But I have a personal concern, from the years of employment with art result: I do not want this piddle-painting to be judged as art, because it artists and the institutions dedicated to them are actually tortured and weakened (whether perceived as such or not) by it. In fact, it is so that ideas, works and projects that are not just trained in courses and mostly trimmed on conventional aesthetic decisions, but instead require mental work lose assetts in the public articulation. Above all, there are art fairs, who play a role especially in Austria and the south of Germany - and in Catholic Cologne (I think the prevailing parallelism of Catholicism and mallart-like sucks and do not voluntarily ride around on it) - for the art scene play a role. With their obsession, to get art as an object in its pocket and to value it following formal, conventional criteria, they promote the unbridled production of images that use these well-known, well-tempered claviature - and so far all non-postmodern, but really adapting, just repetition of already known.

An exception is of course Basel, THE fair, whose objects have six-ciphered-prices and forms, not compatible with living-rooms but the cutting of a house or museum. Is this merely bragging and successful Blow Up of aesthetes living in Monaco, who have merely never been living under the 5 or 6-digit area? I see among the Basles, who are usually equiping the museums, rather the kings of the market: not uncompatible, but also better in decipherable ways: first, years of training at art schools, ideally raised on the independence of conventions and the real autonomy in aesthetic and substantive issues - in the realistic minimum: the constant adaptation to the same area of meta-or-against conventional art - and second, grants, project funds, etc, just because of the fitting framework accustomed to art projects as investment fields, matching ideas for the individual development, enabling ongoing work steps and results. Such projects may extend to real mammoth, as t - not coincidentally - most recently artists featured as exhibiting in Bavaria have shown with large-scale projects, for instance Magdalena Jetelová in "Song Line", or in her sufficiently royal exhibition space (exhibtion's name is „Abflug“) in the entire museum H2 (cf. www.arts-on.com/magdalena_jetelova.html und www.jetelova.com),as well as the Islander or the Russkie project by Anastasia Khoroshilova (see http://www.arts-on.com/augsburg_zarensilber_russkie.html), who traveled the length and breadth through Russia to photograph different ethnic groups and lifestyles, or the youngest I-Tüpfelchen, "Woher Kollege, wohin Kollege" (Where from, colleague, where to go, colleague?) project of the Munich artists „Empfangshalle“ („Lobby“), who spoke with the workers of the Munich waste disposal for months on their feeling about the concept of „home“. um And then provided for a somehow representative selection of these workers an original garbage truck to rebuild it for any optionally long journey (see http://www.empfangshalle.de/sites/projekte.html). Schließlich A project with funny effects and perhaps involuntary, but strong conservative implications of advertising Germany, particularly with the voyage of the vessel through colourful Africa, demonstrating that in Germany all his fellow citizens participate in wealth and cleanliness.

Unfortunately, the documentary about the project (not produced by the artists themselves) no word on how the Africans in their home country explained their chic new car - in the context of which art project he had come home to Africa, not any talks on the project. So art, that is simply bigger, better, more beautiful and international than what we usually communicate with each other and has perhaps more original content or is better defined. Such works are, of course, "common" because not reachable for every artist, but nevertheless a very important and quite specific cultural achievement of art, to act against the economic sense and sometimes funded on a project - the first artist of this kind was perhaps Ludwig II of Bavaria, who existing as a true king, thus not allowed to object the economic logic and did this nevertheless - the toilets with flushing water in Neuschwanstein as example – an artist would have earned more glory in the contemporary scene with such architectural vanguardism).

A third group, which is above the equator in Germany, on the west-east line through Berlin and above the critical-reflective artists. That is meanwhile more than a different style - the way this art articulates, is institutionally or project-like. We draw the examples from the contemporary video art, and we select as „institutions“ the Edith Russ House for media art and the video price of Marl, to take a look at the breeding ground for folk art, in which the critical projects flourish and prosper. In addition, various sites such as myvideo.de, uber.com etc. - which we will search through for representatives of the Miss-understanding of art and for the correct understanding "humus" of modernity as a style without project and financing basis.

The Miss-/Mister-Understanding is represented in the category "art" and by „just married“ oder „wedding“ films, by portraits combined with sentimental comments or (even, at least, etc.) Gothic comics enriched with appropriate but heinous music and lyrics. But there are also funny frontiers in style, our best reference in this relationship is the video "Barbie Girls", it's a great thing, therefore, but probably because of the music rights currently locked in www.myvideo.de! :

The "Rodenberger Barbie Girls" http://www.myvideo.de/watch/4718262

Then, also humus, videos with avant-garde style, like our video on http://next-topmodel.prosieben.de/profil/48681/video/4041

or a beautiful piece accidentially found on www.uber.com, artist just wanted to take a video shoot for school and was apparently free to break with classical rules of photography and narration, which she nearly completely resolved in favour of a revolutionary girlish style:

http://www.youtube.com/watch?v=S7Xbb_IvivE

(Library Tapes - Mellan ljud och text – with pictures of Emilie Björk) by Danie Lohmann

These in addition to more boring art pieces, especially something quite unwitty, with the effects of the digital image world - so there are a few real beauties. Really mixed, albeit in a difficult language, are the works in the Dutch Forum

http://hnkforum.ning.com

Pretty cool for example the video about crossing a zebra:

http://hnkforum.ning.com/video/video/show...

The mixture of art and music has to te taken into account, too. Art videos are at fist music videos in the web.

Our discovery in this category is over-or blogger fifi fifis Blog: fifis.uber.com and Candy Glass - the videos between experiments, simple stories and concert-chips:

http://fifis.uber.com/blogs/glass_candy.html

Somehow hip, particularly the always surprising mix of hyperconventional and vanguardistic gestures and sounds.

Thus approaches to art, these because they are not an imitation of exhausted conventions. And now, back to projects. Projects, following another convention, existing in art so well like the (Bavarian) kings – it's the individual, multiformed statement, art with recognizable more or les political content. Many of the winners of the video art prices of Marl show themselves likewise. We will just have a look at the current prize and the first winner, and quote something about it from the website of Marl (Text curls into its end now, and oh, I am lazy and that is so pretty declared)

"The Marl Video Art Prize

Video art since 1963, when Paik Nam Yune and Wolf Vostell influenced the TV for the first time artistically from the outside, has become more and more an integral part of contemporary art.

Since 1984 the Sculpture Museum „Glaskasten“ arranges the renowned Marler video art prize. Set as Biennale, the first national prize for art in these media gives an overview of the development of German video art of the past two years.

The Marler Video Art Prize is a collaboration between the „Glaskasten“ Sculpture Museum of the City of Marl, the Adolf Grimme Institute (Marl), the WDR television and the Academy of Media Arts (Cologne). " The artworks shall show excellence in specific media implementation, the diference to simple video documentaries, artistic quality and the quality of technical processing.

http://www.marl.de/Marl_Kulturell/Medienkunstpreise/Videokunstpreis_neu.htm

Organizer is thus the Marler museum for sculpture "Glaskasten":

" The commitment of the sculpture museum Glaskasten is reflected in the awarding of the prestigious Marler Video Art Prize, that is awarded in 2008 for the 13th time, and the Marler video installation price and the MEDIA-room price. In addition, the German Sound Art Prize is awarded, that is arranged by the Sculpture Museum with the cultural radio WDR 3. "

Even more of them here:

http://www.marl.de/Marl_Kulturell/Medienkunstpreise/NeueMedien.htm

And the 2008 prize winners, 13. Marler Video Art Prize:

Daniel Burkhardt (geb.1977) from Cologne for his work

„Rauschen & Brausen 1", 2007, 4min 52sek („Noise & showers“ 1, 2007, 4min 52sec)

Again quotes from the jury:

""The precision and skillful execution of these craft digital image composition reveal the viewer a radical reduction of urbanity, with the constant duplication process more and more abstracted and at the end dissolving into a landscape of uncertainty. The picture does always activate very vivid associations to traditional arts and crafts - as carpeting or weaving - despite the virtualization. The development of the image is limited in a consistent way to vertical and horizontal expansion movement and the juxtaposition of static (quite ambiguous in meaning) of the building and dynamics of transport . Within, the skyscraper looming lonely at the top of the images gets more and more into the background." "

And now, back in the old style. Our Summa-RY:

So little content, some form, some crafts. But. Fatal, fatal, no link. This video will not be shown on www.youtube.com, it will remain locked up in the legal issues of the museum aranging the award and the higher dignity making the thus rare artist. And in fact, articles on the award and the artists can be found on the Internet en masse, but among the first twenty are only three photographs, film stills from the video, and of course (!) not the video itself - a tragedy, though understandable. In this context exists a reasonable silent agreement between institutions and institutionally featured artists, that shall force ultimately museum visits - Well, why not, there are things worse. About the social content of Burkhardts view on the skyscraper, the interior architecture of the skyscraper everything first by images without sugar, we are finally ready:

http://www1.khm.de/nocache/en/news/event/article/152-13-marler-video-kunst-preis-an-daniel-burkhardt/

Or / and again, even formal and already nearly established: video art, the Edith Russ House for media art featured, for example in the current exhibitions or media projects:

Interactions, actually inconspicuous "technologies", which are not only represented as a feature in itself, but as an integrated train of culture 'in general'. Similarly unremarkable objects: old bulbs, old-fashioned microphones, shadow games, software or the Internet.

Guided Tours:
Every Sunday, 15.00 p.m.
Guided tours for private groups, companies and schools for consultation, please call 0049 897 l11.

OPENING HOURS
Tue - Fri 14 - 17.00 pm
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Admission: 2,50 / 1,50 €

Edith-Ruß-Haus für Medienkunst
Katharinenstraße 23
D-26121 Oldenburg
fon: +49 (0)441 - 235 25 68
fax: +49 (0)441 - 235 21 61

„ "My work do not exist, if there is not anybody devoting them time." “

Rafael Lozano-Hemmer

http://www.edith-russ-haus.de/index.php/Programm/Programm

Documentary and systematically, as we love it, however, art with obsessive interests in love, sex and other embarrassing actions, pojects and situationes. We might look with some irony at Stefanie Trojan, Ulrike Ritter, Valie Export, etc. and, too, at

Larissa Faßler

Who forces young people to express non-existent or existing express feelings for each other in front of the camera.

Teen Couples I (2003 &ndash at the age of 14), 3:51 Min.

Teen Couples II (2005 – at the age of 16), 4:50 Min.

Teen Couples III (2007 - at the age of18), 4:30 Min.

Heart Throb (2003), 1:45 Min.

www.edith-russ-haus.de/index.php/VideoVisionen/VideoVisionen

Faßler summarizes the contribution of the media to love and emotion as imaginatives value, projection and quasi-training ground in "Heart Trob" iconically and hyperbolically together to about two minutes from THE MOMENT, in which a girl groupie (a female fan) has the opportunity to kiss her Star.

Even the stills indicate the extent of the conduct construction required on the relations between the sexes even when all participants are of the conviction that almost all is virtually done by natural magnetism.

As Lozano-Hemmer's artworks, this is in a way systematic and shows an understanding of art as (analytical, constructive, communicable) part of the cultural basis. Well, then, I do not have any more now.To say or to link. I am not proof machine, you silly. Look web and institutions up for your own....:). (If you like to write something about it later on, become a member in our member's room and open up your own blog)

Report and Screenshots: Dr. Ulrike Ritter

(c) Photos: Institutions and artists, here published for journalistical purposes