elvira

ELVIRA MADIGAN (THE SMOKE OF MY BODY IS YVES KLEIN BLUE) PART THREE OF THE DEAD WOMEN AND HORSES TURN INTO SMOKE TRILOGY from SECRET SAUNA SIRENS on Vimeo.

argentina

argentina
Premiering new work October 5, 2017 at Escuela de Arte Leopoldo Marechal (La Matanza) Buenos Aires, Argentina.

FONLAD

FONLAD
Thank you to the Fonlad Festival and the Web Art Center in Portugal and to Magmart Videoart in Naples and the Casoria Contemporary Art Museum for presenting and archiving several of my sound and video installations.

les instants

les instants
I'm premiering new work at the 28th Festival Les Instants Vidéo in Marseille (Friche La Belle de Mai, Espace Culture, ADPEI, SARA, La Fraternité) from November 6-11, and in Milan ( [.BOX] Galerie) from November 6-20. Thank you to Marc Mercier, Direction Artistique: Instants Vidéo Numériques et Poétiques. XO.

les instants texts

Le festival à Marseille en quelques dates :
– le 6 : soirée d’inauguration de 17h à 24h
– du 6 au 11 : les rencontres internationales (exposition, performances & installations, présence d’artistes, temps d’échanges etc) de 14h à 24h
– du 6 au 29 : exposition d’installations vidéo et numériques

ADPEI (18 boulevard Camille Flammarion) du 5 au 27 novembre
SARA (41 Bd de la fédération) du 5 au 27 novembre
Fraternité Belle de Mai (5 boulevard Burel) le 9 novembre
Vitrine de l’Espace Culture (42 La Cannebière) du 24 octobre au 29 novembre.

shedhalle

shedhalle

shedhalle text

Very happy to be participating and exhibiting in the 2015 Shedhalle Generate! Festival, workshop series, and performance program. Please do come see the extraordinary (former abattoir) space and some interesting work/discussions. XO.


“This year, Shedhalle addresses contemporary tendencies of art that are based on the use of electronic media as well as on the application of digital technologies. Generate! Is especially interested in the interrelations between art, research, and technology. A special focus is put on works that are dedicated to generative processes of production and to algorithmically controlled outputs. This also includes their underlying concepts. Likewise, our program takes an interest in works that were made in the context of science and humanities, and that reflect on the aesthetic value of their results and formation. We intend to enable a discourse regarding the aesthetic, sociopolitical, and economic effects that are caused by media and information technology of the 21st century.”


Shedhalle Tübingen - Forum für zeitgenössische Künste

Schlachthausstraße 13

72074 Tübingen

Germany

PROYECTOR

PROYECTOR
Really honored to be one of 30 artists chosen from 614 for the 8th International Proyector Audio-Video Art Festival(s). Please come see me in September (and throughout Europe in subsequent months). I'll be the friendly phantom wearing a cowboy hat in the back row. Xoxo. #Spain #Mexico #Germany #Portugal #France #Italy

proyector

proyector

proy 3

proy 3

pryector



PROYECTOR 2015. 8º Festival Internacional de Videoarte

10-20 SEP 2015. Madrid (esp), Coimbra (por), Milán (ita) y Oaxaca (mex)



Director: Mario Gutiérrez Cru
Coordina: Clara Leitão

En esta convocatoria se presentaron 614 propuestas de videoarte (monocanal, multicanal, videodanza, videoperformance, videoinstalaciones, videointeracción, videomapping... ) y se han seleccionado 27 proyectos. Mantiene la apuesta de ser un festival multi-sede e internacional.


Tras meses de visionado el jurado de PROYECTOR compuesto por Sergio Gomes, Mario Gutiérrez Cru, María Jáñez Álvarez y Clara Leitão han seleccionado de las 614 piezas presentadas de 19 países:

Vanane Borian (arm), Azul y Lindy Márquez (col), Jorge Pellicer y Johnatan Molina (mex), Alberto Díaz (esp), Tara Mahapatra (ale), Christoph Oertli (sui), Gustavo Gutiérrez (col), Juan Caunedo Domínguez (esp), Javiera Tejerina-Risso (fra-chi), Gabriele Stellbaum (ale), Eduardo Restrepo Castaño (col), Joshua Chacón Vega (mex), Paula Bruna (esp), Marte Kiessling (ale), Roman Gomes (arg), Johanna Reich (ale), Dominik Ritszel (pol), Melancholy Maaret (fin-fra-eeuu), Daniel Djamo (rum), Miguel Andrés (esp), Jorge Catoni (chi), doriandgrey (esp), Shahar Tuchner (isr), Richard Bailey (eeuu), Marina Camargo (bra), Natalia Valencia Delgado (col), Rosie Morris and Sam Grant (ing).

Además contaremos con el Artista Seminal Hans Breder (ale, 1935), ofrecido por la galería THEREDOOM, para su [solo project]. Y con la residencia en colaboración con Intercambiador ACART de Maia Navas

Contamos con nuevas sedes: el Cinema Usera y un nuevo espacio coordinado por Daniel Silvo en Arturo Soria
.
Muchas gracias a todos los que se han presentado a la convocatoria y sobretodo a todos los creadores y amantes del videoarte.


SEDES
Cinema Usera, Primitiva Gañán, Madrid
El Patio de Martín de los Heros, Martín de los Heros, 15. Madrid
Espacio Labruc, La Palma, 18. Madrid

Espacio Naranjo, Naranjo, 33. Madrid
Espacio Oculto Madrid, Nicolás Usera, 27. Madrid
Espacio, Arturo Soria, Madrid
Intermediæ (Matadero), Paseo de la Chopera, 14, Madrid
La Noche Boca Arriba, Salitre, 30, Madrid
Quinta de Sordo, Rosario, 17, Madrid

Swinton Gallery
, Miguel Servet, 21
Theredoom
, Doctor Fourquet, 1-3, Madrid
Theredoom (solo project), Luisa Fernanda, 19, Madrid
Galeria Santa Clara, António Augusto Gonçalves 67, Coímbra, Portugal
[Box.] Videoart Project Space. Via F. Confalonieri, 11. Milán, Italia
Museo Belber Jiménez, Matamoros esquina Tinoco y Palacios. Oaxaca, México


I felt myself being invaded through and through. I crumbled, disintegrated, and only emptiness remained.

(Solaris by Stanisław Lem)

- Хари T E X T S -
Excerpts from the novel Solaris by Stanisław Lem
Poem by Arseni Tarkovski

- Хари V O I C E -
Melancholy Maaret

- Хари P E R F O R M A N C E -
Isabel Pérez del Pulgar

- Хари F O O T A G E -
Free Prelinger Archives
Images recorded in Andalusia and in Brittany by Isabel Pérez del Pulgar & Roland Quelven

- Хари V I D E O & S O U N D -
Roland Quelven

arad

arad

film poster

film poster
Monsieurs Quelven and Horkay and I invite you to the World Premiere of our new video/sound installation @ Szczecin European Film Festival, Poland, Autumn, 2014.

Félicitations, Cher Ami, Cher Icarus.



Merci à tous ceux qui ont vu l'exposition et la projection de ma collaboration, ΙΚΑΡΟΣ The Fall, avec le brillant artiste, Roland Quelven, au Festival International de Vidéoart (FIVA) en Argentine, et au Festival Vidéo Raymi, IV Muestra Internacional de Videoarte au Pérou.


Voir plus de son travail magique ici.


Thank you to all who attended the exhibition and screenings of ΙΚΑΡΟΣ The Fall, a collaboration between Roland Quelven and Melancholy Maaret, at the Festival International of Video Art (FIVA) in Argentina, and at the Video Raymi International Festival in Peru.


Please see more of Roland Quelven's magic here.


Recent viewings on our little tour of the world:


Exhibition at Galeria Texu in Oviedo, Spain.


Screening at the Fantadia Festival Internazionale di Multivisione, in Asolo, Italy.





Nimandsrose II
Video: Istvan Horkay
Voice and Text: Melancholy Maaret
Sound: Oleg Tishkovets and Melancholy Maaret

JENSEITS DES LUSTPRINZIPS

V O I C E S: Sigmund Freud & Melancholy Maaret
V I D E O: Istvan Horkay & Roland Quelven
S O U N D: Orlando de Quelves
F O O T A G E: Sydney Police Photographs dating from 1912 to 1948



Preview of a new collaboration with Istvan Horkay, on the heroic life of Raoul Wallenberg. The film premiered at the Kiscelli Muzeum, Budapest, 2014.

hello. melancholy maaret

hello. melancholy maaret

melacholy maaret berlin art basel

melacholy maaret berlin art basel

György Kepes: Language of Vision


Today we experience chaos. The waste of human and material resources
and the canalization of almost all creative effort into blind alleys bear
witness to the fact that our common life has lost its coherency. In the focus
of this eclipse of a healthy human existence is the individual, torn by the
shattered fragments of his formless world, incapable of organizing his
physical and psychological needs.

This tragic formlessness is the result of a contradiction in our social ex-

istence. It indicates our failure in the organization of that new equipment
with which we must function if we are to maintain our equilibrium in a
dynamic world.


Advances in science and technology have created a new dimension. Today,
all people of the world are neighbors, and natural resources on a hitherto
undreamed of scale are within the potential reach of all. The inherited
structure of a smaller, outgrown world, however, stands in the way of the
integration of our lives in the terms of the present wider dimension. To-
talitarian aggression, as the most destructive aspect of the resistance of the
past, sought to direct the present and future toward an obsolete organization,
of a necessity employing force in order to accomplish what was diametri-
cally opposed to the principles of growth and development. These destruc-
tive forces, on the other hand, inevitably prepare the way for reconstruction.
The more unbearable the strains and stresses caused by the contradiction
between the potentialities of the present and the outlived forms of the past,
the stronger is the compulsion toward equilibrating our life in the con-
temporary dimension. To achieve a livable life today, then, we must reorient
ourselves, and create forms in terms of present historical conditions. In-
stead of allowing both a further haphazard accumulation of scientific dis-
coveries and a planless technological expansion, it is our task to establish
an organic interconnection of the new frontiers of knowledge. Integration,
planning, and form are the key words of all progressive efforts today; the
goal is a new vital structure-order, a new form on a social plane, in which
all present knowledge and technological posessions may function unhind-
ered as a whole.


This new structure-order can be achieved only if man of today becomes
truly contemporary and fully able to use his capacities. To be contempo-
rary in a true sense demands a most advanced knowledge of the facts govern-
ing life of today. The understanding of vital aspects of our life, however, to
most of us is still at the same stage as it was a hundred years ago. In the past,
lightning, plague, and famine were believed to be visitations of Providence,
but today, through knowledge and understanding, we are able to control
them. In like fashion, if we should make social application of scientific
knowledge, present obstacles to a contemporary human existence would be
eliminated. We must dissipate the belief that war, economic crises, or
psychological disintegration is unavoidable and due to blind, inimical
forces of nature. The collective efforts of scientists have given us a richer
and safer life in the biological and physical realms; we must meet them in socio-economic and psychological realms. Education on an unprecedented 
scale is imperative if man, who now lives in a wider world, is to be really 
contemporary.
But this new knowledge can only be the living fibre of integration if man
experiences it with the wholeness of his being. Human faculties, however,
have been dulled and have disintegrated in a climate of frustration. Ex-
perience has tended to become only a stepping-stone to an exploitation of
nature and of man. Experiences are isolated pigeon-holes; they display
only single aspects of human beings. To function in his fullest scope man
must restore the unity of his experiences so that he can register sensory,
emotional, and intellectual dimensions of the present in an indivisible whole.



-György Kepes
language of vision
With introductory essays by S. GIEDION and S. I. HAYAKAWA
Paul Theobald 1951.