005-04-30
Hong Kong, , HK Hong Kong
Lunatic collectors. Superstitious sowers. Eccentric woolgatherers…This artist run show is an open forum for images, words and sounds. It is concerned with non-hierchical collecting, with anarchic exhibition systems. Enabled through an international network of artists’ web forums, personal relationships and chance notices, the project traverses China, Asia, North America, Europe, South America and the Middle East…And there is a twisted romanticism at the heart of this project – built as it is around a belief in freewheeling (non)curating. In this spirit artists from all over the world have submitted their work, making this one of the most international exhibitions ever held in Hong Kong. In the end, the entire project will be archived in a time-capsule cum ‘seed’…
The leftovers of the exhibition will be buried in the site of the future West Kowloon Cultural District site, a little semi-toxic seed for the future of Hong Kong’s cultural topography. Another version will be taken to Venice as an ad-hoc ‘addition’ to the Venice Biennale’ and dropped into the lagoon. Here the contributions ultimately come together as kernels and curses towards the future of art. Art as international, superstitious agriculture?
The theme of this biennale is MOONSTRUCK, and it celebrates the aberrant, angry, ape, athrill, barmy, batty, beatific, berserk, beside oneself, bewildered, blissful, bonkers, carried away, confused, cool, corybantic, cracked, crazed, crazy, delirious, cuckoo, daft, delighted, delirious, demented, deranged, deviant, deviate, dingy, dippy, disarranged, disordered, distracted, distraught, disturbed, dreamy, drunk, ecstatic, elated, enraptured, enthused, enthusiastic, entranced, erratic, euphoric, excited, far out, fervent, fevered, feverish, fiery, flaky, flipped out, flipped, floating, flushed, flying high, frantic, fraught, freaked out, frenetic, frenzied, fruity, furious, gone, hallucinatory, happy, haywire, hectic, high, hopped up, hot, hyper, hysterical, idiotic, imbalanced, in exaltation, incoherent, inflamed, insane, intoxicated, irrational, joyful, joyous, keyed up, kooky, lightheaded, lunatic, mad, maniac, maniacal, manic, mental, nuts, nutty, out, overexcited, overjoyed, overwrought, potty, psycho, pyretic, rabid, raging, rambling, rapturous, raving, ravished, realgone, rhapsodic, screw loose, screwball, screwy, sent, shook up, silly, spaced out, spazzed out, stoned, sunny, thrilled, tickled pink, touched, transported, turned on, unbalanced, unglued, unhinged, unreasonable, unscrewed, unsettled, unzipped, upbeat, violent, wacky, wandering, weird, weirded out, whackoagitated, wicked, wigged out, wild, wired, worked up, and ARTISTIC things that make life interesting.
Over one hundred artists from around the world will be participating in the exhibition.
2005 – 51st Venice Biennale 2005 – Isola della Poesia/Poetry Island
curated by Achile Bonito Oliva – 8 June – 15 Nov
POETRY ISLAND (Light Installation on San Secondo Island, Venezia): – MARCO NEREO ROTELLI
THE NIGHT OF POETS: Venice given to poetry in the most beautiful palaces and parks, with great international poets.
VIRTUAL ISLAND: CATERINA DAVINIO
In collaboration with: Karenina.it, La Repubblica Arte Newspaper
Virtual Island: a net-poetry happening online, created by Caterina Davinio in 2005; it was included in Isola della Poesia, a collateral exhibition of the 51st Venice Biennale. 500 poets were involved. Isola della poesia was a real installation by the artist and architect Marco Nereo Rotelli on San Secondo Island, in Venice. This event in Venice was curated by the art critic Achille Bonito Oliva. The real installation had a simultaneous virtual space online called Virtual Island, created by Caterina Davinio in collaboration with the Italian newspaper La Repubblica, where poets from around the world could write poems during the Venice Biennale. The participants included emerging and established poets, such as Lawrence Ferlinghetti, Fernanda Pivano, Adunis. The opening of the exhibition “Isola della poesia” – with poetry readings by international poets – was organized on board of the ship “Il Doge”, which navigated in the Venice Lagoon during the Venice Biennale opening (video document).
Poets of the Virtual island:
1.. Aziz Elhihi
2.. Alberto Scarponi
3.. Antonio Padula
4.. Lica Cecato
6.. Linda Mavian
7.. Bruno Capatti
8.. Sheila E. Murphy
9.. Silene Arnaldi
10.. Diana Di Francesca
11.. Luca Zugaro
12.. Anat Elberg
13.. Congelo (Coco Gordon e Angelo Ricciardi)
14.. Giovanni Fontana
17.. Carlo Capeti
18.. Nadia Cavalera
19.. Anna Boschi
20.. Maria Rosaria Lasio
21.. José Maria Sena Bezerril
22.. Laura Mautone
23.. Nel Amaro
24.. Fernando Rodriguez Conde
25.. Anna Santoro
26.. Peter Nicholson
27.. Antonio Messina
28.. Luigi La Vista
29.. Ariodante Marianni
30.. Andrej Zivor (Tisma)
31.. Luc Fierens
32.. Jaime Díaz Gavier
33.. Lee Wells
34.. Jeff Harrison
35.. Anne Pigalle
36.. Romolo Scodavolpe
37.. Alina Rizzi
38.. Antonio Messina
39.. Candela Taranto
40.. Gabriella Musetti
41.. Robert R. Cheatham
42.. Giancarlo Cecchini
43.. Graziella Poluzzi
44.. Paolo Ruffilli
45.. Anna Olmo
46.. Federico Quinteros
48.. Bill Lavender
49.. Tomaso Binga
50.. Gaetano Longo
51.. Anna Zoli
52.. Catherine Daly
53.. Maja Jantar
54.. Luciano Pagano
55.. Maria Benedetta Cerro
56.. Elda Caccia Cordara
57.. Renata Masciangelo Palumbo
58.. Mark Leahy
59.. Franco Buffoni
60.. Naria Lenti
61.. Maria Grech Ganado
62.. Immanuel Mifsud
63.. Vittorino Curci
64.. Maddalena De Leo
65.. Letizia Lanza
66.. Calogero Barba
67.. Giovanni Armone
68.. Maria Grazia Armone
69.. Daniel Abdal-Hayy Moore
70.. Jude James
71.. Carlo Trotta
72.. Perla Cacciaguerra
73.. Cristiana Morroni (Elogio dei sogni)
74.. Manuel Serra
75.. Mark Oliver
76.. Fabiano Alborghetti
77.. Luigia Cardarelli
78.. Vincenzo Mascolo
79.. Alberto Asero
80.. Luigi Negro Barquez
81.. Jordi Cienfuegos
82.. Liliana Ugolini
83.. Matt Hetherington
84.. Dorothea Fleiss
85.. Indira Montoya
86.. Federico Falco
87.. Carla Deangelis
88.. Allan Revich
89.. Anna Krenz
90.. Maureen Johnston
91.. Lamberto Pignotti
92.. Emanuele Magri
93.. Maria Teresa Sampietro
94.. Andrea Di Gregorio
95.. Anna Santoliquido
96.. Giorgio Longo
97.. Norma Stramucci
98.. Giuseppe Risica
99.. Diego Canato
100.. Giuseppe Risica
101.. Jill Rock
102.. Patrizia Chianese Crescentini
103.. Michelangelo Cammarata
104.. Eleonora Bellini
105.. Sztuka Fabryka
106.. Stefano Donno
107.. Spencer Selby
108.. Gabriella Garofalo
109.. Tommasina Squadrito
110.. Giuseppe Panetta
111.. Eugenio Lucrezi
112.. Calogero Barba
113.. Angela Aniello
114.. Mirella Floris
115.. Vittorio Aprea
116.. Francesca Santucci
117.. Marina Pizzi
118.. Nicola Frangione
119.. Tito S.B. Truglia
120.. Franco Altobelli
121.. Oronzo Liuzzi
122.. Mojca Pelcar Sarf
123.. Carla Capeto
124.. Fabia Ghenzovich
125.. Nino Contiliano
126.. Alfio Cangiani
127.. Lucio Zinna
128.. Ana Luisa Valdés
129.. MariaPia Quintavalla
130.. Daniele Poletti
131.. Poeta Ignoto (Mexico)
132.. Cristina Vignocchi
133.. Wilfried Agricola de Cologne
134.. Joyce Ryckman
135.. Jesse Glass
136.. Marco Palladini
137.. Nancy Petry
138.. Rosetta Berardi
139.. Giorgio Moio
140.. Maka Gonashvili
141.. Egidio Fusco
142.. Heinrich Obst
143.. Chris Straetling
144.. State of Being
145.. Francesca Spessot
146.. Italo Testa
147.. Paolo Pagani
148.. Adelio Rigamonti
149.. Giancarlo Pontiggia
150.. Giancarlo Da Lio
151.. Lina Salvi
152.. Alckmar Luiz Dos Santos
153.. Regine Elliott
154.. Massimo Zanasi
155.. Luc Dall’Armellina
156.. Sasha Sclaunich
157.. Boisnard Philippe
158.. David Lloyd
159.. Giulia Da Lio
160.. Tomaso Kemeny
161.. Jan Steinum
162.. Dag Blakkisrud
163.. Sara Parravicini
164.. Paul Sark
165.. Matteo Danieli
166.. Riccarda Turrina
167.. Carmine Mario Mulière
168.. Ardea Montebelli
169.. Wilton Azevedo
170.. Reinhard Christanell
171.. Ada De Alessandri Cattafi
172.. Mauro Germani
173.. Caterina Camporesi
174.. Gianfranco Gentile
175.. Sara Maino
176.. José Maria Bezerril
177.. Mario Vassalle
178.. Jen Scappettone
179.. Giacomo Guidetti
180.. Barbara Gabotto
181.. Silvio Giussani
182.. Lidia Amalia Palazzolo
183.. Franco Piri Focardi
184.. Riccardo Preziosi
185.. Alberto Figliolia
186.. Richard Clar
187.. Luigi Nacci
188.. Franco Ceradini
189.. Tiziana Baracchi
190.. Enrico Tavernini
191.. Giovanni Strada – Renata Strada
192.. Lillo Gullo
193.. Silvia Venuti
194.. Beno Fignon
195.. Giorgio Maimone
196.. Cinthea Fiss
197.. Carlo Severgnini
198.. Brad Brace
199.. Mariella Desantis
200.. Clemente Padin
201.. Marco Mancuso
202.. Sheila E. Murphy
203.. Maria Grazia Martina
204.. Roberto Scala
205.. Maria Cuervo
206.. Enzo Minarelli
207.. Cyril Lepetit
208.. Gigi Zoppello
209.. David-Baptiste Chirot
210.. Aliprandini Marco
213.. Tiziano Fratus
214.. Stefano Raimondi
215.. Paola Mara De Maestri
216.. Tomás Browne Cruz
217.. John Gian
218.. Daniele Virgilio
219.. Davide Pettarini
220.. Nicola Licciardello
221.. Alessandro Ramberti
222.. Bartolome Ferrando
223.. Ida Campagnola
224.. Filippo Ravizza
225.. Alberto Mori
226.. Clarius Ugwuoha
227.. Therea Wolfwood
228.. Gregory Vincent St. Thomasino
229.. Guido Vermeulen
230.. Marcello Mercado
231.. David Stuart Ryan
232.. Adam Nankervis
233.. Jelle Meander
234.. Christian Sinicco
235.. Carol Starr
236.. Eleonora Chiesa
237.. Martín Gubbins
238.. Robert Sheppard
239.. Sergio Monteiro de Almeida
240.. Giacomo Picca
241.. Flores Knistoff & Hartmut Andryczuk
242.. John M. Bennett
243.. Marco Saya
244.. Carlo Guarrera
245.. Cecil Touchon
246.. Laurie Price
248.. Regina Vater
249.. mIEKAL aND
250.. Caterina Davinio
2005 – Biennale of Video & New Media Santiago/Chile
17-28 November 2005
2006 – Biennale 3000 Sao Paulo by Fred Forest
MAC – Contemporary Art Museum Sao Paulo
7 Oct – 15 Dec 2006
5th Biennale de la Photo et des Arts visuels de Liège
MAMAC Musée d’Art Moderne et d’Art Contemporain
Liège/Belgium 18 Feb – 31 March 2006
A Terra Sacrificada – curated by Tamara LAI
As a Video director, Tamara Lai turned to digital techniques in 1993: multimedia interactive, computer graphics and special effects, and the writing of interactive novels, stories and poetry (CD-Roms). Early web activist and network artist (1997), her research focuses on Net art / Web Art (sites, performances cam _ & _ cat, video conferences …), and especially the creation of participative digital spaces.
Tamara Lai creates videos and media works using a poetic and often metaphorical syntax. These works appear as dreamlike images where fiction and reality meet. Sound, rhythm and movement still play a key role. Her poetry, close to automatic writing, often operates a dangerous slip between the Self and the Other, in a deep introspection.
Over more than 35 years of artistic activity, Tamara Laï has produced around forty videos, over twenty websites gathered in the “Tell A Mouse” web ring, a dozen shows/video performances, cam_&_chat and multimedia, four interactive works on cd-rom, a collection “@ TENDRE ”(2006) bringing together twenty poems. She has also contributed to many collaborative / participatory Net art projects carried out by artists from different countries.
The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. Meanwhile, the construction of the wall in Bethlehem is since long time completed, and the area around the wall does not motivate children to use it further as a playground.
2007 - Documenta 12 Kassel/Germany
52nd Venice Biennale 2007 – Markers VI – Divine_in.tent – 7-30 June 2007
Documenta 12 Kassel/Germany – Markers VI – Divine_in.tent – 2007
curated by Doron Polak & Amir Cohen
52nd Venice Biennale 2007 – Divine_in.tent – curated by Doron Polak & Amir Cohen – 7-30 June 2007
Wilfried is participating with two videos–>
Agricola de Cologne, Paint The Time, 2007, 9:40
The films shows heaven on earth, Arcadia filmed on a Sunday morning at the Villa Borghese Park in Rome. The film is an allegory of life, also a symbol for the human wish for harmony, the everlasting life in balance , the impossible dream. By moving through this dream, the human and animal protagonists paint their own time, led by the divine.
The video is part of the installation project of the same name.
Agrocola de Cologne, Firebird, 2005, 3:30
The contemporary interpretation of Strawinski’s “Firebird”. Performamce filmed at the river Seine/Paris.
2008 – Madeira International Art Biennale
FONLAD – 1 September – 13 October 2008
Casa de la Cultura Santa Cruz
Quinta do Revoredo was built, in 1840, by the English entrepreneur John Blandy of Madeira wine, for his summer maritime residence, close to the land that he had acquired, a year before, from the Public Treasury from the extinct Convent of Nossa Senhora da Piety of Santa Cruz. The name adopted is due to the immense tree cover that the gardens of the house had.
His grandson Charles Frederick Raleigh Blandy settled in this house, who had a special fondness for this town. He was born in Funchal, in 1846, having pursued a career as an engineer and completed his internship in Glasgow (Scotland). In 1903 he offered a watch to the Santa Cruz City Council which was placed in the tower of the Igreja Matriz and, together with the English mother Mary Jane Wilson, helped to recover the hospital of Santa Casa da Misericórdia de Santa Cruz. He was a benefactor and protector of countless families in the county. In the last ten years of his life, he devoted himself to watercolor painting of the landscape of Madeira, at the end of the 19th century. 19th and early 20th century. XX, within the taste of naturalism of the time. Currently, these paintings are in the Museum of Natural History of Funchal.
In a space attached to the Quinta, now occupied by the Municipal Library, his painting and photography studio operated. At the west end of the garden is the old caretaker’s house, now adulterated and detached from the property.
15 August 2008 – 21:00/ Georgi Velchev Art Museum, 8 Radko Dimitriev Str.
Selection from Videoholica 08
Permanent projections at the Varna City Art Gallery
Simon Rattigan, no name, – 2008 10:00
Hye Cho, South Korea/Austalia, “My name is-Hye Cho!” – 2008 – 1:51, “My Name is Na-Yong Kwon!” – 2008 – 2:49
Sean Burn, England, “The Terror We Create” – 2006 – 2:22
Brigitte Listenberger and Jean-Luk Bodmer, Switzerland, “3X3” – 2008 – 3:00
Stuart Pound, England, “Postcard” – 2003 – 2:54
Sam Holden , England, “70 still frames…” – 2007 – 5:50
Wu Chia Hua, Taiwan, “Spectral Field” – 2007 – 7:28
Astrid Elizabeth Bang, Norway, “Breaking Out” – 2008 – 2:20
Bryant Dameron, USA, “Evidence 2” – 2007 – 7:27
James Cook, Usa, “Walkabout” – 2006 – 4:01, “The dance of Shiva” – 2006 – 4:57
Victor Mutelekesha, Zambia/Norway, „Cry, The beloved Country” – 2007 – 8:00
Emma Bowen, Scotland, “H2O” – 2007 – 4:06
Sergei Patzkevich, Russia, “Sex” – 2007 – 2:40, “Soup” – 2007 – 3:50
Alex Hetherington, USA, no name, 2008 – 9:52
Dana Sederovski, Sweden, „Special Announcements” – 2008 – 14:00
Christian White, Scotland, „Splice” – 2006 – 1:00
Luk Lenoir, Belgium, “The Prospect” – 2008 – 5:08
Ira Eduardovna, Russia/USA, “The Pool” – 2005 – 1:00, “The room” – 2007 – 1:00, “Roulette” – 2008 – 2:00
Bridget Walker, Australia, “Past Perfect – Present Continuous” – 2008 – 3:25
Jenny Baines, England, “Victoria Park” – 2007 – 1:30, Untitled – 2007 – 2:35
Virginie Foloppe, France, “Le Bain de V.” – 2002 – 4″34
Kevin Logan, England – “Recitation” – 2001 – 4:30
Florian Gwinner, Germany,”Decoration” – 2007 – 5:22
Nathan Boyer, USA, “Enter the Dragon!”- 2007 – 5:38
Megan Le Borious, USA, “Ivory” – 2006 – 5:11
Adam Trowbridge, USA – snstcntnr.1 – 2007 – 3:34
Go Eun Im, South Korea, “(Re)Cycling – 2008 – 3:50
Caroline Kapp, USA, “Circular” – 2007 – 2:17
Liu Wei Liu, China, Hopeless Land” – 2007 – 7:16
Wilfried Agricola de Cologne, Germany, “Urban. Early Sunday morning_raw” – 2007 – 4:30
Adam Laurence, England, “Recollection” – 2008 – 6:00
Sophia Hadjipapa-Gee, Cyprus, “Another Lonely Day” – 2008 – 5:12
Peter Simon, Germany, “Steelskins” – 2007 – 6:50
Henry Gwiazda, USA, “A Doll’s House is …” – 2007 – 5:48
Daniel Rodrigo, Spain/England – “Fashion Death” – 2007 – 4:51
Dragon Dance Theatre, Canada – “The Last Days of Leon Trotzky” – 2008 – 10:00
53rd Venice Biennale 2009 – Scalamata Gallery – “Souvenir Art” – International Artists Museum – 6-26 June 2009
2010 – Bienal de Porto Santo/Portugal
CologneOFF @ Fonlad – Digital Art Festival
28 May-3 July 2010
2010 – August in Art Biennial.varna 2010 – 12-17 Aug 2010
07 Aug 2010 – 17 Sep 2010
3rd VIDEOHOLICA International Video Art Festival Program
KEEP THE ILLUSION ALIVE
VARNA, BULGARIA 10 – 18 AUGUST 2010
Between August 10th and August 18th, 2010, the 3rd edition of VIDEOHOLICA International Video Art Festival will be held in Varna accompanying AUGUST IN ART International Biennial of Visual Arts.
During the festival 9-day duration, according to the VIDEOHOLICA 2010 motto ‘KEEP THE ILLUSION ALIVE’, various video selections and projects describing diverse concepts and interpretations of the term ‘illusion’ as a phenomenon discovered and studied with the techniques of video art will be screened and presented.
VIDEOHOLICA 2010 main program, which includes over 150 video art works (selected from more than 500), part of which thematically divided into the selections ‘East Asia’, ‘Dance’ , ‘BG’, will be presented in a series of evening screenings in four different open-air places, such as the inner yard of the Varna Archaeology Museum, the back yard of the Varna Puppet Theatre, the Rakovina open-air stage and the outside space of Music Cafe LOOK.
August 15, 2010 / Sunday / 21:00 / State Puppet Theatre / Back yard
Projection Panel / Video art with English subtitles (speech) / Programme Length – 96:00 minutes
1. Hadas Tapouchi – Israel – Moel-Yad – 2009 – 06:00
2. Marco Wedel – Germany – Melancholy Intellect – 2008 – 03:52
3. Milica Rakic – Serbia – Red Star – 2009 – 02:49
4. Stefan Riebel – Germany – Untittled#3 – 2007 – 01:13
5. Ane Lan – Norway – Woman of The World – 2008 – 07:15
6. Alexandra Piras & Frank Akino Beekman – France – Savage Vertigo – 2009 / 10 – 10:00
7. Piotr Krzymowski – UK / Poland – Color Invention – 2010 – 05:40
8. Kaja Kraner – Slovenia – Screen 1_2 – 2009 – 05:54
9. Owen Eric Wood – Canada – Made Up – 2008 – 04:20
10. Felix Fernandez – Spain – Shocktime – 2010 – 10:00
11. Stephan Hillerbrand & Mary Magsamen – USA – Lick – 2009 – 01:30
12. Krystallia Sakellariou – Sweden / Mexico – What would your dream day be like? – 07:00 – 2010
13. Signe Lillemark – Romania / Denmark – Being Danish – 2009 – 03:38
14. Wilfried Agricola De Cologne – Germany – Encoded – 2008 – 05:50
15. Maria Rosa Jijon – Italy – Sus Cartas / His Letters – 2009 – 02:09
16. Laura Celada – Spain – Princess Dream – 2010 – 06:26
17. Julie Meitz – USA / France – Just Text – 2010 – 03:51
18. Philipp Wendelin Teister – Austria – Skype Me – 2009 – 08:28
Videholica Varna Bulgaria
VIDEOHOLICA festival is designed as video art forum with international participation to present to the audience of Varna a remarkable and highly valuable programme of video art works. In parallel with the video art screenings of VIDEOHOLICA, the events of the festival include exhibitions, discussions and workshops concerning video and contemporary art topics lead by established local and international art professionals followed by a reception with invited video artist.
The festival events take place in traditional gallery and museum spaces and also in nontraditional outdoor / public spaces in Varna, virgin for contemporary art environment, or where it is less known.
The festival addresses the professional public as well as that auditorium, which has had no contact with contemporary art until now, and provokes both audiences through organized art activities to look for new meaning and identity amidst creative environment unknown to them so far. VIDEOHOLICA festival presents art works by well-known artists as well as renders opportunity to young artists, who are working in the field of contemporary art and are pursuing innovative practices in a professional manner, to manifest their works distinguished for their original creative language.
2016 – Kochi Muziris Biennial 2016/2017 –
23-26 February 2017 – Kochi/Kerala/ India
The selection Focus/Asia includes artists from Western and Eastern areas of Asia, eg. Palestine, Israel, Turkey, Iran -Singapore, Thailand, Taiwan, China, Philippines and Japan. The very short „moving images“ use a common pictorial language which is characterized by individual aesthetics and philosophical concepts –Ying and Yang are nearly in harmony, wouldn’t be there a typical subtle criticism, which does not accuse, however –abstractly transformed into symbols and metaphores which need to be decoded first. Differently than the familiar narratives of a short or features film, these videos start a process or even multiple processes, but do not complete them -leaving the viewer in confusion inviting him to complete the process via reflecting. In this way, each video is incorprating a kind of interactive component. The presentation format in shape of a screening giving the viewer only one chance to view requires a particular attention, also because the non-linear structures of the individual video and the screening program, as such, are generating again and again -the unexpected.
Focus / Asia
curated by Wilfried Agricola de Cologne
Mani Mehrvarz (Iran) – Wistful Affection For The Past, 2013, 3:06
Anupong Charoenmitr (Thailand) – To Face, 2014, 5:55
Mehmet ÖGÜT (Turkey) – The Basket Seller, 2014, 5:40
Noriyuki Suzuki (Japan) – Fragment, 2012, 6:31
Shuai-Cheng Pu (Taiwan) – Consciousness Spin Project, 2015, 5:39
Richard Legaspi (Philippines) – Making Love with the Wind, 2015, 9:40
Sanglim Han (S.Korea) – Bloom, 2012, 3:35
Weigang Song (China) – Walling Dissensus, 2014, 5:01
Shahar Marcus (Israel) – Seeds, 2012, 5:03
Mohammed Harb (Palestine) – Without Windows, 2009, 5:00
Yovista Ahtajida (Indonesia) – Re-Interpreting Trump, 2016, 1:15
The selection„Focus/World“ is based on „The Refugee Film Collection“ at The New Museum of Networked Art –initiated by Wilfried Agricola de Cologne in 2015 on occasion of the international refugee crisis. The selectedvideos created by artists from Germany, Israel, Morocco, France, Netherlands, Mexico, Croatia and Ukraine, deal with the globalwide phenomenon of transmigration which got these day a particular relevance through military conflicts and terror (Middle East, Ukraine), poverty and lack of perspectives (Africa, Asia, Latin America), also caused by failed national and international politics and economics and the natural and human-made climate change resulting countless individual human tragedies.The videos offer a view on different sides of transmigration, for those who migrate an uprooting but on the other hand a chance for survival, but for those who are supposed to give them shelter migrants are too often notexperienced as achance, but rather a thread causing aloss of priviledges manifested in foreclosure,xenophobia, racism and violence. The artists dedicate their reflection to empathy and humanity
Focus / World – The Refugee Film Collection
curated by Wilfried Agricola de Cologne
Mauricio Saenz (Mexico) – Flight simulator, 2014, 4:17
Les Riches Douaniers (Gilles Richard & Fabrice Zoll) (France) – The Lonely Migrant, 2011, 16:15
Johannes Christopher Gérard (Germany) – disorientated displacement, 2016, 05:02
Masha Maria Yozefpolsky (Israel) – In Between SiO2, 2016, 10:00
Oksana Chepelyk (Ukraine) – «Letter from Ukraine», 2014, 7:31
Mohamed Thara (Morocco) – As Long As I Can Hold My Breath, 2016, 9:40
Lucija Konda Labas (Croatia) – We are the dogs – Wir sind Hunde, 2016, 1:11
Anna Faroqhi & Haim Peretz (Germany) – Lichtenberg Cleans Up, 2016, 4:34