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Fleur De Roeck on Instagram: "My new Sinaas video ‘Je veux te voir!’ is now out on YouTube.

Link in bio!

👀👀👀👀👀👀👀👀👀👀

Thank you @marijkerespeel @galerijkemarijke💖"

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fleurderoeck on February 25, 2025: "My new Sinaas video ‘Je veux te voir!’ is now out on YouTube.

Link in bio!

👀👀👀👀👀👀👀👀👀👀

Thank you @marijkerespeel @galerijkemarijke💖". 

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View this post on Instagram

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William Ludwig Lutgens on Instagram: "Working on something new, something exciting with the generous support of @kunstenwerkplaats_vonk 🧌
In collaboration with 
@bertwarson 
@knutski_ 
@ibtikeee 
@taboridema 
@stefaancleiren 
@stefaniedebakker 
@liesserdons 
#maudkuypers 
Abdij Sint-Truiden 
@ccdebogaard 

#vonk #puppets #film #sinttruiden
#alisedzirniece #38cc"

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726 likes, 21 comments - williamludwiglutgens on September 13, 2023: "Working on something new, something exciting with the generous support of @kunstenwerkplaats_vonk 🧌
In collaboration with 
@bertwarson 
@knutski_ 
@ibtikeee 
@taboridema 
@stefaancleiren 
@stefaniedebakker 
@liesserdons 
#maudkuypers 
Abdij Sint-Truiden 
@ccdebogaard 

#vonk #puppets #film #sinttruiden
#alisedzirniece #38cc". 

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View this post on Instagram

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ruben mardulier on Instagram: "A teaser for a series of works for Kaapstad festival.
/
This ponytailcap (SusaN) is, next to it's aesthetical value, an excellent fly repellent. 
©rubenmardulier
all rights reserved to the artist made during the weeks residencyweek at KunstpodiumT Tilburg on the 30st of july 2025.
at @kunstpodiumt for @kaapstad_tilburg 
Kaapstad: 15, 16 and 17 of august, expo open every day.
With works by @zenavandenblock @sofie.anny.nicea and @renee_leerman 
/
thanks @vloeistof_nl @sandervanbussel @goedelesmeulders @klaartjepaardje for having me!"

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91 likes, 2 comments - rubenmardulier on August 4, 2025: "A teaser for a series of works for Kaapstad festival.
/
This ponytailcap (SusaN) is, next to it's aesthetical value, an excellent fly repellent. 
©rubenmardulier
all rights reserved to the artist made during the weeks residencyweek at KunstpodiumT Tilburg on the 30st of july 2025.
at @kunstpodiumt for @kaapstad_tilburg 
Kaapstad: 15, 16 and 17 of august, expo open every day.
With works by @zenavandenblock @sofie.anny.nicea and @renee_leerman 
/
thanks @vloeistof_nl @sandervanbussel @goedelesmeulders @klaartjepaardje for having me!". 

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Michael on Instagram: "this is old summer ocean on a balloon

#dream #projection #ocean #vhs #glitch"

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72K likes, 176 comments - higb0ne on December 15, 2025: "this is old summer ocean on a balloon

#dream #projection #ocean #vhs #glitch". 

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Maayan Sophia Weisstub on Instagram: "🐌 

#collage #snail #collageart #digitalcollage #selfportrait #digitalart"

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1,174 likes, 16 comments - weisstub on January 3, 2026: "🐌 

#collage #snail #collageart #digitalcollage #selfportrait #digitalart". 

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Electric Dreams: Tate Modern explores how artists pioneered the digital age before the Internet

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Bowery veranderde zichzelf radicaal met extreme kostuums, vervormingen en lichaamstransformaties. Hij gebruikte zijn lichaam als levend kunstwerk waarin identiteit constant werd herschapen. Zijn werk speelde met schoonheid, groteske vormen, macht en vrijheid, en maakte duidelijk dat het lichaam een maakbaar en performatief beeld is.

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Welcome to Leigh's Lounge! Watch Leigh Bowery's best bits | Tate

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Matthew Barney is een Amerikaanse kunstenaar bekend om zijn grootschalige, mythische film- en installatieprojecten zoals The Cremaster Cycle. Zijn werk vermengt lichaam, ritueel en symboliek tot complexe, surrealistische werelden.

In The Order beweegt Barney zich als een soort protagonistenfiguur door de spiraalvormige ruimtes van het Guggenheim Museum in New York, waar hij symbolische en rituele uitdagingen aangaat.

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Mike Kelley was een Amerikaanse kunstenaar die sculptuur, installatie, performance en video combineerde. Met knuffels, schoolreferenties en rommelige materialen onderzocht hij herinnering, trauma en de donkere kanten van jeugd en cultuur.

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Aldo Tambellini was een Italiaans-Amerikaanse pionier van video- en mediakunst, bekend om zijn experimentele werken die licht, film, poëzie en performance combineren. In de jaren 1960 maakte hij zijn iconische Black Films en Electromedia-performances: intense, ritmische mixen van geprojecteerde beelden, live-geluid en elektronische effecten. Tambellini gebruikte zwart als een symbolische, politieke en kosmische kleur — een ruimte van energie, strijd en nieuwe creatie. Zijn werk staat aan de basis van latere videokunst en multimediaperformance en blijft bekend om zijn radicale, rauwe en fysiek voelbare kracht.

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Sorry, you do not have access to this page.

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Jack Smith was een baanbrekende Amerikaanse underground-filmmaker en performer, beschouwd als een van de grondleggers van queer avant-gardekunst. Met films als Flaming Creatures (1963) — sensueel, camp, anarchistisch en volledig buiten de censuurnormen — brak hij radicaal met conventies. Zijn performances waren improvisatorisch, chaotisch en barok, gevuld met glitter, kitsch en genderfluïde personages. Smith beïnvloedde generaties kunstenaars, van Warhol tot drag- en performancecultuur, door kunst, lichaam en identiteit los te trekken van elke norm en in pure, speelse vrijheid te plaatsen.

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Flaming Creatures 1963  experimental film directed by Jack Smith(father of American performance art)

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Joachim Koester: To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness

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16mm film installtion, black and white, mute, 3'16"

To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (movements generated from the Magical Passes of Carlos Castaneda)

In an ambiguous dark space, a mime performs the exercises described by the anthropologist Carlos Casteneda in his 1998 book Magical Passes. According to Casteneda, these were secret shamanic gestures meant to invigorate the "subtle body" and enhance one's ability to navigate "the dark sea of awareness". Though Castaneda received international acclaim and a PhD for his anthropological research he was eventually disclosed as a fraud.

With his new film Koester enters this treacherous territory of a choreography of fact and fiction. Koester's focus is on a bodily movement system intended to access or express physical sensations beyond cognition, and its potential as a platform for different identities and politics to emerge.

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To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (2009) - Nicolai Wallner

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16mm film installtion, black and white, mute, 3'16" To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (movements generated from the Magical Passes of Carlos Castaneda) In an ambiguous dark space, a mime performs the exercises described by the anthropologist Carlos Casteneda in his 1998 book Magical Passes.

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In Match richt Yoko Ono de aandacht op een eenvoudige handeling: het aansteken van een lucifer. Met deze minimale, poëtische actie benadrukt ze hoe een klein gebaar een moment van licht, energie en transformatie kan oproepen. Zoals vaak in haar werk nodigt ze de kijker uit om betekenis te vinden in het ogenschijnlijk banale.

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Nam June Paik – In zijn video Global Groove (1973) speelt taal een sleutelrol als visueel en auditief element, waarbij gesproken en geschreven teksten samenkomen met beelden van culturele diversiteit en technologische vooruitgang.

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Can You Chip In?

Dear Patron: Please don't scroll past this. The Internet Archive is a nonprofit fighting for universal access to quality information, powered by online donations averaging about $17. We'd be deeply grateful if you'd join the one in a thousand users that support us financially.

Our resources are crucial for knowledge lovers everywhere-so if you find all these bits and bytes useful, please pitch in.

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1973 Nam June Paik, Global Groove HD : Nam June Paik : Free Download, Borrow, and Streaming : Internet Archive

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Gary Hill – Zijn werk Incidence of Catastrophe (1988) combineert beelden en tekst geïnspireerd door Maurice Blanchot’s filosofische teksten over taal, stilte en existentie.

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Video (color, stereo sound)
Original format: U-matic
Running time: 43:51 min. 

Inspired by the novel Thomas the Obscure by Maurice Blanchot wherein the protagonist of the novel is the reader of the novel he is in (who may well be Blanchot himself).  In the video, Thomas the protagonist is played by Hill which confounds the self-reflexive nature of the book’s relationships all the more, making the video something of a “transcreation.”  The “reader” begins in the liquidity of the text almost as if he were waking from drowning.  Images of the sea ravishing the shore – small cliffs of sand eroding and collapsing – are inter-cut with extreme close-ups of text and the texture of the page and book itself being flooded with ocean waves.  In scene after scene the reader attempts to re-enter the book only to find himself a part of intense dreams and hallucinations.  Thomas/Hill reads the book, when, suddenly, he feels he is being watched by the words.  The character then experiences the book as a forest of words he is fighting through.  Another “chapter” finds him alone in his room at night, overcome by a strange illness, in which the vision of the text has him vomiting violently.  The text infiltrates the reader’s entire experience.  Thinking he is still capable of functioning socially, the character finds himself at dinner with a group of hotel guests.  Their conversation turns into isolated words that, like the sand, erode and wash away with seemingly all possibilities of meaning.  The final scene shows the reader in the form of Hill physically and mentally destroyed.  Cowering naked in the fetal position, he lies in his own excrement on a white-tiled floor, babbling unintelligible sounds.  The pages of the book have grown into monumental walls with colossal letters that menacingly surround and imprison the naked body.  

Gary Hill:  Selected Works and catalogue raisonné, edited by Holger Broeker (Wolfsburg:  Kunstmuseum Wolfsburg, 2002), GHCR 59, pp. 130 – 132.

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Pinaffo & Pluvinage on Instagram: "Tricks & Tracks. From ruses to rails, from clever tricks to fleeting images.

Once forbidden, photophony—the art of photographing with a phone—has become part of the museum landscape. Screens multiply, selfies fill the space, and artworks circulate long before they are truly seen.

With Tricks & Tracks, we embrace this paradox. Here, each visitor leaves their phone aboard a tiny wagon: it is the phone that takes the tour, that explores the installation, and that returns with the story.

What you discover is a backstage world of makeshift illusions, miniature theaters, and playful devices. Against the tide of AI-generated images, we reclaim the magic of the physical: the ingenuity of tricks, their fragile materiality, and the earliest enchantments of theater and cinema.

Tricks & Tracks is both an installation and an 7-minute video work, performed anew for each visitor’s phone.

Tricks & Tracks was on view from 9 avril – 21 juin 2025 at the @lebelordinaire 
Thanks for our wonderful intern at this time @rv.jules and @sarah_leml 

550 x 500 x 250 cm. Wood, cardboard, electronics.
7:11 min."

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7,855 likes, 85 comments - pinaffo_pluvinage on September 17, 2025: "Tricks & Tracks. From ruses to rails, from clever tricks to fleeting images.

Once forbidden, photophony—the art of photographing with a phone—has become part of the museum landscape. Screens multiply, selfies fill the space, and artworks circulate long before they are truly seen.

With Tricks & Tracks, we embrace this paradox. Here, each visitor leaves their phone aboard a tiny wagon: it is the phone that takes the tour, that explores the installation, and that returns with the story.

What you discover is a backstage world of makeshift illusions, miniature theaters, and playful devices. Against the tide of AI-generated images, we reclaim the magic of the physical: the ingenuity of tricks, their fragile materiality, and the earliest enchantments of theater and cinema.

Tricks & Tracks is both an installation and an 7-minute video work, performed anew for each visitor’s phone.

Tricks & Tracks was on view from 9 avril – 21 juin 2025 at the @lebelordinaire 
Thanks for our wonderful intern at this time @rv.jules and @sarah_leml 

550 x 500 x 250 cm. Wood, cardboard, electronics.
7:11 min.". 

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A post shared by Pinaffo & Pluvinage (@pinaffo_pluvinage)

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I Am Sitting in a Room (1969) van Alvin Lucier is een geluidswerk waarin de kunstenaar zijn stem opneemt en steeds opnieuw afspeelt in dezelfde ruimte. Door de herhaling vervormt de opname tot pure resonantie, waardoor de akoestiek van de ruimte zelf hoorbaar wordt.

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Harry Smith’s Early Abstractions (1939–57) is een reeks experimentele korte films waarin hij met handgeschilderde patronen, collages en animaties visuele ritmes creëerde. De films gelden als pionierswerk in de Amerikaanse avant-garde en verbinden beeld direct met muziek en mystiek.

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Harry Smith:  Early Abstractions 1946-57

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Christian Marclay’s The Clock (2010) is een 24-uur durende videomontage samengesteld uit duizenden filmfragmenten waarin klokken of tijd worden getoond. Het werk loopt synchroon met de echte tijd, waardoor het zowel een meeslepende filmervaring als een functioneel uurwerk wordt — een meditatie op tijd, cinema en dagelijkse routines.

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Geluid kan ook verbonden zijn aan

beeld zoals in ‘A color box’ (1935)

van Len Lye. We zien geluid

vertaald door beweging van lijnen,

vormen en kleuren.

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Zimoun maakt grootschalige

kinetische geluidsinstallaties met

behulp van eenvoudige materialen

zoals kartonnen dozen, motortjes

en houten stokjes. Zijn installaties

creëren vaak een constant ritme

door mechanische bewegingen,

wat resulteert in een auditieve en

visuele ervaring. We zien

contrasten zoals structuur en

chaos, samenhang en

individualitieit.

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ean Tinguely en Alexander

Calder creëerden beiden

kinetische kunst waarbij geluid

gevolg is van beweging.

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JEAN TINGUELY - MACHINE SPECTACLE (Mini Documentary)

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Maryanna Amacher creëerde

geluidsinstallaties die de fysieke

ervaring van geluid in de ruimte

centraal stelden. Haar werk richt

zich op hoe geluid door muren en

architectuur resoneert, wat leidt

tot unieke auditieve ervaringen.

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Susan Phillipsz staat om haar sitespecifieke geluidsinstallaties. Ze

gebruikt vaak haar eigen stem om

een ruimte te vullen met klanken,

zoals in ‘Lowlands’ (2010), een

installatie voor openbare ruimte

die zich richt op menselijke

stemmen in de architectuur van de

locatie.

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'Lowlands' - Susan Philipsz Turner Art Prize Winner 2010

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Janet Cardiff staat bekend voor

haar gebruik van geluid om

immersieve en meeslepende

ervaringen te creëren. In haar werk

‘The Forty Part Motet’ (2001)

verdeelt ze de veertig stemmen

van Thomas Tallis' koorwerk Spem

in Alium over 40 afzonderlijke

luidsprekers, elk met één stem.

Bezoekers kunnen zich door de

ruimte bewegen en zowel

individuele stemmen als de

volledige compositie ervaren,

waardoor ze zich bewust worden

van de ruimtelijke en emotionele

impact van geluid.

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Janet Cardiff and the Forty Part Motet | TateShots

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Max neuhaus creëerde

geluidsinstallaties die vaak deel

uitmaakten van de openbare

ruimte, zoals zijn werk ‘Times

Square’ (1977), waar hij een

onzichtbare geluidsbron plaatste

onder een rooster op straat. Het

geluid mengt zich met het

stadsrumoer, maar wanneer

mensen stilstaan, kunnen ze dit

onverwachte geluid ervaren. Het

werk is permanent en benadrukt

de aanwezigheid van geluid in de

openbare ruimte, waardoor

mensen anders gaan luisteren naar

hun alledaagse omgeving.

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New York Out Loud: Max Neuhaus’ “Times Square”

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ARTFAXD on Instagram: "Deviation 2025
By/ Sven Sauer @studiosvensauer 

#svensauer #art #2025"

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1,842 likes, 18 comments - artfaxd on August 5, 2025: "Deviation 2025
By/ Sven Sauer @studiosvensauer 

#svensauer #art #2025". 

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A post shared by ARTFAXD (@artfaxd)

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Avant Arte on Instagram: "@carriemaeweems Lesson 1: The Personal is Political

Ahead of our debut print collaboration with Carrie, we’re reflecting on five decades of her groundbreaking practice.

This four-part series traces the core lessons behind her work, revealing why she’s become one of the most influential image-makers of our time.

Featured works:
Early Documentary (1980)
Family pictures and stories (1981)
Kitchen Table Series (1990)
Thoughts on Marriage (1990)

Link in bio to sign up for our Kitchen Table Series print collaboration, launching 23 July.

#carriemaeweems"

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4,804 likes, 28 comments - avant.arte on July 4, 2025: "@carriemaeweems Lesson 1: The Personal is Political

Ahead of our debut print collaboration with Carrie, we’re reflecting on five decades of her groundbreaking practice.

This four-part series traces the core lessons behind her work, revealing why she’s become one of the most influential image-makers of our time.

Featured works:
Early Documentary (1980)
Family pictures and stories (1981)
Kitchen Table Series (1990)
Thoughts on Marriage (1990)

Link in bio to sign up for our Kitchen Table Series print collaboration, launching 23 July.

#carriemaeweems". 

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A post shared by Avant Arte (@avant.arte)

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Ryota Kuwakubo, "the bell and the sun - secret gadget museum".THE DORAEMON Exhibition Singapore 2022

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CONTEMPORARY100 on Instagram: "‘Babel’ [2001] by Cildo Meireles @cildo.meireles 

A five-meter tower built from 800 second-hand analogue radios, stacked in layers, oldest at the base, newest at the top. Each radio is switched on and tuned to a different station. Together, they form a low, continuous hum, a “tower of incomprehension,” where voices and signals blur into unreadable noise.

Referencing the biblical myth, Babel imagines miscommunication as both a technological and human condition, where too many voices collapse into confusion.

Meireles developed the work over more than a decade, first conceiving it in 1990 while walking through Canal Street in New York, surrounded by the sound and clutter of radios, speakers, and electrical noise.

Now held in the Tate Modern’s collection.

Sources: @tate"

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19K likes, 132 comments - contemporary100 on June 25, 2025: "‘Babel’ [2001] by Cildo Meireles @cildo.meireles 

A five-meter tower built from 800 second-hand analogue radios, stacked in layers, oldest at the base, newest at the top. Each radio is switched on and tuned to a different station. Together, they form a low, continuous hum, a “tower of incomprehension,” where voices and signals blur into unreadable noise.

Referencing the biblical myth, Babel imagines miscommunication as both a technological and human condition, where too many voices collapse into confusion.

Meireles developed the work over more than a decade, first conceiving it in 1990 while walking through Canal Street in New York, surrounded by the sound and clutter of radios, speakers, and electrical noise.

Now held in the Tate Modern’s collection.

Sources: @tate". 

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Calle volgt een onbekende man door Venetië en documenteert elk spoor. Haar werk toont hoe een persoonlijke ingreep een ruimte verandert in een verhaal en roept vragen op over controle, intimiteit en aanwezigheid.

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Who? Sophie Calle is an artist of the unexpected. She explores what it is to be an observer and to be observed; she stalks; she writes down her findings with the precision of a police report or a psychiatrist's case notes. Her work - which ranges from photography and film to performance and installation - has electrified the Paris art scene with its quest-like intensity (she is not far removed from other performance artists like Marina Abramović). For one experiment, The Detective in 1980, Calle hired a private detective to follow her and noted how that day she visited all the places in Paris which held some emotional significance for her. Leading him through the Luxembourg Gardens, Calle remembers her first kiss which took place there, though the detective's report simply states, "The subject crosses the Jardin de Luxembourg". It is this disparity between personal and objective realities she explores throughout her work.

What? She stumbled upon her next project. She met a man, Henri B., at a party. He said he was moving to Venice, so she moved to Venice and there, she began to follow him. Suite Vénitienne was the resulting book, first published in 1979 and re-released this month in collaboration with Siglio. Calle documents her attempts to follow her subject. She phoned hundreds of hotels, even visited the police station, to find out where he was staying, and persuaded a woman who lived opposite to let her photograph him from her window. Her photographs show the back of a raincoated man as he travels through the winding Venetian streets, a surreal and striking backdrop to her internalised mission. The very beauty of her surroundings has a filmic quality, intensifying the thriller-esque narrative of her project. Sometimes her means of following Henri B. are methodical - enlisting Venetian friends to make a phone call on her behalf - and sometimes arbitrary - following a delivery boy to see if he will lead her to him.

Alongside the photographs, Calle documents her surveillance, noting and evaluating her emotions as she trails the mystery figure, reminding herself that though she feels like she's in love with him, it is his very elusivity to which she is drawn. She describes the wide gap between her own thoughts and his, which she cannot know. And there is one meeting between the artist and her subject - Henri B. confronts her after she has strayed too close.

Why? For Calle, real lives can be plundered for art. She fuses this reality with an element of the unreal - her own psychological projections and emotions which begin to build a fictional construct around her subject. It is a tantalising task; she indulges in her own tortuous emotions like an addict, completely unbeknownst to her subject. Then there is the clear delight in investigative methodology, in documenting each aspect of her journey. What is most interesting about Calle's approach is that she never meant for this to be art - what began as unconventional personal projects was picked up by an art world hungry for her stories.

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We cross into the strange, mutable world created by Sophie Calle for her artwork-cum-quest Suite Venitienne

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Francis brengt in deze actie het geluid van een plek in 'beeld'.

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Claerbout combineert foto en video tot verstilde, trage beelden. Zijn werk bevraagt tijd, herinnering en de grens tussen realiteit en fictie.

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László Moholy-Nagy – Ein Lichtspiel: Schwarz Weiss Grau (1930)
Deze film toont bewegende metalen vormen en lichtprojecties. Moholy-Nagy verkent licht en beweging als zelfstandige kunstvorm.

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Ein Lichtspiel schwarz weiss grau (Trailer)

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Phil Evans 🎥 on Instagram: "Splash a bit of colour into your life 🟡🟣🔵🔴⚪️🟠

#super8film #2danimation #motiondesign #analogphotography #processvideo #filmmakingtips #foryou"

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38K likes, 649 comments - phil.evans.film on July 27, 2025: "Splash a bit of colour into your life 🟡🟣🔵🔴⚪️🟠

#super8film #2danimation #motiondesign #analogphotography #processvideo #filmmakingtips #foryou". 

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A post shared by Phil Evans 🎥 (@phil.evans.film)

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Stephan Bischof on Instagram: "@jonnyhonky’s 'Fat Lava' art captures a feeling of wonder that moves between calm reflection and deep fascination. His work draws on a kind of inner spirituality, similar to what you might feel looking at a Rothko painting — focused, intense, and emotionally powerful, blending surprise and beauty.

📍 Starkwhite, Auckland, 2 May - 7 June 2025

His art is like a self-portrait, showing both a steady, thoughtful approach and a desire to keep evolving. The steady part reflects a slow personal growth over time, while the urge to change represents the outward side of a person — how they look, move, and shift over time.

#abstract ⁠#installationart ⁠#visualarts ⁠#installation⁠ #art⁠ #futureart⁠ #contemporaryart⁠ #newmediaart"

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262 likes, 7 comments - braveduckandrobots on May 27, 2025: "@jonnyhonky’s 'Fat Lava' art captures a feeling of wonder that moves between calm reflection and deep fascination. His work draws on a kind of inner spirituality, similar to what you might feel looking at a Rothko painting — focused, intense, and emotionally powerful, blending surprise and beauty.

📍 Starkwhite, Auckland, 2 May - 7 June 2025

His art is like a self-portrait, showing both a steady, thoughtful approach and a desire to keep evolving. The steady part reflects a slow personal growth over time, while the urge to change represents the outward side of a person — how they look, move, and shift over time.

#abstract ⁠#installationart ⁠#visualarts ⁠#installation⁠ #art⁠ #futureart⁠ #contemporaryart⁠ #newmediaart". 

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Hole of Fame on Instagram: "16.03. #audiovisuellesnachtcafé
mit @shannon_soundquist @jana_l.u.tkewitte @gods_pee @harey1000 @dominic_kiessling 

Doors: 19 Uhr
Start: 20 Uhr
Eintritt frei, Spenden willkommen"

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298 likes, 5 comments - holeoffamedresden on March 15, 2024: "16.03. #audiovisuellesnachtcafé
mit @shannon_soundquist @jana_l.u.tkewitte @gods_pee @harey1000 @dominic_kiessling 

Doors: 19 Uhr
Start: 20 Uhr
Eintritt frei, Spenden willkommen". 

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Dominic Kießling on Instagram: "New video for the latest release on @47_2.0"

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167 likes, 5 comments - dominic_kiessling on August 23, 2023: "New video for the latest release on @47_2.0". 

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Helen Anna Flanagan (1988, Birmingham) is een Britse kunstenaar die werkt met video, performance en installatie. Haar werk onderzoekt sociale structuren en de politieke onderstromen in het dagelijks leven, met focus op affect, emoties, arbeid en het lichaam. Ze combineert waargebeurde gebeurtenissen met fictieve scenario’s, vaak doorspekt met absurditeit

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Solo exhibition

CENTRALE for contemporary art

Is falling an act of surrender or an accident, a collapse or a stumble? In Deeply, Madly, an installation at CENTRALE, Helen Anna Flanagan explores the breadth of the concept of "falling" without ever attempting to pin it down with a definitive explanation. The highlights of the installation are two audiovisual works-one on the top floor of the space, the other below.

Both video works are viewed from a kind of deck chair-fittingly so, given the many scenes of water presented. Yet the starting point of this exhibition doesn't seem to be water at all, but rather the irrational fear of Sheila, a middle-aged woman, of being pushed onto the metro tracks. In the upper installation, that fear becomes tangible: the repetitive images and sounds of escalators, flickering advertising screens, and the coming and going of metro trains feel as inescapable as obsessive thoughts.

But I also hear Sheila's voice. She tries to explain her phobia and reassure herself. She does so by recalling a night in Corfu, by a swimming pool-the indescribable feeling of freedom that came with a free fall into the water after her husband pushed her. I see bodycam footage of someone rushing down a water slide. Still claustrophobic, but less threatening than the huffing and pumping of the earlier metro images. Finally, a projection of a whale's tail-an animal launching itself only to let its majestic body fall.

Falling as a deliberate act, a natural phenomenon, a symbol of absolute freedom-the images are poetic in their simplicity. Particularly beautiful is the moment when the wood grain of the projection panel becomes visible in the almost glowing tail of the whale. It gives a rippling effect, as if I were watching a projection on water.

"I don't drink enough water"-it's written on the wall, and Sheila says it out loud. Our body is water, just like the artwork, as evidenced by the watercolors Flanagan has tried her hand at for the first time. In the film on the lower level, water is again a recurring element. A river flows, a foot bath bubbles, Buster Keaton gets soaked by a water tank above a locomotive, and a keychain bears The Great Wave off Kanagawa.

Panta rhei, then-everything flows, everything is in motion, not least the human being. It's not a new insight, but Flanagan approaches it with a fresh, associative visual language. In the lower-level film, we meet Sheila as a clerk in a night shop, an apparently eternal observer, watching her clientele come and go through automatic doors-doors that resemble those of a metro car. The customers behave oddly, sometimes even comically, because they're in love or obsessed with a song. Falling in love, falling into something: although Flanagan has chosen a less language-focused approach for Deeply, Madly than in her earlier work, the installation is clearly created from the perspective of an English speaker-so non-English speakers may miss out on some nuances.

Still, the images often speak for themselves. A shot of wrinkled apples on a shelf in the night shop-reminiscent of a vanitas still life-illustrates this beautifully. It resonates with the image of an elderly woman floating in a bathtub: lived-in, parchment-like skin in an almost fetal, weightless state. Our fluidity, the continuous transition from one state to another-perhaps that's what defines us as humans.

The film itself is also in a constant state of adaptation. When I visited the installation, I mainly saw winter scenes. Flanagan is currently working on new material, including poolside shots in summery light, which will be added to the film at a later stage for a new presentation in September.

"Just go with the flow, man," one of Sheila's customers says, before we see an image of a mighty river that Sheila gazes out over, holding back her tears. Nothing is forever.

Text by Esther De Soomer

Collaboration:

Curator: Tania Nasielski

Mondriaan Fonds, Federatie Wallonië-Brussel

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Deeply, Madly, CENTRALE for contemporary art | Helen Anna Flanagan

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Deeply, Madly, an installation at CENTRALE. Helen Anna Flanagan explores the breadth of the concept of “falling” without ever attempting to pin it down

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Aubree Barber | Installation Artist on Instagram: "Summertime is finally here ♡ #surrealart #dreamscape #maximalistdecor #theatricaldesign #whimsicalaesthetic #whimsy #swan #stagedesign"

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227K likes, 366 comments - analogprojections on July 4, 2025: "Summertime is finally here ♡ #surrealart #dreamscape #maximalistdecor #theatricaldesign #whimsicalaesthetic #whimsy #swan #stagedesign". 

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Nam June Paik (1932–2006) was een Koreaans-Amerikaanse kunstenaar en pionier van de videokunst. Hij gebruikte televisies, schermen en nieuwe technologieën als artistiek materiaal en combineerde die vaak met muziek en performance. Zijn werk onderzoekt de relatie tussen mens, media en technologie, en maakte hem bekend als de “vader van de videokunst”.

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5 Times Artist Nam June Paik Predicted the Future | Tate

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Alejandro Jodorowsky’s The Holy Mountain (1973) is een psychedelische cultfilm vol surrealistische beelden en spirituele symboliek. De film volgt een groep mensen die, geleid door een alchemist, op zoek gaan naar verlichting en onsterfelijkheid. Met zijn extravagante visuele stijl en kritiek op religie, kapitalisme en macht, geldt de film als een radicale allegorie over transformatie en bewustzijn.

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The Holy Mountain - Official Trailer | ABKCO Films

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AKITO SENGOKU on Instagram: "[ARCHIVE]
“UNDERGUILD Vol.31”
UrBANGUILD 19th anniversary
at UrBANGUILD, Kyoto
2025.05.01 [thu]

MUSIC:
SOFT

VISUALS:
AKITO SENGOKU [TIME PAINTING]

@softribe.jp
@simizoo70
@masatoucon
@katsudatomoyuki_pon2
@_knd____
@akitosengoku
@urbanguild

🎥@yasuyo_tmtc
_
#SOFT #Softribe #仙石彬人 #AKITOSENGOKU #TIMEPAINTING #VISUALMUSIC #LIVEVISUALS #LIVEDRAWING #光響 #AcousticLight #PROJECTIONART #OVERHEADPROJECTOR #LIQUIDLIGHTING #LIQUIDLIGHTSHOW #リキッドライティング #UrBANGUILD #アバンギルド #Kyoto"

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34K likes, 262 comments - akitosengoku on June 15, 2025: "[ARCHIVE]
“UNDERGUILD Vol.31”
UrBANGUILD 19th anniversary
at UrBANGUILD, Kyoto
2025.05.01 [thu]

MUSIC:
SOFT

VISUALS:
AKITO SENGOKU [TIME PAINTING]

@softribe.jp
@simizoo70
@masatoucon
@katsudatomoyuki_pon2
@_knd____
@akitosengoku
@urbanguild

🎥@yasuyo_tmtc
_
#SOFT #Softribe #仙石彬人 #AKITOSENGOKU #TIMEPAINTING #VISUALMUSIC #LIVEVISUALS #LIVEDRAWING #光響 #AcousticLight #PROJECTIONART #OVERHEADPROJECTOR #LIQUIDLIGHTING #LIQUIDLIGHTSHOW #リキッドライティング #UrBANGUILD #アバンギルド #Kyoto". 

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JULIE VERHOEVEN on Instagram: "#wilhelmfreddie and #jørgenroos 

#adefinitiverejectionoforarequestforakiss
1949"

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178 likes, 3 comments - julieverhoeven on May 21, 2025: "#wilhelmfreddie and #jørgenroos 

#adefinitiverejectionoforarequestforakiss
1949". 

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Karol Sienkiewicz on Instagram: "Allison Schulnik  @arsenalcontemporary Montréal 
#allisonschulnik #arsenalcontemporaryart #montreal"

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sienkiewicz.karol.ok on August 25, 2024: "Allison Schulnik  @arsenalcontemporary Montréal 
#allisonschulnik #arsenalcontemporaryart #montreal". 

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True Red Ruin (Elmina Castle) van Danielle Dean is een video-installatie waarin het Ghanese slavernijfort Elmina symbolisch wordt verplaatst naar een woonwijk in Houston. Dean, spelend als projectontwikkelaar, onderhandelt met bewoners over de komst van dit ‘kasteel’. Het werk legt parallellen bloot tussen kolonialisme en hedendaagse gentrificatie en toont hoe oude machtsstructuren doorwerken in het heden. Met humor, pop-up-achtige decors en lokale betrokkenheid schetst Dean een kritisch beeld van uitbuiting, verzet en de kracht van gemeenschap.

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Anthony McCall – Split Second (Mirror) IV
Dit werk gebruikt horizontale lichtprojecties en spiegels om conische, bijna tastbare lichtvormen in de ruimte te creëren. Bezoekers bewegen door deze etherische structuren, waardoor het vluchtige licht een fysieke, bijna sculpturale ervaring wordt. McCall noemt dit fenomeen “solid light”.

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Artist Anthony McCall shines a light at London's Tate Modern

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Franky D.C's artistieke proces start vaak met stadswandelingen waarin hij beelden verzamelt, vastlegt en archiveert via foto’s en video’s. Zo bouwt hij een archief van visuele restanten die hij later artistiek verwerkt

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Franky D.C maakt geen nieuwe beelden maar recupereert en bewerkt bestaande beelden. Met deze aanpak stelt hij niet alleen het unieke auteurschap ter discussie, maar ook de originaliteit van het kunstwerk. D.C's onderzoek voltrekt zich voor het grootste deel tijdens zijn dagelijkse stadswandelingen, een soort speurtochten in omgevingen in continue verandering. Het werkproces legt de kunstenaar vast in foto- en filmmateriaal en bewaart hij in een archief.

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Bruce Nauman – Clown Torture (1987)
In deze video-installatie spelen vier clowns eindeloos absurde en mislukte handelingen, van flauwe grappen tot onhandige trucs. Het werk onderzoekt verveling, falen en menselijke beperkingen, en zet traditionele symbolen van humor om in ongemakkelijke, confronterende ervaringen.

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Warhols film Sleep toont meer dan vijf uur lang de slapende dichter John Giorno. Met dit minimalistische portret onderzoekt Warhol tijd, herhaling en alledaagse werkelijkheid, en doorbreekt hij de traditionele verwachtingen van cinema.

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In Matrix stapelt Paik televisies tot een raster van licht en beeld. De installatie combineert live-beelden, kleurpatronen en elektronische verstoringen, waardoor de tv als medium zelf centraal staat. Paik onderzoekt zo de relatie tussen technologie, kunst en perceptie.

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Vinyl is een vroege film van Warhol, gebaseerd op A Clockwork Orange van Anthony Burgess. In statische, minimalistische shots toont hij een groep jongeren in een kamer waar geweld, dans en discipline samenkomen. Het werk verkent macht en controle en geldt als een typisch voorbeeld van Warhols experimentele cinema.

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Wolf Vostell – Sun in Your Head (1963)
Deze baanbrekende video-installatie gebruikt gemanipuleerde televisiebeelden vol ruis, vervorming en flitsende patronen. Vostell toont zo de kracht en verstoring van massamedia, en maakt van televisie een artistiek en kritisch medium.

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George Landow, later bekend als Owen Land, was een Amerikaanse filmmaker en pionier van de experimentele cinema. Zijn films spelen met filmische conventies, taal en humor, vaak met absurde wendingen. Zo verbindt hij intellectuele scherpte met ironie en zelfreflectie, waardoor hij een unieke plaats inneemt binnen de avant-garde film.

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kubricklynch - Film History by Evan Chester

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A Brief Intro to Experimental Filmmaker George Landow (aka Owen Land)

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Tony Oursler's "electronic effigies”: Between two spaces

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Pipilotti Rist – Ever Is Over All (1997)
In deze videoinstallatie loopt een vrouw dromerig door de straat en slaat autoruiten in met een bloem, terwijl een agente haar glimlachend passeert. Rist verweeft poëzie en rebellie, en zet zo zachtheid en geweld tegenover elkaar in een speels feministisch statement.

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Pipilotti Rist – Entlastungen – Pipilottis Fehler (1988)
In deze vroege video-performance onderzoekt Rist haar eigen lichaam en identiteit via vervormde beelden en experimentele montage. Het werk speelt met intimiteit, kwetsbaarheid en zelfspot, en legt zo de basis voor haar latere poëtische en zintuiglijke beeldtaal.

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Pipilotti Rist  Entlastungen Pipilottis Fehler

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Douglas Gordon
Douglas Gordon is een Schotse kunstenaar die vooral bekendstaat om zijn videowerken en installaties waarin tijd en geheugen centraal staan. Hij vertraagt, spiegelt of herhaalt beelden — zoals in 24 Hour Psycho (1993) — om nieuwe betekenissen en emoties bloot te leggen in vertrouwde media.

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Designing Video Installations with Douglas Gordon

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ChatGPT zei:

Gary Hill – Objects with Destinations (1979)
In dit videowerk verbindt Hill alledaagse objecten met taal en beelden, waardoor hun betekenis verschuift. Door de spanning tussen woord, beeld en ding onderzoekt hij hoe perceptie en communicatie voortdurend worden gevormd en vervormd.

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Gary Hill Objects with Destinations, 1979

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Sylvie Fleury – Video voor Drastic Makeup
expo. In Drastic Makeup speelt Fleury met de wereld van mode en consumptie door luxueuze cosmetica als kunstobject te presenteren. Het werk bevraagt schoonheidsidealen en onthult de grens tussen glamour en oppervlakkigheid.

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Stephan Bischof on Instagram: "Cambridgeshire-based artist Chris Wood is known for her dazzling installations made of dichroic glass, and says that “Light, is the purest form of radiance.” With her studio @chriswoodlight studio, they are transforming spaces with the magic of light.

"This transparent material produces a shifting spectrum of colour depending on the viewpoint—that emit phenomenal prisms when illuminated." by Grace Ebert at @colossal 

Often showcased on panels or walls, the works conjure the essence of organic patterns—helixes, murmuring flocks, and, in Wood’s latest creation, the elegant spiral of a nautilus shell.

#LightArt #LightArtist #Dichroic #DichroicArt #FemaleArtist #Sculpture #Installation"

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179 likes, 0 comments - braveduckandrobots on January 27, 2025: "Cambridgeshire-based artist Chris Wood is known for her dazzling installations made of dichroic glass, and says that “Light, is the purest form of radiance.” With her studio @chriswoodlight studio, they are transforming spaces with the magic of light.

"This transparent material produces a shifting spectrum of colour depending on the viewpoint—that emit phenomenal prisms when illuminated." by Grace Ebert at @colossal 

Often showcased on panels or walls, the works conjure the essence of organic patterns—helixes, murmuring flocks, and, in Wood’s latest creation, the elegant spiral of a nautilus shell.

#LightArt #LightArtist #Dichroic #DichroicArt #FemaleArtist #Sculpture #Installation". 

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