Author Archives: katier

International Teletext Art Festival ITAF 2014

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ITAF2014

OPENING AND VENUES

The festival and an ITAF2014 exhibition is opened on August 14th in Berlin at the Rundfunk Berlin-Brandenburg (rbb) Masurenallee 16–20, 14057 Berlin

Registration via: info@ard-text.de

In the exhibition the ITAF2014 works will be displayed on screens acomppanied by a selection of works from ITAF2012-13 as prints. Artists include:

Nadine Arbeiter, Kim Asendorf, Michaël Borras a.k.a Systaime, Max Capacity, Paul B. Davis, Maria Duncker, Dragan Espenschied, Dan Farrimond, Kathrin Günter, Anne Horel, Brendan Howell, Francis Hunger, Juha van Ingen, Marc Lee, Jürg Lehn, LIA, Raquel Meyers, Erkka Nissinen, Rich Oglesby, Seppo Renvall, Alex Rich, Jarkko Räsänen, Amanda Siegel and Kari Yli-Annala

The opening continues From 8:00 pm -> at Z-Bar, Bergstr. 2, 10115 Berlin with: Lo-tech teletext art video mix + Chiptune Music presented by FixC cooperative

FREE ENTRY WELLCOME! +

14.8. The opening of ITAF2014 also marks the broadcasting of Dragan Espenschieds “Lucky Cat” as the first artwork presented in the Museum of Teletext Art MUTA.

ITAF2014 program: –

On teletext: ARD Text from page 850, ORF TELETEXT from page 470 , Schweizer TELETEXT from page 750, arte Teletext, 3satText and ORF III-Teletext –

On site: 14.8.-14.9. Rundfunk Berlin-Brandenburg (rbb) Masurenallee 16–20, 14057 Berlin

14.8.-14.9. MuseumsQuartier Wien Museumsplatz 1, 1070 Vienna

Pop-up Gallery at IFA Berlin ARD Digital, Halle 2.2, Stand 103 Messedamm 22, 14055 Berlin –

On the Internet: The audience is invited to participate in ITAF in the House by taking pictures of ITAF2014 art works on TV-screens in private and public spaces. –

Teletext Art Prize: Teletext Art Prize was first launched in 2013 to promote teletext-art and to credit artists who have created outstanding artworks in the medium. The prize is given by an international team of experts. –

Finisage: ORF/ MuseumsQuartier Vienna 26.9. 18.00 – > in FISH Helsinki Alppikatu 17 lh 2 00530 Helsinki

Katier Shows: 20.3.-22.4.2014 in Yle Teletext and FISH Helsinki

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INTERNATIONAL TELETEXT ART FESTIVAL ITAF Yle

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WELCOME TO THE OPENING of ITAF Yle:

>>>> exhibition by Kathrin Günter and
>>>> the founding event of MUTA (MUSEUM OF Teletext Art).

The artist is present in the opening.

Further information scroll down, or click here:

http://www.teletextart.com/

Or download the Press Release

Thursday 20.3.2014 8pm at FISH Helsinki, Alppikatu 17 lh2 Helsinki

INTERNATIONAL TELETEXT ART FESTIVAL ITAF Yle

“Any sufficiently advanced technology is indistinguishable from magic.”
Arthur C. Clarke

20.3.-22.4.2014

in Yle Teletext and FISH Helsinki

The FixC cooperative organises together with Yleisradio, Finnish Broadcasting Company, a festival of teletext-art ITAF Yle. The artworks are broadcasted 20.3. – 22.4.2014. on Finnish teletext (pages 525 – 541).

The festival program includes an exhibition of works by Kathrin Günter, the winner of Teletext Art Prize2013 and a video compillation of ITAF Yle teletext-art works with a soundtrack by Uli Mayr including “Das Atom im Videotextreich” by Dragan Espenschied’s Eurodance band, Bodenständig 2000. The exhibiton takes place in the brand new FixC coopertive showroom: FISH Helsinki.

The ITAF Yle opening event also celebrates the founding of the world’s first and propably last teletext art museum MUTA (MUseum of Teletext Art). The museum will show artworks on a regular basis on a permamnet teletext page in Yle Teletext. In addition the museum will archive the teletext artworks in digital form for the media-archeologists of the future as part of the collection of Finnish electronic art VILKE.

The teletext art works in ITAF Yle have been previously shown in ITAF2013 in ARD text, ORF TELETEXT and SWISS TELETEXT. In one month over a million people viewed the artworks and following the success ITAF2013 was selected in to the program of Ars Electronica Festival , Linz, Austria, 5.9.-9.9.2013

The participating artists in ITAF Yle are :

LIA, Manuel Knapp, UBERMORGEN, Daniel Egg, Marc Lee, Raquel Meyers, Kathrin Günter, Max Capacity, Dragan Espenschied, Jarkko Räsänen, Goto80, Seppo Renvall , Dan Farrimond, Juha van Ingen, Cordula Ditz and John Lawrence.

The opening continues 10pm with a ITAF lo-tech teletext art videomix acompanied by chiptune music played by Jarkko Räsänen in Sandron kulma Kolmas linja 17

Katier shows: Paparazzi! Photographers, Stars and Artists 26.03 – 09.06.2014 – Centre Pompidou-Metz

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Paparazzi! Photographers, stars and artists

Centre Pompidou-Metz dedicates an unprecedented exhibition to the phenomenon and aesthetic of paparazzi photography through more than 600 works (photography, painting, video, sculpture, installation, etc.).

The exhibition is divided into three parts: Photographers, Stars and Artists.

RED CARPET (INTRODUCTION)
The visitor steps into the exhibition space to be immediately confronted with paparazzi flashes from an installation by Malachi Farrell, titled Interview (Paparazzi). Photographs showing a pack of paparazzi “hunting their prey” create a mise en abyme that plunges the visitor into a new role as a star, while giving them a taste of the pressure celebrities are under.

PHOTOGRAPHERS

A profession
The profession of paparazzo is more complex than it seems. Paparazzi must be ingenious, mounting what are often delicate, high-risk operations. They each have their tricks of the trade and tales to tell which together form the grand story of “paparazzism”.
In a series of interviews with paparazzi, a presentation of their tools (including spy cameras, long lenses and disguises), photographs by Francis Apesteguy, Olivier Mirguet, Jessica Dimmock and Christophe Beauregard, and an excerpt from Raymond Depardon’s Reporters film, this section goes behind-the-scenes of the paparazzi.

Myths
The figure of the paparazzo was invented by Federico Fellini in 1960. The name is a contraction of “pappataci” (mosquitoes) and “ragazzi” (ruffians). The paparazzo is portrayed as a post-modern anti-hero. Since La Dolce Vita, he has become one of the mythical figures of popular culture.
Excerpts from films by Dario Argento, Federico Fellini, Brian De Palma, Louis Malle and Andrzej Zulawski, from the 1930s to the present, reveal the public’s perception of the paparazzo as a solitary figure, often down on his luck. Devoid of morals or scruples, and therefore hard to love, he is the double negative of the war correspondent.

STARS

Under scrutiny
Paparazzo is a male-dominated profession. Its targets, on the other hand, are almost always epitomes of womanhood. This section considers the case of eight women – Brigitte Bardot, Paris Hilton, Jackie Kennedy-Onassis, Stéphanie de Monaco, Britney Spears, Diana Spencer and Elizabeth Taylor – to show how the style and stakes of paparazzi photography have changed over half a century.

The other side
Celebrities are not just helpless victims. When they spot the paparazzi, they can choose to play along with them and allow themselves to be photographed or not, in which case their reactions can range from a polite refusal to physical aggression. They can also be a willing accomplice, going as far as to invent their own way of escaping the star system and its constraints. This section presents celebrities’ different reactions to the camera through a series of shots by the twentieth century’s greatest paparazzi – Daniel Angeli, Francis Apesteguy, Ron Galella, Marcello Geppetti, Bruno Mouron and Pascal Rostain, Erich Salomon, Tazio Secchiaroli, Sébastien Valiela and Weegee.

ARTISTS

Forms of appropriation
The paparazzi photo has a recognisable aesthetic, a result of the conditions in which it is taken. These are on-the-spot, improvised images, with all the consequences this has on their composition: the long lens for distance shots, or the flash for close-ups, flatten the image. Celebrities shielding themselves behind their hand has become the symbol of media aggression. Since the 1960s, the paparazzi aesthetic has inspired numerous artists in Pop Art, post-Modernism and more contemporary movements, from Richard Hamilton to Paul McCarthy, including Valerio Adami, Barbara Probst or Gerhard Richter.

Through the paparazzo’s lens
Fascinated by the image hunters’ approach, numerous artists and fashion photographers since the 1960s have stepped into their shoes for one or other project. Photographers such as Richard Avedon, William Klein and Terry Richardson were first to get under the paparazzo’s skin for a series of shots. Many artists, including the American Gary Lee Boas, English artist Alison Jackson, and G.R.A.M., an Austrian collective, have also collected stars in the same way paparazzi do. Since the 1980s, women artists such as Malin Arnesson, Kathrin Günter and Cindy Sherman have questioned the artist’s celebrity status.
NEWSSTAND (CONCLUSION)
Celebrity magazines satisfy the demand of a media industry which has its own rhetoric and its own, unmistakable page layout. Through works by Jonathan Horowitz, Armin Linke, Paul McCarthy and Andy Warhol, this last section raises the question of how paparazzi photos reach their audience.

Katier shows: Paparazzi! Photographers, stars and artists

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From 26 February to 9 June 2014

POMP

In this original exhibition, Centre Pompidou-Metz examines the phenomenon and aesthetic of paparazzi photography through more than 600 works spanning multiple disciplines: photography, painting, video, sculpture, installation, etc.

Covering fifty years of celebrities caught in the lens, Paparazzi! Photographers, stars and artists considers the paparazzo at work by examining the complex and fascinating ties between photographer and photographed, going on to reveal the paparazzi influence on fashion photography. By associating some of the genre’s leading names, the likes of Tazio Secchiaroli, Ron Galella, Bruno Mouron and Pascal Rostain, with works by Richard Avedon, Raymond Depardon, Yves Klein, Gerhard Richter, Cindy Sherman and Andy Warhol, all of whom reflected on this modern-day myth, Paparazzi! Photographers, stars and artists sets out to define the paparazzi aesthetic.

The figure of the “paparazzi” was invented by Federico Fellini in his 1960 film La Dolce Vita as a contraction of “pappataci” (mosquitoes) and “ragazzi” (ruffians). Thus the practice of tracking celebrities in the hope of a candid shot has been around for more than half a century. Since then, this post-modern hero has become a legend of the popular press, akin to a war correspondent reporting from the frontline of fame. The profession of paparazzo is more complex than it seems. Paparazzi must be ingenious. They each have their tricks of the trade and tales to tell which together form the grand story of “paparazzism”.

Their targets are almost always women who epitomise their era’s feminine ideal: Brigitte Bardot, Jackie Kennedy-Onassis, Liz Taylor, Stephanie and Caroline of Monaco, Paris Hilton, Britney Spears… But celebrities are not just helpless victims. They defend themselves, prevent the photograph from being taken, even attack their assailant.

They can also be a willing accomplice, playing up to the camera and even setting up shots. Some go as far as to invent their own way of escaping the star system and its constraints. Since the 1960s and 70s, the attitudes adopted by these image-mongers have fascinated countless artists who, in one or other work, have stepped into the paparrazo’s shoes. Similarly, the paparazzi aesthetic (long lens, enlarged grain, flashes, etc.) has inspired works by many contemporary artists, including Viktoria Binschtok, Malachi Farrell, Kathrin Günter, Alison Jackson and Armin Linke.

A catalogue accompanies the exhibition.

Curator: Clément Chéroux, Curator, Centre Pompidou, Musée National d’Art Moderne, Photography Department. Associate curators: Quentin Bajac, chief curator of photography at Museum of Modern Art, New York Sam Stourdzé, Director, Musée de l’Elysée, Lausanne