Infermental 10 (1991)
Osnabrück / Skopje, Germany / Yugoslavia, 1991
51 contributions, 16 countries, 6 hours
Editors: Heiko Daxl / Evgenija Dimitrieva
Supervisor: Keiko Sei
Infermental tries to remove walls,
to pass over thresholds,
to combine the heterogeneousness with the own
and shows
HERE as BETWEEN the THERE,
is media (bridge) BETWEEN HERE and THERE,
shows HERE and THERE the BETWEEN...
Content
People / Sites / Times
Navigate!
Breathe In - Breathe Out
Please Insert Card
Icons
Sound So
People / Sites / Times | ||||
| Showing the own flag. The reclamation of space and time by personal statement. To develop in opposition to the "official" sight of the media the own rhythm and angle. To aim at the supposed minor matters. To locate a viewpoint. To reconstruct the whole from detail. To map out one's territory and time. | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Abjanic, Dragan | Apokatastatis | YU | 1991 | 03:24 |
Arnio, Pentti / | Slaves | RUS <FIN> | 1990 | 03:15 |
Beban, Breda / | Geography | YU | 1989 | 10:05 |
Garrin, Paul | Home(less) Is Where the Revolution Is | USA | 1990 | 03:17 |
Grzinic, Marina / | Bilocation | YU | 1990 | 11:35 |
Llurex | Alles wandelt sich | D | 1990 | 07:26 |
Suleiman, Elia / | Introduction to the End of an Argument (excerpt) | USA | 1990 | 11:32 |
Vaara, Roi / | This Kind of People (excerpt) | SF | 1983-89 | 03:02 |
Navigate! | ||||
| When we have passed through the old spaces time has come to keep on working on the building of development and to pass the thresholds to new spaces. These new spaces are still connected to the old parallel ones even when we lost the keys of their doors. The new can only be build on the foundation of the old (experience, knowledge, morality) to find it's destination. That is, where our civilisation comes from, the source of greatness and mistakes, intelligence and fatal errors, humanity and cruelty. We have to understand the ground-plan to find our way in the jungle of more and more enlarged and complicated structures, to come to that decision, which really opens new spaces. We have to be aware of the fact that the passing of one threshold implies the passing of following thresholds, that can show the way to well-being and progress or describe the path to catastrophe. We always have to be conscious about our steps. You are Your Navigator ! | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Batsry, Irit | Leaving the Old Ruin (excerpt) | USA | 1989 | 07:15 |
de Nooijer, Paul / | Nobody Had Informed Me | NL | 1989 | 10:50 |
Dragan, Nusa | Lihnida | YU | 1989 | 06:56 |
Liberovskaya, Katharina | Frozen Ink | CDN/F | 1989 | 11:48 |
Raskin (Pape & Coerper) | Rauchnächte | F/D | 1990 | 10:26 |
Saup, Michael | I 8843 Paradays | D | 1989 | 06:54 |
Breathe In - Breathe Out | ||||
| The artist's perception of himself using the machine as a mirror. The I becomes identical to the medium and the body and the soul of the artist becomes a demonstrative object. The thoughts circle around recognition and embodiment. Who am I and where is my place in this world? The artist breathes in the past and breathes out the future. | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Arnold, Skip | Breathing | USA | 1989 | 01:17 |
Hakola, Marikki | Stilleben – Milena’s Journey | SF | 1989 | 05:04 |
Hogg, Kevin Bruce | Window Figure | CDN | 1990 | 03:20 |
Karawahn, Kain | Das Videorakel | D | 1989 | 07:24 |
Müller, Matthias | Aus der Ferne – The Memo Book | D | 1989 | 08:35 |
Pierce, Leighton | If With Those Eyes And Ears | USA | 1989 | 06:55 |
Priolo, Beate | Studies | USA | 1990 | 05:31 |
Sook, Park Hee | Sonnenseuche | F | 1989 | 08:05 |
Welsh, Jeremy | Waterboy | GB | 1990 | 08:01 |
Please Insert Card | ||||
| The evolution of the man-kind and the spreading of knowledge was a continuous sequence of abstractions: from cave-paintings to picture-writing, from phonetic syllabic writing to the alphabet and the digital code of present time. This was followed by a more and more ongoing separation of life into specialized fields, which revealed a disunderstanding by the public. Through the increasing of trade, traffic and exchange a constant rise of parallel codes, languages and alphabets appeared. Our everyday-world looks like a new Babylon. This dilemma can not be solved by existent languages. The year 2000 was always our synonym for the future, in less than ten years we will reach it, but how looks our vision about future? | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Arnold, Martin | Piece Touchee | A | 1989 | 15:53 |
Bjørgeengen, Kjell | Images from Video Road | N | 1990 | 04:47 |
Callas, Peter | Neo Geo: An American Purchase (excerpt) | AUS/USA | 1989 | 07:56 |
Daxl, Heiko | Welcome To H. K. | HK | 1990 | 11:04 |
Dibble, Teddy | It’s all in the Timing | USA | 1990 | 01:57 |
Fairfield, Paula | Live Wires | CDN | 1990 | 07:34 |
Gassinger, Ilse | Ha! | A | 1990 | 00:18 |
Kiss, Laszlo | Tales | H | 1989 | 04:19 |
Icons | ||||
| In all aspects of life and experience, our desires and intentions, images have superseded reality and have destroyed traditional distinctions and opposites. The image is everywhere, in our expectations, our ethics, in propaganda and advertising, where differences between real and unreal are vanishing and illusions replace ideals. | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Arnold, Martin | Piece Touchee | A | 1989 | 15:53 |
Bjørgeengen, Kjell | Images from Video Road | N | 1990 | 04:47 |
Callas, Peter | Neo Geo: An American Purchase (excerpt) | AUS/USA | 1989 | 07:56 |
Daxl, Heiko | Welcome To H. K. | HK | 1990 | 11:04 |
Dibble, Teddy | It’s all in the Timing | USA | 1990 | 01:57 |
Fairfield, Paula | Live Wires | CDN | 1990 | 07:34 |
Gassinger, Ilse | Ha! | A | 1990 | 00:18 |
Kiss, Laszlo | Tales | H | 1989 | 04:19 |
Sound so | ||||
| Videosound sounds so and so. In his essay "Film as pure form" (1929) Theo von Doesburg regarded the film as a vehicle of "optical poetry, dynamical architecture of light", as a tool "to create a mobile ornament". The film, he continues, will achieve Bachs Dream "to find an optical equivalent to the temporal structure of musical forms." Signal becomes sound. Image becomes sound. Sound becomes image. The eye hears "an art that should look like music sounds". | ||||
Artist | Title | Country | Year | Duration |
|---|---|---|---|---|
Antoni, Birgit | Japanisch für Anfänger | D | 1990 | 06:45 |
Blume, Claus | Kniespiel III | D | 1990 | 03:16 |
Doering, Christoph | Mattscheibe | D | 1990 | 03:45 |
Drechsler, Ralf | Zuckerhut | D | 1990 | 02:53 |
Fontanilles, Enrique | Beam | CH | 1989 | 04:24 |
Goff, John | Radio Image | GB | 1989 | 04:29 |
Hegedüs, Agnes | And Grind Hard Stone to Meel | NL | 1989 | 06:01 |
Lesnik, Jouri | Musique | SU | 1990 | 01:21 |
Matrix Mind | The Image of the Disease | SF | 1989 | 02:59 |
Sandusky, Sharon | C’Mon Babe | USA | 1989 | 10:57 |
Schreiner, Volker | Wipe Board | D | 1990 | 02:57 |
Voidanovski, Vencislav / Stojanoski, Stojan | Travelling | YU | 1990 | 03:43 |