Crosstalk – Video Art Festival in Budapest. Interview with Szilvi Német (original) (raw)
The know-how of an unconventional art biennale - The making of OFF-Biennale Budapest
The OFF-Biennale Budapest has come to life as a large-scale international art event and exhibition series; however its significance goes beyond the realms and infrastructure of contemporary fine art. By looking through the process of organizing such an event for the first time and revealing the specificities of the local and the regional post-communist condition this paper aims at introducing OFF as a long-term research project rather than a simple large-scale event. It explores the political potential of the biennale as an enactment of democracy by citizens, by actors of the cultural sector. As a micro-political act OFF can be understood as a performative approach that aims at reflecting on the very recent cultural changes of Hungary, and offers a possible new approach to readdress the emergent cultural-political issues.
International Cross-Cultural Art and Design Festival PJAIT NEMA 2021
International Cross Cultural Art and Design Festival , 2021
The International Cross-Cultural Art and Design Festival is devoted to visual communication, design, new technologies, and fine arts. At our academy, we do believe that the integration of global education is essential for students to develop the skills, knowledge, and dispositions needed for responsible participation in a civil society. The second year of the COVID-19 pandemic appeared to be causing difficulties within the academic community, but we do hope to recover soon and meet in person in Warsaw, at PJAIT, during the next edition of our festival.
Film Festivalleri: Kentler, İzleyiciler ve Endüstri
İdeal Kent- kent Araştırmaları Dergisi Sayı:10, 2013
ÖZET Bu yazı Ankara’nın film festivalleri ile ilgili özellikle İstanbul üzerinden karşılaştırmalı bir inceleme yaparken festivalleri ve amaçlarını; kültür endüstrisi içindeki pozisyonlarını ve kentler için önemlerini değerlendirmeye çalışacaktır. Festivaller, farklı paydaşlarının taleplerini kendi bakış açılarını, gündemlerini ve konumlarını kaybetmeden uzun vadedeki amaçlarını ve festivaller içindeki pozisyonlarını nasıl koruyabilirler? Bu yazının temel amacı güncel sanatın alanında sık sık gündeme gelen kültürel alan içinde sponsorların konumuna dair soruları ve eleştirileri film festivallerinin alanına da taşımaktır. Ayrıca kentlerin kültürel sermayesinin önemli bir parçası olan film festivallerinin hangi iktidar ilişkilerini içerdiği ve onları nasıl gizlediği, Ankara ve İstanbul’da kent kimliği ile bağlantılı olarak nasıl farklı tezahürler gösterdiğine de değinilecektir. ABSTRACT This article compares and contrasts the film festivals in Ankara with those in Istanbul, while at the same time attempting to analyze film festivals, their aims and purposes, their positions within the cultural industry as well as their importance for cities. How can festivals maintain their long term goals and demands from different stakeholders, without having to compensate from their own approach, stance and agendas? The main purpose of this article is to open to discussion questions and comments with regards to the position of sponsors within the cultural sphere as a part of contemporary arts. Moreover the article will elaborate on the power relations within film festivals, which are important cultural capitals of cities, and how these relations are dissembled as well as ways in which festivals differ under Ankara and Istanbul identities.
The History of Hungarian Applied Multimedia
The first conference of a series called 'Multimedia in Education' was organised in the town of Keszthely, Hungary, more than a decade ago, in 1995. This series of conferences has been organised annually ever since-by different institutions and at different locations, but with the same professional enthusiasm and effort. Having processed and systematized related digital and analogue materials, the history of a successful conference series is to be introduced here as well as the application of multimedia in Hungarian education and some concerned professional issues of interest.
INTERNATIONAL FILM FESTIVALS: FROM MODERNISM TO POST-POSTMODERN AGE
THE ART AND SCIENCE OF TELEVISION / НАУКА ТЕЛЕВИДЕНИЯ, 2020
This article uses the Russian film festival movement to analyze the evolution of film festivals from their beginnings to the internet age, focusing on how scientific and technological transformations in the audiovisual sphere influenced the social context of information circulation and cinematic creativity. The article first shows how film festivals came to depend on the internet and the use of digital gadgets in various cultural and demographic communities, including spontaneous teenage associations (so-called “youth cultures”), various professional groups, and the elderly. The article then considers the Soviet and postsoviet Russian film festival movement in the context of global shift from modernism through postmodernism to postpostmodernism. The Russian festival movement is flourishing: more and more festivals appear every day. Administrative difficulties predominate. Unofficial censorship inspires widespread fear and caution. The article proposes a parallel cine-club distribution system that would be exempt from the commercial and censorship restrictions currently applied to films in general distribution. It also considers why festivals spring up and why they disappear. Festivals are needed; otherwise citizens would not organize them. They may be organized for various reasons: to celebrate local functionaries; to celebrate art; or for other reasons. The article reveals the contradictions in the financing of particular festivals, and explains why some festivals receive government funding and others do not. Apart from federal funding, there are municipal funds, and informal relationships can bring private funding as well. The article then closely analyzes the Moscow International Film Festival, unique in that it combines two different “festivals”. From the one hand, it is a traditional showcase with three competitive programs (feature films, documentaries, and short films). On the other hand, it is an open “festival of festivals” that demonstrates films, shown and awarded at other festivals, hors concours. This section is particularly important because very few of these films can break into the general circulation in Russia.
Reframing Film Festivals: Histories, Economies and Cultures is an international film studies conference organised by the Ca’ Foscari University of Venice and the Aldo Moro University of Bari, in collaboration with the the Apulia Film Commission, the Consulta Universitaria Cinema and the Associazione Italiana per le Ricerche di Storia del Cinema and is supported by the Centro Studi Apulia Film Commission, Science Gallery Venice and Hostelsclub. This double-event conference seeks to contribute to the so-called film festival studies through a series of roundtables and debates involving film critics, practitioners and scholars. In this vein, Reframing Film Festivals seeks to foster an interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, the Ca’ Foscari strand (11-12 February) will be devoted to the critical-historic and historiographic dimension of film festivals, while at the University of Bari (25-26 March) the focus will be placed on their cultural and economic dimension.
New Transmedia Design for Traditional Film Festivals
Geminis, 2022
The disruptive process of transformation in the audiovisual sector were unexpectedly accelerated after the covid- 19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. Different narrative strategies in contemporary production using multiple platforms in creative processes are innovating storytelling model and influencing film festival programming and production. The current format of online film festivals restricts access to user data, as the exhibition is limited by parameters established by exhibition licensing agrements and limited tickets per screening. The process of festivals platformization implies new online functionalities integrated at economic and infrastructure levels which fully affects their organization and strategies. MixBrasil Festival is proposing new ways to merge different formats and languages into its programming.
Cinemaniac X (10 years) - Contemporary art and Cinema
2011
The exhibition CINEMANIAC, established in 2002 as a sidebar program at the Pula Film Festival, is a long-term interdisciplinary research platform questioning the connection between film /moving images and contemporary art, realized in the form of an exhibition, presenting the works of Croatian and international artists, aiming to bring them closer to a wide festival audience. Book is published on the occasion of project's 10th anniversary. A "retrospective in a book" explores works of art that question film as a system of representation, social technology, a complex apparatus of production and reproduction of moving images.
The Soros Center for Contemporary Arts of the Soros Foundation is approaching the tenth anniversary of its establishment, and in the present paper I w ill attem pt to give a brief account of the last five years of its existence. The last decade is divided into two periods by a historic change the events of which occur maybe once in 50 years in the history of a country, let alone a whole continent. The end of 1989 and the beginning of 1990 marked such a turn in the history of Hungary and all of Eastern Europe. The political transition that took place in this region brought about changes in every sphere of life, including art. Although the main changes occurred in politics, they have had an effect on the general state of art and the life of artists. To mention only the most immediate effects: the plans for the re-burial of the executed Hungarian prime minister, Imre Nagy, were made by artists. Another symbolic act o f the 1956 revolution's re-evaluation was the erection o f the monument to the martyrs of the uprising. A great number of artists entered the ir plans for the com petition which a board selected one from. On the basis of this plan the monument was then built. In the new circumstances, some artists started to deal with politics more and more actively. Before the changes, art was one of the possible ways o f expressing p o liti cal views indirectly. A great deal o f political issues, which during the existence of the one-party system could only be dealt with in the language of art. could now be discussed directly. Thus, they became separated from art. The arts were no longer categorized according to the infamous "three Ts" (which stood for T űrt, Támogatott, Tiltott, i.e., supported, tolerated and banned arts) which made a dis tinction between works of art not only on the basis of the ir content or message, but also on the basis o f stylistic criteria. Abstract art, for example, was considered unwelcome. The exhibitions showing works that, under the previous regime, could only be shown illegal ly (e.g., Underground Art in the Aczél Era) illustrated perfectly how the new situation re-writes the history of arts in retrospect. Works rep resenting lasting value have become clearly distinguishable from those which are ephemeral, merely conveying current social and political issues w ithout inherent artistic merits.
Eastern European film festivals: streaming through the covid-19 pandemic
Studies in Eastern European Cinema, 2021
The Covid-19 pandemic disrupted virtually all domains of the film industry, from the production, through distribution to exhibition of films. As opposed to flourishing VOD platforms, cinemas have been hit particularly hard and with them film festivals, which had to choose between postponing their terms, becoming online or hybrid, or being cancelled altogether. The article focuses on festivals that either take place in Eastern Europe or are focused on the cinema of the region. It first briefly outlines the history of film festivals in Eastern Europe, then it summarizes the impact of the Covid-19 pandemic on cinemas and VOD platforms and finally presents three case studies of festivals and their activities during the pandemic. The three festivals streamed at least some films from their programmes and endorsed other activities, such as online industry events, drive-in cinemas and Virtual Reality events. The study concludes that the degree to which film festivals could successfully take place during the pandemic depended more on the type of festival than on its geographical location or geographical focus. Eastern European festivals were not lagging behind the West in this respect and many European festivals were, in fact, cooperating and learning from one another. This article examines the place and role of streaming at film festivals either taking place in Eastern Europe or specialising in Eastern European films. It was prompted by two factors. One is the Covid-19 pandemic, which affected practically all spheres of culture and leisure, shifting from their live consumption to consumption at home, chiefly online. The second is a recognition of the growing importance of streaming in film consumption, which has been accelerated by Covid-19. The analysis focuses on three case studies: Polish Film Festival in Gdynia (PPF Gdynia), Ji.hlava International Documentary Film Festival in Jihlava (Ji. hlava IDFF), and goEast Festival in Wiesbaden. We chose these festivals to account for their different specialisms and traditions, with the PPF being a festival of Polish films, addressed principally to the Polish audience, the Ji.hlava IDFF being the leading documentary festival in the region, and goEast covering a large variety of films from both Eastern Europe and the former Soviet Union, addressed to international audience, but especially German one.
Between Exhibition and Fair / Entre chien et loup, International Symposium, February 2-3 ,2018
2018
• 11.45-12.00 • Moky May (ArtReview) Did Video Kill the Magazine Star? Or Was It Social Media? How the Internet is Changing the Relationship Between the Traditional Actors in the Art World 'Did Video Kill the Magazine Star?' O sono stati i social media? Come Internet sta cambiando le tradizionali relazioni tra gli attori del mondo dell'arte • 12.00-12.15 • Jörg Heiser (Universität der Künste Berlin/Frieze) The Exhausted Spectator: Criticism Amidst Mega-Exhibitions and the Art Fair Circus Lo spettatore esausto: la critica nel circo di mega-mostre e fiere d'arte • 12.15-12.30 • Jens Hoffmann (The Exhibitionist) Back to the Past and into the Future: Curating a History of Exhibitions Ritorno al passato e verso il futuro: curare una storia delle mostre • 12.30-12.45 • Suzette and Brendon Bell-Roberts (Art Africa)
Differing Outlook of Contemporary Advertising, 2019
INTRODUCTION Throughout history, art has formed the way people live in harmony with their environment and the way they conceive the world. In return, art in itself has been fashioned within the particularities of a sociocultural structure determined within an historical axis spanning across systems of perceiving the world from magic to religion, from mythology to history, from anthropology to sociology, from technological developments to digital innovations. As a means of conveying an event or emotion to other people aesthetically, art has been interpreted differently depending on the social, political, economic and scientific conditions of the society. While historical periods, social events and aesthetic taste influenced the formation of the work of art, these factors also affected perception of the spectator and accordingly the relationship between art, artwork and the audience has altered. The innovations in the visual, formal and interactive forms of expression in the field of art have also transformed the exhibition spaces into today's international art fairs. The history of exhibitions started within caves in which the wall paintings appeared, a historical trajectory that follows a lineage towards cabinets of curiosities, white cubes, public spaces to biennials, triennials and international art fairs.
Gezinema World Cinema Documentaries, Q&A Session with Ayşe Çavdar & Diren Demir
2023
The Gezinema World Cinema Documentaries series was held in the context of the Gezi - 10 Years After program at the Maxim Gorki Theatre, Berlin, from 26 May until 25 June 2023. The program took the 10th anniversary of the protests in Istanbul as an opportunity to analyze the current political upheavals and hoped-for revolutions. Following the presidential and parliamentary elections in Turkey, we ask: what state do the people, does the republic find itself in at the moment, especially after the catastrophic earthquakes? Gezi was and is a symbol for working together to build up a country worth living in. Together with participants active in Gezi and now living in exile, primarily in Berlin, GEZİ – TEN YEARS AFTER attempts to trace this legacy for the future. In the GeZinema series, co-curated by Şirin Fulya Erensoy and Necati Sönmez, the goal was shed some light on resistance movements of the past decade from around the world, as well as their effects. We screened films that were shot in the epicenters of the protests from Chile to Lebanon and bear witness to the stories of their protagonists. Following each screening, conversations with experts, including filmmakers, activists and scholars, contextualize the films and enabled an understanding of the real events. In the process, they offered the opportunity to discuss the representative and emancipatory power of the medium of film. The audio recordings from the Q&A sessions were transcribed and edited. All speakers accepted to have the conversation published in this manner. This is the Q&A with artist Diren Demir and scholar Ayşe Çavdar, moderated by Şirin Fulya Erensoy, following the screening of Love Will Change the Earth (Reyan Tuvi, 2014). The series GeZinema was created in collaboration with the H2020 MSCA-IF project, VIDEOACT, a project funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 101025524.
The Video Show: A Festival of Independent Video
MIRAJ, 2017
The Video Show: A Festival of Independent Video and the events that followed this exhibition, which took place at the Serpentine Gallery, London, 1975, will provide an historical context to consider the ongoing and complex relationship between art and activism, which surrounded the use of video since its arrival in the United Kingdom in the early 1970s. ‘Artist video’ on the one hand and ‘community video’ on the other, will be framed by the actions of London Video Arts (LVA), who formed to support artists working with video and the Association of Video Workers (AVW), who formed to support people working with video on a not-for-profit basis.