Works from the areas of Film, Installation and Expanded (live projects such as performances, interactive works, or workshops) can be submitted. The deadline for submissions is 7 January 2024. A selection committee together with a team of curators will compile programme entries for the upcoming festival from the submitted works.
Submission of work is free of charge. Artists’ fees will be paid for all entries selected for the festival.
The 37th European Media Art Festival will take place from 24 to 28 April 2024. For five days, Osnabrück will become an international and trend-setting platform for media art and a meeting place for artists, curators, researchers and students. The exhibition at Kunsthalle Osnabrück will also be on view until 26 May 2024.
06/28/2023EMAF shows film program for the anniversary of the Kunsthalle Osnabrück
The EMAF congratulates its long-time cooperation partner, Kunsthalle Osnabrück, on its 30th anniversary and participates in the jubilee program with a special, internationally acclaimed film:
“È noite na América / Es ist Nacht in Amerika”, Ana Vaz (Brazil, France, Italy 2022, 66 min, OV with English subtitles)
Ana Vaz’ feature-length debut is a film in shades of blue, where documentary storytelling meets moments of horror and fantasy. It was filmed in the surroundings of Brasília and in the local zoo, habitat to hundreds of rescued animal species.
“Anteaters, wolves, owls, forest foxes and capybaras meet biologists, veterinarians, animal keepers, and environmental police. A complex web of intersecting perspectives emerges from the challenge of preserving life. In the end, who are the real prisoners?” (Ana Vaz)
For Ana Vaz (*1986 in Brasília), film serves as an instrument to critically question her own perception of land, language, and borders. She understands her works as film-poems that develop along territories and events in which inner and outer colonialisms re-live in human and more-than-human relations.
Her films have been presented at exhibitions and festivals worldwide, including the Tate Modern (London), Palais de Tokyo (Paris), Savvy Contemporary (Berlin), New York Film Festival, Berlinale, Flaherty Seminar and British Film Institute, London - a well as regularly at the EMAF.
We invite you to join us on 15 July at 7 p.m. at the Kunsthalle Osnabrück! The admission is free.
05/15/2023Curator´s Tour on International Museum Day
On International Museum Day on 21 May 2023, there will be a guided tour through the exhibition of the European Media Art Festival with curator Inga Seidler at 4 p.m. in the Kunsthalle Osnabrück. The festival theme “Trembling Time” also forms the content and conceptual framework for the current exhibition. In the festival exhibition curated by Inga Seidler, our understanding of time is to be questioned. The artists shown consider alternative histories and visions of the future beyond the idea of progress. Her observations, narratives or deconstructions take place in the context of time and her perception against the background of a global climate and environmental crisis.
04/25/2023EMAF 36 - Award Winners
After five days of the 36th European Media Art Festival (EMAF), the prizes were awarded on Sunday in Osnabrück’s Lagerhalle. The EMAF Award (endowed with 3,000 euros) for a trend-setting contribution to media art was awarded to Tulapop Saenjaroen for the work Mangosteen. The Dialogue Award (endowed with 2,000 euros) for the promotion of intercultural exchange was given to Peng Zuqiang for Sight Leak. Living Room under the Flyover by Karolina Breguła received the Media Art Award of the Association of German Film Critics (VDFK) (endowed with 2,000 euros).
The EMAF Award and the Dialogue Prize were awarded by an international jury of media artists and curators. This year’s jury consisted of Greg de Cuir Jr, Jeannette Muñoz and Maryam Tafakory. The film critics Rainer Bellenbaum, Bettina Hirsch and Luca Schepers formed the jury for the EMAF Media Art Prize of the VDFK.
“Mangosteen by Tulapop Saenjaroen is about a surrealist narrative dreamscape that does a masterful job of bringing together archetypes, character, music, and humour. This is clearly the work of a talented director in command of his craft,” judged the jury of the EMAF Award.
Kevin Jerome Everson’s If You Don’t Watch the Way You Move was also honoured with a special jury award.
The Dialogue Award was given to Peng Zuqiang’s Sight Leak for the “sensitive utilisation of the camera tracing a journey through an urban landscape, and for the way the voices perform and comment upon the text. The film contrasts and critiques the western philosophical imaginary with eastern queer realities,” so the jury.
The jury gave a special award in this category to Gautam Valluri for ul-Umra.
Living Room under the Flyover, a joint project by Karolina Breguła, Shi-Fen Zhang, Rong-Yu Li and Ya-Qiao Li, impressed the the jury of the EMAF Media Art Award of the VDFK “with its cinematographically sensitive portrayal of a political protest against housing displacement in Taiwan. In reference to the staging and performance of a precarious housing situation under the highway bridge in Tainan’s railway station district, the film skilfully combines well-composed visual settings that alternate between static photography and subtle momentum. As the film puts the audience in the position of detecting and examining movement or standstill, it is ultimately a reflection of the endurance that finally led to the partial success of the political resistance.”
The VDFK jury awarded a special prize to Anna Zett for Afraid Doesn´t Exist.
The exhibition of the 36th European Media Art Festival (EMAF) will be on display at Kunsthalle Osnabrück until 29 May.
We would like to thank the numerous visitors for their interest and look forward to seeing you all again next year!
04/14/2023EMAF 36 - Film Programme: SPECTRAL. Unburdened Recollections
At the interface of film and performance, EMAF is carrying out a new, multi-year project in cooperation with the artist collective LaborBerlin. Under the title SPECTRAL. Unburdened Recollections, historical and rarely shown expanded cinema works and film performances will be reconstructed and reperformed at the festival.
The programme opens with two Super 8 performances by Argentinian filmmaker Claudio Caldini (curated by Federico Windhausen) and an expanded 35mm work by Spanish experimental film pioneer José Val del Omar (curated by Esperanza Collado). A panel with the participating artists and curators (moderated by Mark Paul Meyer) will address how these ephemeral works of art can be preserved and made available now and in the future.
The project SPECTRAL is supported by European Union and Berlin Senatsverwaltung für Kultur und Europa
Image: José Val del Omar’s schemes on pulsating lighting included in his text “Five types of tactile lighting”, handwritten document, undated.
04/06/2023EMAF 36 - Campus
This year’s EMAF Campus is being organised by art academy classes from Leipzig, Munich, and Mainz as well as by Osnabrück University and Osnabrück University of Applied Sciences. In exhibitions, film screenings, and workshops developed specifically for the festival, they will present current projects – from video and audio installations to kinetic objects and collectively created films.
Under the title Patching Networks, the class for Image and Space Politics of the Academy of Fine Arts Munich will address different natural and social ecologies – the fragile connections between bodies and spaces, subject and community.
In Sorry, I Have to Leave, the class Expanded Cinema from the Academy of Visual Arts Leipzig explores movements of time and moments of transition as they become visible in places of remembrance and (re)preservation, as well as in gestures of solidarity and resistance.
The film class of the Academy of Fine Arts Mainz is developing a new, collective film project for the Filmtheater Hasetor. The Best Remaining Seats not only activates this particular cinema and its history, but also explores what cinema (today) means as a shared realm of experience.
Students from Osnabrück University, the University of Applied Sciences Osnabrück and the School of Music and Art are participating with video projects, workshops, and installations. Whether they are exploring artistic immersion as “artronauts” in times of change and progression, inventing new solutions for dealing with digital media, or whether they are exploring local green spaces as a way of preserving hope for a liveable future - the students of the three institutions are presenting a wide variety of works that will be shown and exhibited at various locations in Osnabrück’s city centre.
In less than three weeks the 36th European Media Art Festival will begin in Osnabrück. One of the sections of the festival are the talks: four panels with a total of seven experts.
Wishing to disconnect time from linearity, productivity and progress, the talks of EMAF 2023 curated by Daphne Dragona explore time with regard to the temporalities and rhythms of different worlds. Paradigms of degrowth come tothe foreground shedding light to the possibilities and challenges of scaling down human activity and its impact. The ideas, proposals and projects discussed underline the urge to respect the limits of the planet and to acknowledge dependencies on a social and ecological level.
Within this context, a particular emphasis is placed on the role of technology looking into its controversies in making, taking, or wasting time and in shaping futures. Examples of low-tech, traditional or community knowledge are introduced as models for a more sustainable way of living. Initiatives and institutions that aim and advocate for behavioural and systemic change are discussed paying attention to their programme with regard to the use of energy, resources and time.
Although turning back time is not possible, the potential to let go of the imaginary of progress, to slow down and to change pace is still a viable option.
The speakers of EMAF 2023 embrace such possibilities examining how it can happen from individual to collective and from community to society.
If we can understand time as something to be passed or wasted or killed, rather than saved and spent, we might move away from the drug of liveness that digital capitalism uses to bind us to its rhythms - That’s what Tung-Hui Hu’s Digital Lethargy, or Living with Dead Time is all about.
What is considered today as low-tech and what can slow practices bring to a time of hyper-productivity and overconsuption? What does it take to change pace and what are the costs? How can art, design and technology contribute to building a more sustainable society? Kris de Decker and Hypercomf, the speakers of the panel Going Low-tech/ Designing Self-sufficiency, will respond to such questions with examples from their own artistic practice and way of living.
As part of the panel Planetary metabolism & temporalities of environmental change, two artists and researchers will present recent works of theirs and exchange their thoughts about the costs of technological progress on Earth’s species and ecosystems. Karolina Sobecka will address the phenomenon of the ‘tar pits’, which are natural substances made of thick oil, able to reveal fossils once trapped in them, and to manifest different temporalities of life and matter. Joana Moll will discuss the augmentation of the anthropogenic mass with regard to the biomass, its negative effects on the biosphere and the possibility to regenerate itself.
Powering Degrowth is one of the titles of another panel. Is degrowth an option for today’s world? Which institutions and infrastructures can assist in such a shift and process? Where can paradigms of relevance be found, andwhat can be learned from them? Speakers connected to exemplary initiatives in Germany will position themselves on the topic drawing from their own practice. With contributions by Florine Lindner, Muerbe u. Droege and Andrea Vetter.
03/27/2023EMAF 36 - Artist in Focus: Angela Melitopoulos
This year, EMAF honours the artist Angela Melitopoulos as Artist in Focus. Since the mid-1980s, she has been creating videos, installations and sound works, also in cooperation with other artists, theorists and activist networks. EMAF presents a selection of her works, from early experimental and activist videos to recent documentary films. They portray movements through the landscapes of the Anthropocene (Matrilinear B – Surfacing Earth, 2020), follow the traces of a migration experience perpetuated over generations (Passing Drama, 1999), or illuminate the entanglements of technology, modern subjectivity and animism (The Life of Particles, 2012). In dialogue with Melitopoulos’ work, there will also be films by other artists specially selected by her, including Alain Resnais, Irit Batsry, Joyce Wieland, Helke Sander and the Newsreel Collective.
03/16/2023EMAF 36 - Film programmes: Current Selection
The film programmes of this year’s EMAF will once again provide a broad overview of international experimental filmmaking – from current short and feature-length films to historical works, audiovisual performances and expanded cinema.
Central to the film programmes is the International Competition. This year, the short and medium-length films thematically focus on the examination of family relationships, intimacy and domesticity, the traumas of displacement and uprooting, and artistic time travel between the past and the future.
Video and audio material from the archive of the GDR opposition forms the basis for Anna Zett’s film Afraid Doesn’t Exist (DE 2023). Using a pulsating collage of underground music, poetry, private and journalistic recordings, she embarks on an emotional and intellectual approach to experiences of violence and political self-empowerment. Mangrove School by Filipa César & Sónia Vaz Borges (PT/DE/FR 2022) is part of a long-term artistic research into the history of decolonial resistance in Guinea Bissau. In atmospherically dense images, the film reconstructs how one lived and learned together in the historical guerrilla schools of the mangrove forests.
In James Richards’ video Qualities of Life: Living in the Radiant Cold (DE 2022), still-life shots of his own and other people’s living spaces, of bodies and infrastructures are combined with fragments taken from musical scores to create an evocative image of a present in a permanent state of suspension. Peng Zuqiang’s Sight Leak (CN 2022) also navigates the border between intimate interior and anonymous exterior spaces. Loosely based on Roland Barthes’ writings on China and their homoerotic subtext, in this work a flâneur moves through public spaces thinking about the gazes and desires that are encountered here, hinted at, denied, and mirrored. In her experimental road movie Selfish Road (UK/DE 2022), Oreet Ashery follows the infrastructures of separation and delusion, memory and connection through a politically fractured landscape.
The four current feature-length films in the programme also convey multi-layered impressions of landscapes in transition, contested geographies and overlapping times. Sophio Medoidze’s Let Us Flow (GE/UK 2022) observes the changes caused by modernisation and migration processes in the remote Georgian mountain region of Tusheti and the importance of traditional rituals that create collective bonds while also reinforcing social exclusions.
In Slaughterhouses of Modernity (DE 2022), Heinz Emigholz focuses on the work of two South American architects: Francisco Salamone, whose works of the 1930s are committed to the spirit of a fascist-futurist modernism, and Freddy Mamani Silvestre, whose projects radically resist the dictates of Western modernism. They also form the background for an interrogation of the Berlin Palace and its position between experiment and restoration.
Further films in the programme are by Udval Altangerel, Parastoo Anoushahpour, Ben Balcom, Karolina Bregula, coyote, Ana Edwards, Kevin Jerome Everson, Sirah Foighel Brutmann & Eitan Efrat, Luke Fowler, Wenqian Gao, Dazhi Huang & Huizhen Zhong, Eginhartz Kanter, Fox Maxy, Hardeep Pandhal & Adam Sinclair, Morgan Quaintance, James Richards, Bassem Saad, Tulapop Saenjaroen, Eri Saito, Deborah Stratman, Gautam Valluri and Gernot Wieland.
03/02/2023EMAF 36 - Exhibition "Trembling Time"
The exhibition of this year’s European Media Art Festival (EMAF) “Trembling Time”, which will be on show at Kunsthalle Osnabrück from 19 April to 29 May, explores various concepts of time and temporality.
Human existence is fundamentally shaped by the categories of space and time, whereby time is hardly tangible, difficult to define and to grasp. It presents itself as anything but absolute or objective. Concepts of time – and how we develop it, perceive it, measure it, deal with it, think about it, discuss, and change it – depend on how a society is structured. People perceive time as different temporalities depending on the context, it is extremely mouldable within human experience.
The abstract, quantitative perception of time that shapes our (working) everyday life and rhythm of life, nowadays forced by digital technologies, is historically a very limited facet of human experience. Behind this linearly conceived time, in which one leaves the past behind and moves into a changed or changeable future, we find the narratives about the progress of colonialism or capitalistically organised societies. This linear understanding of time classifies groups according to their cultural differences, from progressive to backward, thus legitimising colonial interventions with the goal of “civilisation”.
The artists chosen for the exhibition by curator Inga Seidler explore the multi-layered nature of time and invite us to draw our attention to alternative dimensions of time beyond an understanding of linear time, such as inner time, biological time, or the deep geological times of the earth. Alone, the realities of climate crisis or radioactive waste force us to think of time on a completely different scale. The deep time of such phenomena, or of geological and planetary phenomena in general, exceeds the time scale of humans or even the entire human species.
Eva van Tongeren’s multimedia installation In the Belly of the City (2022) explores a whale cemetery that spreads out beneath the urban landscape of Antwerp, where its inhabitants now work, live, play, talk and rest. The videos follow paleontologist Mark Bosselaers as he examines the whale bones of Antwerp. By arranging the bones according to place and time, he tries to uncover the origin of the world as we know it today. And in the process, he comes into contact with his own mortality.
Tang Han´s video work Ginkgo and Other Times (2022) focuses on the ginkgo, a living fossil that has been around for 200 million years. The artist explores the cultural-historical relationship between the ginkgo tree and humans considering the temporality of the ginkgo in relation to that of other living beings.
While some works address different temporalities beyond the human perception, measurement and existence, other artworks turn to the relationships between past, present and future, as well as the methods of storytelling, assembling, remembering, and archiving. In doing so, they also turn their gaze to experimental languages of cultural production and dissemination, as well as to the alternative histories and spaces of possibility that the archive can offer.
Thomas Mader’s installation all heat and no light (2022) focuses on the longevity of communicative text/image strategies through leaflets, propaganda and meme formats. It creates timelines between objects and events in relation to their shared fundamental, historical and linguistic connections. Specifically, it looks at the appropriation of the figure of the Pink Panther by the NSU, the politicisation of the Ensisheim meteorite by King Maximilian I (1492), and the ongoing struggle over certain meme formats between the far-right and far-left creation of digital image content.
With Do You Remember Sarajevo – Multitude (2021), Clarissa Thieme and Nihad Kreševljaković reflect on the potential of archives in terms of personal and collective histories beyond prevailing conventions that frequently lead to erasure and one-sidedness. In an experimental setting, they allow the audience to encounter and engage with the archival material of the library Hamdija Kreševljaković Video Arhiv Sarajevo, a private collection of amateur videos filmed by a group of friends in besieged Sarajevo. Thirty years after the beginning of the Bosnian war, new political urgencies arise from issues of self-representation, historical revisionism and the relativisation of violence not only in the region of the former Yugoslavia.
The accreditation allows free access to all film programmes, the exhibition, talks programmes and EMAF Campus. The deadline for accreditation is 12 April.
Further information can be found at: https://www.emaf.de/en/service/
There is no accreditation fee for press representatives. Please contact email@example.com
You will find out more about the program in the coming months.
01/17/2023EMAF 36 - The Curators
Exhibition, Film Programme and Talks - last week we informed you about the different sections that make up EMAF’s thematic focus “Trembling Time”. Today we would like to introduce you to the curators who develop these programmes for you:
Inga Seidler lives and works as a curator and cultural producer in Berlin. In recent years, she has developed, produced and curated exhibitions, performances, discourse programmes and digital projects. Within the group Collective Practices she initiated the projects, which dealt with questions of collective knowledge production and cultural creation in response to new technologies. Inga Seidler has been a member of several committees for artist in residency programmes and cultural institutions, and is a jury member for the Hauptstadtkulturfonds. Since 2020 she is curating the exhibition programmes of the European Media Art Festival at Kunsthalle Osnabrück.
Rachael Rakes (Amsterdam/New York) is the Artistic Director of the 12th Seoul Mediacity Biennale, and was recently the Curator of Public Practice at BAK basis voor actuele kunst, Utrecht (2019-2022) and the Head Curator and Manager for the Curatorial Programme at De Appel, Amsterdam (2017-2019). Rakes is a committee member for the New York Film Festival Currents section, and a contributing editor for Infrasonica. She recently co-edited the anthologies Toward the Not-Yet: Art as Public Practice (2021, MIT), and Practice Space (2019, NAME/De Appel). With artists Onyeka Igwe and Laura Huertas Millán, she organises the research and curatorial collective Counter Encounters.
Daphne Dragona is a curator and writer based in Berlin. In her current work, she addresses the promises of degrowth for art and culture, and the role of technology in times of climate crisis. Her exhibitions have been hosted at Onassis Stegi, Laboral, EMST, Akademie Schloss Solitude and other institutions. Articles of hers have been published in various books by the likes of Springer, Sternberg Press, and Leonardo Electronic Almanac. Dragona was a curator of the transmediale festival between 2015-2019. She holds a PhD from the Faculty of Communication & Media Studies of the University of Athens.
Picture Copyrights: EMAF
01/10/2023EMAF 36 - Special Focus: "Trembling Time"
The Call for Entries ended last Sunday. The number of works submitted from the fields of film, installation and expanded media was overwhelming! Overall 3000 works were submitted for the selection committee and curators to review — thanks a lot for this!
EMAF 2023: „Trembling Time“
EMAF´s theme 2023 is “Trembling Time” - a time in turmoil, whose momentum is diffuse and undirected but widely felt, in which the possible end of something may be suggested as well as the emergence of something new.
The motto of the EMAF 2023 does not primarily stand for a moment of crisis - even if we are currently experiencing at firsthand how the time frame in which the global climate catastrophe could still be averted is visibly narrowing; how global wars and conflicts are having an impact right down to our local and very personal contexts and are being prolonged for their victims in the traumatic temporality of flight and migration. This is also about an understanding of time that is becoming increasingly questionable: a temporality that is oriented towards historical fixed and turning points, and the abstract rhythms that clock our post-industrial contemporary world.
With “Trembling Time”, the EMAF invites us - in its exhibition, film programmes, lectures and performances - to revise our ideas of temporality and history, to confront them with other forms of remembering, imagining and being-in-the-world, and thus also to experience the trembling of time as a movement that, by throwing relations into disorder and shaking up hierarchies, opens up new paths for us.
In the exhibition for the festival, curated by Inga Seidler, our understanding of time will be challenged. The artists on display will look at alternative histories and ideas of the future beyond the idea of progress. In doing so, their observations, narratives or deconstructions take place in the context of time and its perception against the backdrop of a global climate and environmental crisis, which at the same time represents a moment that evokes the image of the passage of time.
Curated by Rachael Rakes, the film programme takes on the idea of “Trembling Time” by merging temporal revisionisms and projections. With the observation that progressive time is a construct, and potentially a terminally dangerous one at that, the works in this programme engage with and demonstrate various alternate time and value forms. These include anti-chronologies, re- and pre-enactments, ways of making life in imperial ruins, non-narrative enunciations of reality, and infrastructures of non-human non-linear relations.
What changes when the only way left to move forward is to slow down? The talks programme, curated by Daphne Dragona, will focus on models of (de)growth that respect the needs and rhythms of different worlds. Theorists and practitioners will discuss the problematics of progress in relation to zones of sacrifice and will shed light on approaches that invite people to actively change habits and pace. Within this context, the role of the art world itself will also be addressed, bringing to the foreground different paradigms with regard to the use of energy and time, to forms of cultural production and attendance.
You can read more about our curators in the press area on our homepage.
11/08/2022EMAF 36 - EMAF presents the International Film Programming Team
The previews for the 36th EMAF 2023 have started! That is why we would like to introduce you today to the people who will be selecting the films of the International Competition and the Features section in the coming months and who will be presenting and discussing them at the festival. In addition to Katrin Mundt, head of the EMAF film section, this international team includes Ryan Ferko (Toronto/Berlin), Mason Leaver-Yap (Glasgow/Berlin), Philip Widmann (Berlin) and Tinne Zenner (Copenhagen).
We are looking forward to the collaboration!
Ryan Ferko is an artist working predominantly in film and video. Between cinemas and galleries, his work is concerned with how history and power is constructed in landscapes. Based in Toronto, this work is invested in collective ways of addressing and experiencing place, and since 2013 he has worked frequently in collaboration with Parastoo Anoushahpour & Faraz Anoushahpour. Recent solo and collaborative work has been shown at Flaherty Seminar, Berlinale, New York Film Festival, Sharjah Film Platform, Toronto International Film Festival, Curtas Vila do Conde, European Media Art Festival (EMAF), and Media City Film Festival, amongst others.
Mason Leaver-Yap works with artists to produce texts, exhibitions, and events. He has recently been working with Renée Green and Free Agent Media, Oreet Ashery, Stefanie Heinze, Onyeka Igwe, Winnie Herbstein, Ima-Abasi Okon, Beatrice Gibson, Laura Guy, Sunil Gupta and the Estate of Tessa Boffin, Andrea Büttner, Iman Issa, and Jimmy Robert. He is based in Glasgow and Berlin.
Philip Widmann makes films, texts, and film programmes. His film and video work has been shown in film festivals and art spaces, among them the Berlinale, Rotterdam, Views from the Avantgarde / NYFF, Yamagata, FID Marseille, CPH:DOX, Visions du Réel, Videonale, Wexner Center for the Arts, The Institute for Endotic Research Berlin. He has selected film programmes for Arkipel Jakarta, Image Forum Tokyo, Kassel Dokfest, and others.
Tinne Zenner is a visual artist, filmmaker and programmer based in Copenhagen. Her films have been shown at a number of international film festivals including NYFF, CPH:DOX, Courtisane, Oberhausen, EMAF, Rencontres Internationales Paris/Berlin, Image Forum Tokyo and EXiS, and her installation work exhibited at museums and galleries internationally. Zenner is a co-founder and member of Sharna Pax (formed in 2013), a film collective based in London/Copenhagen working between the fields of anthropology, documentary and visual arts.
+++ reminder: Call for Entries +++
And as a reminder: Films, installations, performance projects and works from the field of expanded media can still be submitted for the festival until 8 January 2023 via the online portal https://registration.emaf.de/. We are eagerly awaiting your submissions!
09/20/2022EMAF 36 - Call for Entries
We invite media artists from all over the world to now submit their work to be selected for the European Media Art Festival 2023.
The online platform at registration.emaf.de is now open. Works from the fields of film, installation, performance and expanded media can be submitted. All information and regulations can be found at our website. The deadline for submissions is 8 January 2023.
The submission of works is free of charge.
Artist fees will be paid for all contributions selected for the festival.
The 36th European Media Art Festival will take place from 19 to 23 April 2023. For five days, Osnabrück will become an international and trend-setting platform for media art and a meeting place for artists, curators, researchers and students. The exhibition at the Kunsthalle Osnabrück will continue until 29 May 2023.
04/04/2022EMAF 35: The talks examine the meaning, use, and cost of things in relation to human and more-than-human worlds Kopie
In the framework of this year’s edition of the festival from 20 to 24 April, the European Media Art Festival (EMAF) is presenting five discussion events, with theorists, artists and designers, in which the meaning, use, and costs of things is examined in relation to the complex relationship between human and more-than-human worlds. In the EMAF Talks, curated by Daphne Dragona, acknowledged speakers have an opportunity to discuss the connection between living and non-living worlds along with the audience. The EMAF Talks will take place in English. Three of the talks can be experienced virtually as an online event on the EMAF website, while the other two talks can be attended on site at locations in Osnabrück. The complete timetable for the festival with the EMAF Talks is now available online at emaf.de/en/timetable.
‘The EMAF Talks examine what it means to live with things, but also how various temporalities, ontologies, and views of the world assert their influence,’ as the EMAF curator has summarized. What is also central is the question of the role that art, design, or technology can play in the new creation of substantial relationships to the environment and to our planet. ‘Some of the topics addressed are: the challenges and possibilities of working and living with intelligent infrastructures, the acknowledgement of the agency of the living environment, and the circulation of matter’ says Daphne Dragona.
The EMAF Talk Personhood of a forest, moderated by the Berlin-based architect and curator Rosario Talevi, thus discusses how it is possible to understand ecosystems, forests, and rivers not as reified objects, but instead as persons with their own rights and possibilities. In it, the artists Ursula Biemann (Switzerland) and Caetano (Brazil), whose works are often related to forests, have a chance to speak, just like the international artist and activist collective ‘The Forest Curriculum’. In the EMAF Talk Smart things at work, the founder of the feminist organization ‘Superrr Lab’, Julia Kloiber, a specialist in public interest technology, talks with the researchers Alessandro Delfanti (University of Toronto) and Jenny Kennedy (Royal Melbourne Institute of Technology). It deals with the interrelations between people and machines, including in the field of artificial intelligence. The EMAF Talk titled Design for multiple worlds, with moderation by Valentina Karga, a professor at the University of Fine Arts Hamburg, is dedicated to the influence of object design on our thinking and existence, but also its possibilities to create new worlds. Also on the online podium are the designer and activist Nina Paim (Basel/Porto/Rio de Janeiro) and the researcher Dr Ahmed Ansari (New York).
The EMAF Talk Tranxxeno Becomings in Decolonial Speculative Futures: Amateur Lichenology on Friday, 22 April, at 4 p.m. at the Haus der Jugend deals with the symbiotic communities that lichens represent. The artist Adriana Knouf (the Netherlands /USA) discusses et al. what the symbiosis of mushrooms and algae, for instance, can teach us in an era of climate change.
In a live discussion on Saturday, 23 April, at 4 p.m. at the Kunsthalle Osnabrück, the media artist Valentina Karga presents her installation of a table that consumes itself—The life of a self-eating table. Along with the audience, she will address questions regarding needs, consumption, and digestion in connection with meeting the challenge of our time: What do we really need for a frugal life and what not?
The complete programme of the 35th European Media Art Festival (EMAF), including the talks, is now available online at emaf.de.
The European Media Art Festival (EMAF) expresses its gratitude to its sponsors, in particular to nordmedia, the City of Osnabrück, the Sievert Foundation for science an culture, the Stiftung Niedersachsen, the VGH-Stiftung, and the Landschaftsverband Osnabrücker Land e. V.
We warmly invite you to report on the festival and to be part of the 35th European Media Art Festival.
03/16/2022EMAF 35: The Film Programme Presents 115 Films from Thirty Countries in Cinemas in Osnabrück
In this year’s programme, which deals with our entanglement in the world of things under the motto, The thing is, the 35th European Media Art Festival (EMAF) is presenting a total of 115 films from thirty countries. After a forced two-year break, this year’s edition of the festival is once again taking place as an on-site event in cinemas and numerous exhibition venues in Osnabrück.
‘In the past two years, there has again and again been speculation regarding what role cinema will perhaps play when we are once again able to gather outside our own four walls in order to watch films together,’ says Katrin Mundt, a member of the EMAF management team and the person responsible for the film programme. ‘For festivals like EMAF, the cinema has always been important as a place for encounters and direct exchange between artists and spectators. We would thus like to celebrate our return to the festival cinemas with you with a diverse, sensual, and ambitious programme.’
The eight programmes of the international competition provide an overview of the diversity and current developments in the field of experimental and artistic short films. They take a critical look at the built and natural spaces in which we live and trace the stories embedded in them. In Untitled Fragments #6, the Serbian duo Doplgenger (Isidora Ilić & Boško Prostran) thus presents an historical moment again: the confrontation between Serbian and Croatian football fans at the Maksimir Stadium in 1990. A premonition of the collapse of Yugoslavia is hinted at in the choreographed-seeming advances and retreats of the security personnel recorded for television. Half Wet by Carlos Irijalba imagines the lush landscape of Oaxaca, Mexico, as a place in the future where life is barely still possible. Long after the disappearance of the last tourists, a man there unperturbedly performs an old ritual of his ancestors: the cleaning of swimming pools.
A series of films interleaves personal memory, narratives, and music to sketch a new, multifaceted picture of our present time. How to Improve the World by Nguyen Trinh Thi, a Vietnamese artist and participant of documenta fifteen, shows the coexistence of traditional knowledge and current changes in how indigenous communities live together, which is also reflected in speaking and listening, singing and dreaming. Some works play with film as a medium of illusion and spectacle and experiment with its material characteristics and narrative possibilities. Using the means of experimental film, melodrama, and home movies, in Home When You Return, Carl Elsaesser reconstructs the anatomy of an unoccupied house. The memory of his deceased grandmother seems to be reflected in the psychologically charged spaces. At the same time, the filmic space is also intimated as a space of shared sensory experiences.
The six feature films in the programme of the 35th EMAF each have their own content-related and formal focuses, but share an interest in the complex relationship between the body and politics. In By the Throat, Amir Borenstein & Effi Weiss examine the human voice as well as possibilities to express one’s own identity in and through language, to elude ascriptions from the outside, or to gain political attention. In Rampart by Marko Grba Singh, a recurring dream becomes the occasion for tracing a history whose political upheavals can still be felt in the present in VHS videos of his family. Last but not least, Shall I Compare You to a Summer’s Day by Mohammad Shawky Hassan is an exuberant, polyphonic, queer new version of 1001 Nights, which, based on the filmmaker’s love journal, blurs the boundaries between personal and collective experience, narratives, and memory.
Artists are ever more frequently choosing documentary means to address the political and social reality of the present or the pictures and narratives of the past. This is also reflected in the film selection for EMAF. In the series Implication. On Documentary Ethics, we would like to address some of the ethical questions that arise when working with documentary material. For this, four artists from the international competition were invited to choose films that shed light on the topic from various perspectives and to discuss them with the audience. It is thus about working with and appropriating found material, depicting closeness and intimacy, dealing with politically motivated censorship, and questions relating to releasing and/or distributing sensitive, lost, or intentionally expropriated material. Alejandro Alvarado & Concha Barquero, Jamie Crewe, and Alaa Mansour present and discuss films by Fernando Ruiz Vergara, Yulene Olaizola, and Jayce Salloum & Elia Suleiman with the audience.
Further highlights of the film programme include the screening series on the festival topic It’s rather a verb, which was put together by Sirah Foighel Brutmann & Eitan Efrat, and the films of the two Artists in Focus, Beatriz Santiago Muñoz and Emily Wardill. Artist talks and live discussions round off the programme.
The European Media Art Festival (EMAF) expresses its gratitude to its sponsors, in particular to nordmedia, the City of Osnabrück, the Sievert Foundation for science an culture, the Stiftung Niedersachsen, the VGH-Stiftung, and the Landschaftsverband Osnabrücker Land e. V.
All the presentations and events will be published on our homepage, on 18 March. Registrations for accreditation are already now possible on the website.
03/12/2022+++ Exhibition ‘The thing is’— A Brief Insight +++
In this year’s EMAF exhibition, the curator Inga Seidler has dedicated herself to the essence of ‘things’. A central component is thus, among other things, dealing with this essence and how it influences the environment.
The artist Ursula Biemann and the Brazilian architect and spatial planner Paulo Tavares examine the possibilities of nature as a legal entity. Their video installation Forest Law takes a look at this negotiation based on spatial politics and the indigenous resistance in the Amazon region.
The artist Valentina Karga pursues a different approach. With her living sculpture, she takes a look at the decomposition of things, which is important for an intact life cycle. The table that eats itself is an object with a planned obsolescence; it enriches the life cycle as it satisfies our need to acquire newly designed things.
Further information about the programme is coming soon.
02/25/2022EMAF 2022: The exhibition 'The thing is' can be seen at the Kunsthalle Osnabrück from 20 April to 29 May
The media art exhibition in this year’s European Media Art Festival (EMAF), which is taking place at the Kunsthalle Osnabrück from 20 April to 29 May, occupies itself with the essence of ‘things’, the relationship between objects and people and their bodies, and questions of objectification.
The exhibition titled The thing is presents installations, sculptures, and video works by international media artists. ‘The artworks not only examine what constitutes a thing, but also pose questions regarding the point at which we can draw the line between lifeless things and living beings based on quasi-objects and hybrids’, says the curator Inga Seidler, who is responsible for the EMAF exhibition this year. ‘At the same time, things embody, for instance, interests or needs and allow statements about how we live with others and in our surroundings—as becomes clear when the composition, production conditions, meanings, functions, and design of things are examined.’
The video installation Jerricans to can Jerry by the Berlin-based artist Leon Kahane focuses on the container known as a ‘jerrycan’, which the Brose company developed for the German Wehrmacht starting in 1936, and produced as its first mass product in a series. The work spans a large spectrum, from the production conditions under the exploitation of Soviet forced labourers to the heritage of the company’s involvement in the National Socialist regime, which the Brose family continues to deny today. In Kahane’s work, such a container is brought to life as the figure ‘Colonel Canister’, who from its perspective as a contemporary witness reports on the developments and violent events that can be retold based on this object’s history and shifts in meaning.
In their work, the Danish artist duo Stine Deja and Marie Munk examine the emotional relationship between people and nonhuman objects and hybrids like AIs, robots, or avatars. With Synthetic Seduction, they present a setting that seems like a kind of futuristic laboratory. How can the pulsing, flesh-like sculptures be categorized: as things or as living beings? And how do robots that approach each other romantically complicate our view of these machines?
The transdisciplinary artist RA Walden contemplates the fragility of the body and the relationship to the things in its surroundings from a queer, disabled perspective. Crip Ecologies consists of dozens of glass vessels and petri dishes. Found in the vessels are various natural materials such as soil, stones, seeds, or fluids in different colours. Some of the labels on the vessels bear the names of people or streets. RA Walden thus poses questions like: What value do objects have when they are more difficult to access? And in what relationship does the fragility of the human body thus stand to the fragility of our ecosystem?
Further information about these and other works in this year’s EMAF exhibition The thing is can be found on our website.
We warmly invite you to be part of the EMAF in 2022!
02/23/2022Artist in Focus - Emily Wardill
Emily Wardill, whose film Night for Day was awarded the EMAF Media Art Prize last year, is returning with an overview of her moving image works of the past fifteen years. The starting point for Wardill’s films are often historical events or individuals, around which she develops sensual, psychologically charged narratives, in which the instability of language and consciousness, the spectres of technology, and the materiality of memory are recurring themes. Juxtaposing scholarly studies and absurdist puns, political analysis and playful allusions, Wardill creates films that speak a language as suggestive as it is self-willed.
Inspired by medieval church windows and their function as communication media in a largely illiterate society, Sick Serena and Dregs and Wreck and Wreck (2007) stages a story about desire, possession, and existence, spectacularly fragmenting it in an improvised-seeming set. Wardill’s first feature-length film, Game Keepers without Game (2009), transposes a piece by Pedro Calderón de la Barca to the London of the present. Against a brilliant white background, the story of a girl who is cast out of her parents’ home unfolds as a sequence of alienated encounters, isolated objects, and transgressive gestures. In I Gave My Love a Cherry that Had no Stone (2016), the foyer of the Museu Calouste Gulbenkian in Lisbon serves as a stage for a choreography in which body, space, and camera are immediately related to each other. In the flowing shifts between pursuing, concealing themselves from, and transforming into one another, the human body is haunted by its doubles—and the museum by the spectres of its future.
Emily Wardill (born 1977) lives and works in Lisbon, Portugal and Malmö, Sweden. She has had solo exhibitions at Secession, Vienna; Bergen Kunsthall; Salzburger Kunstverein; National Gallery of Denmark, Copenhagen; The Badischer Kunstverein, Karlsruhe; De Appel, Amsterdam; MIT List Visual Arts Center, Cambridge. Group exhibitions include the 19th Biennale of Sydney; Tate Britain, London; Tate Modern, London; MUMOK, Vienna; The Venice Biennale; MOCA, Miami; Kunsthalle Basel; Kunstverein Stuttgart; ICA, London, among others. She currently undertakes a practice led PhD at Malmö Art Academy.
02/21/2022Artist in Focus - Beatriz Santiago Muñoz
EMAF is honouring the work of selected artists whose moving image works provide important impulses in contemporary media art with a new programme strand. ‘Artist in Focus’ is also intended to facilitate encounters with authors and their works that have received international attention in the visual arts, but have hitherto had less presence in the festival world.
Beatriz Santiago Muñoz will present an extensive selection of her moving image works, including her debut feature film Oriana (2022), for the first time in Germany. Her works bring together documentary, fictional, and performative elements so as to shed light on the natural and political landscapes of the Caribbean, the history and present of anticolonial movements, and the aesthetically and socially subversive power of feminist storytelling.
Otros usos (Other Uses, 2014) was filmed on the island of Vieques, which once served as a base for the U.S. armed forces in Puerto Rico. The film simultaneously reveals and conceals, documents and fragments this landscape—thanks to an optical device that the artist developed especially for the film. La cueva negra (The Black Cave, 2012) revolves around the material and spiritual history of the ‘Paso del Indio’, where archaeologically significant traces of early indigenous settlements were found, but then literally entombed under a motorway project. Two young men give voice and expression to the location. Finally, Oriana (2022), inspired by Monique Wittig’s experimental novel Les Guerillères (1969), is an audio-visual improvisation on sensuality and solidarity, on bodies in flux and bodies in resistance, and on the possibilities of a different language. In its open structure, the film echoes the processes of collective study and experimentation which are central to Santiago Muñoz’s working method.
Beatriz Santiago Muñoz (born 1972) lives and works in San Juan, Puerto Rico. Recent solo exhibitions include: Oriana in PIVO, São Paulo, the 34th São Paulo Biennial, the Momenta Biennale in Montréal, and Gosila in Der Tank, Basel. Her work is part of public and private collections such as the Museum of Modern Art, Kadist and Guggenheim, among others. She has received a Creative Capital grant, a USA Fellowship, a Herb Alpert Award in the Arts, and the 2021 Artes Mundi Prize, shared among all seven nominees.
Registration for accreditation is now possible on our website at registration.emaf.de/en/. The accreditation allows free access to the filmprogrammes, the exhibition and the congress of the EMAF. The deadline for accreditation is 13 April. Further information can be found at service.
01/27/2022The thing is - Talks 2022
Things have always supported or testified to interests, needs and actions. Having their own life cycles, they gain or lose significance depending on the particular cultural contexts. The talks curated by Daphne Dragona explore what it means to live with and take care of things from the perspective of different temporalities, ontologies, and worldviews. They examine the role of art and design in creating, appropriating or calling off things in order to maintain or restore substantial relationships to the environment and the planet.
Daphne Dragona is a curator and writer based in Berlin. Her topics of interest include the promises of the commons, the instrumentalisation of play, the problematics of care technologies, and the impact of technological infrastructures on the planet. Her exhibitions and events have been hosted at Onassis Stegi, Laboral, Aksioma, NeMe, EMST, Akademie Schloss Solitude, Alta Tecnologia Andina, and Le Lieu Unique. Dragona worked as a curator for the transmediale festival from 2015 to 2019. She holds a PhD from the Faculty of Communication & Media Studies of the University of Athens.
01/24/2022The thing is - Film Programme "It´s rather a verb"
In seven film screenings and a performance, It’s rather a verb, curated by Sirah Foighel Brutmann and Eitan Efrat, celebrates the relational aspects of the moving image. The programme calls attention to the movements within positions, and to the verbs that support nouns. It highlights works that utilise and perform non-linear processes, as the interaction with things – such as stones, historical objects, mothers and cars – becomes audio-visual.
Sirah Foighel Brutmann & Eitan Efrat have been working collaboratively for several years and creating works in the audiovisual field. They live and work in Brussels. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work, they aim to mark the spatial and durational potentialities of reading images - whether moving or still -; the relations between spectatorship and history; and the temporality of narratives and memory and the material surfaces of image production.
01/19/2022The thing is - exhibition 2022
The exhibition curated by Inga Seidler examines objects of our present time, of everyday life and speculative design. In installations, sculptures, and video works, it asks what constitutes a ‘thing’, and takes a look at quasi-objects and hybrids. Starting from the fact that we are enmeshed with the world of things, the artistic works investigate the nature, production conditions, meanings, functions and design of objects. It thus becomes visible that things facilitate and embody statements about our way of living with others and our environment.
Inga Seidler lives and works as a curator and cultural producer in Berlin. She has developed, produced, and curated exhibitions, performances, discourse programmes, and digital projects. After several years as a curator of the transmediale festival, she directed the web residency programme at Akademie Schloss Solitude. As part of the curatorial collective connected with the independent project space ACUD MACHT NEU, she initiated the programme COLLECTIVE PRACTICES, which addressed questions regarding collective knowledge production, cultural creation, and organisation. She has curated the EMAF exhibition at the Kunsthalle Osnabrück since 2020.
01/12/2022The EMAF Theme for 2022: The thing is
A new year, and a new attempt at moving things and keeping them in motion: following two online editions, EMAF is looking at a new year of the festival with cautious optimism. After retreating into the private sphere, a programme for the public sphere is once again planned: a programme that can be experienced live and also enjoyed in parts digitally. The festival theme will again be central to the programme.
Artistic works and theoretical contributions dealing with our enmeshment in the world of things are brought together under this year’s motto: The thing is. The aim is to explore how our shared reality arises from the interplay, the friction and resistances between bodies and things. Since as long as personal relationships are increasingly experienced as disembodied and abstract - not only due to the pandemic - and as long as the ever more complex relationships between people and devices continue shifting the boundaries between the animate and the inanimate and the material foundations for our existence on this planet are at stake, we are confronted with the question of how we can live with things better and perhaps also learn from them.
12/16/2021EMAF Events in December - Short Film Day & Lichte Momente (Light Moments)
We are happy to announce two events in December! For the Short Film Day on December 21, 2021, the EMAF will present short films from the programme of the past two years in the Lagerhalle Osnabrück at 7:30 pm. Furthermore, the project Lichte Momente (Light Moments) will present performative video art in Osnabrück’s historic centre, freely accessible until December 31, 2021.
On the shortest day of the year, short film will be celebrated in all its diversity, creativity and joy of experimentation in one hundred cities across Germany. With Revisited: Short Films from the EMAF Programmes 2020 and 2021, the EMAF, together with the Lagerhalle Osnabrück, is once again participating in the nationwide Short Film Day this year.
The programme provides a unique opportunity to experience films on a big screen that could only be watched online as part of the last two EMAF editions. They take us from the Brazilian Amazon region to Hong Kong and from Japan to the American Midwest. They tell of people whose stories were almost forgotten and come to us anew. They portray places that are reminiscent of our present and yet could just as well have been dreamt. They also point to a future in which the past lives on.
On view are works by Ana Vaz, Simon Liu, Zachary Epcar, Shinya Isobe and Ben Balcom. More about the programme at: www.emaf.de/en/projects/
For the fourteenth time, the project Lichte Momente (Light Moments) will take place in the Heger Tor district, providing its audience with barrier-free and cost-free access to contemporary video art.
The curators Monika Witte and Joran Yonis have invited three artists with a total of five works. What the video works of the internationally exhibiting artists Julia Charlotte Richter, Yvon Chabrowski and Zoyeon, art student at the HBK Braunschweig, have in common is that they deal with the experience of power structures and the feeling of powerlessness. Much of this is acquired and we take it for granted. Some of it we rebel against or challenge.
In addition, students of the Institute of Art History at the University of Osnabrück, under Prof. Dr. Helen Koriath, have developed new formats for communicating media art in public spaces in collaboration with the curators and will implement them during the public tours.
12/02/202135th EMAF Presents the International Film Programming Team
The viewing of submissions for the 35th European Media Art Festival (EMAF) is in full swing! We are very pleased today to be able to present the selection committee that will put together the competition and feature film programmes for the festival and present them to the public in April 2022. This international team of artists, curators, and filmmakers consists of Katrin Mundt, who is responsible for the film section of EMAF, Mason Leaver-Yap from Glasgow, Tinne Zenner from Copenhagen, and Viktor Neumann and Philip Widmann, both from Berlin.
Films, installations, performance projects, and works from the field of expanded media can still be submitted until 7 January 2022 via the online portal https://registration.emaf.de/en/.
We look forward to receiving your works!
From 20 to 24 April 2022, EMAF will once again become an international and trendsetting platform—on site and online—for media art and a meeting place for artists, researchers, and students. It will also be possible to see the exhibition of the festival at the Kunsthalle Osnabrück until 29 May 2022.
Mason Leaver-Yap works with artists to produce texts, exhibitions, and events. They have recently been working with Ingrid Pollard, Renée Green and Free Agent Media, Renèe Helèna Browne, Onyeka Igwe, Lin+Lam, Uri Aran, Evan Ifekoya, Oreet Ashery, Laura Guy, Sunil Gupta and the Estate of Tessa Boffin, Sharon Hayes and Mathew Parkin, Lucy McKenzie, Iman Issa, Wendy Jacob, Alejandro Cesarco, Jimmy Robert, Rachel O’Reilly, Andrea Büttner, Kat Anderson, Jamie Crewe, and Beatrice Gibson. They are based in Glasgow.
Tinne Zenner is a visual artist, filmmaker and programmer based in Copenhagen. Her films have been shown at a number of international film festivals including NYFF, CPH:DOX, Courtisane, Oberhausen, EMAF, Rencontres Internationales Paris/Berlin, Image Forum Tokyo and EXiS, and her installation work exhibited at museums and galleries internationally. Zenner is a co-founder and member of Sharna Pax (formed in 2013), a film collective based in London/Copenhagen working between the fields of anthropology, documentary and visual arts. She holds an MFA from The Royal Danish Academy of Fine Arts and is currently engaged in a multifaceted research-collaboration with visual artist Eva la Cour.
Viktor Neumann has curated exhibitions and projects for institutions such as the Whitney Museum, New York, Bildmuseet Umeå, Kunstmuseum Bonn and NCCA Yekaterinburg. He was co-curator of Bergen Assembly 2019 and of the transnational Parliament of Bodies, Curatorial Assistant for documenta 14 and Assistant Curator of the 3rd Moscow Biennale for Young Art. Currently, he is co-curating exhibitions for the Württembergischer Kunstverein Stuttgart and Total Museum, Seoul, and is co-curator of the project reboot: at Kölnischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Düsseldorf. He was curatorial fellow of the Gebert Stiftung für Kultur and Guest Professor at HfG Karlsruhe.
Philip Widmann makes films, texts, and film programmes. His film and video work has been shown in film festivals and art spaces, among them the Berlinale, IFF Rotterdam, Views from the Avantgarde, Yamagata International Documentary FF, FID Marseille, CPH:DOX, Visions du Réel, Wexner Center for the Arts, KW Berlin, Videonale / Kunstmuseum Bonn. He has selected film programmes for Arkipel Jakarta, Image Forum Tokyo, Kassel Dokfest, and others.
11/11/2021EMAF as a Guest in Vienna
On 18 and 19 November, EMAF will be a guest at Blickle Kino / Belvedere 21 in Vienna: Anja Dornieden and Juan David González Monroy are showing four programmes from the series The Unpossessable Possessor, which they curated for EMAF’s thematic focus. We are very pleased that the films and live performances will be presented in their original analogue format - a special highlight after the digital festival edition in the spring!
The curators say about their programme: “The Unpossessable Possessor considers the cinematographic apparatus as a living creature entangled in a complicated relationship with humans. Is its relationship with us parasitic or mutualistic? Are its intentions pure or corrupt? Are we its master or does it have reign over our selves? Is it human? Or something else? Does it love us? Clearly we have ceded a good part of our collective consciousness to the film machine. Perhaps it would be a good idea to find out who it is and what it wants.”
With works by: Thom Andersen, Kohei Ando, James Broughton, Arthur & Corinne Cantrill, Morgan Fisher, Amy Halpern, Bea Haut, Rox Lee, Josh Lewis, Guillaume Mazloum, Alee Peoples & Mike Stoltz, Luther Price, Margaret Raspé, Gaëlle Rouard, Greta Snider, Hrvoje Spudić, Mark Toscano, Jim Trainor, Želimir Žilnik, and Ø.
Our thanks go to Claudia Slanar for the excellent collaboration and we wish everyone exciting screenings!
06/09/2021Save the Date
The new festival date for the 35th European Media Art Festival (EMAF) has been set. From 20 to 24 April 2022, the EMAF festival team hopes to welcome audiences on-site once again. We anticipate that the exhibition will be on view until 29 May 2022. As one of the most influential forums for contemporary media art, the 35th EMAF will therefore once again be a field of experimentation and a laboratory in which international artists, curators, researchers, students, and film and art enthusiasts will meet and dialogue.
Film programmes as streaming, live talks in online format - and finally in-person visits to the media art exhibition in the Kunsthalle Osnabrück: yesterday, 30 May, the extraordinary hybrid festival edition of the 34th European Media Art Festival (EMAF) came to a successful close.
Artist talks, the EMAF Talks and other specials on the website at Extras provide a retrospective on the festival. A special insight into the exhibition is provided by filmmaker Tim Kaiser’s documentary on the festival’s homepage and at Vimeo.
05/20/2021Exhibition opens to visitors - short documentary offers cinematic impressions
With the relaxations passed today by the City of Osnabrück due to the lowered 7-day incidence, the Kunsthalle Osnabrück will open starting tomorrow, Friday 21 May, enabling in-person visits to the 34th European Media Art Festival’s (EMAF) “possessed” exhibition. The exhibition, which has so far only been accessible virtually and was put together by EMAF curator Inga Seidler, can now be opened up to the festival public for the first time and is planned to remain on view at the Kunsthalle Osnabrück until 30 May. Some special rules apply in the Kunsthalle: for instance, a maximum of 25 persons may enter the Kunsthalle at the same time, and visitors may stay only for a maximum of 1.5 hours. No previous registration is necessary for a visit. Guided tours are also not permitted. All visiting regulations, such as access restrictions and compulsory masks in the Kunsthalle, can be found here: https://kunsthalle.osnabrueck.de/de. At the same time, a short documentary by filmmaker Tim Kaiser on the EMAF exhibition “possessed” is now available for viewing. The atmospheric images offer impressions of the installations and exhibition elements as well as their positioning in the Kunsthalle’s exhibition space. The film is accessible on the EMAF homepage and on Vimeo at: https://vimeo.com/552862866
We wish everyone with an interest a thought-provoking and enjoyable visit to the exhibition!
05/03/2021Our online film programme is an international hit - exhibition until the end of May - HBK Braunschweig Campus #smalltalks
After twelve days of film programmes on the streaming platform emaf.cinemalovers.de the organisers of the 34th European Media Art Festival (EMAF) have drawn a positive balance: The demand for festival passes and accreditations was very high, and the continuous and intensive use of the streaming site indicates a lively interest in the range of films on offer at this year’s EMAF, confirms Katrin Mundt, film programme director. “We are very pleased, not least because the hits were broadly spread geographically, confirming the EMAF’s high importance for the international media art scene.” More than 60 per cent of the hits came from outside Germany. The competition entries and feature-length films were viewed particularly frequently, followed by the curated short film programmes. “The lively participation in the EMAF Talks and Artist Conversations also shows that our visitors engaged intensively with the content of the contributions and that the programme conveyed valuable impulses,” says Katrin Mundt. “Setting up the online film programme was a considerable challenge for our team. That’s why we’re even more pleased with the positive feedback we’ve received in the last few days, and we’re looking forward to making real-life festival experiences possible again next year.”
The festival’s media art exhibition can be visited online until 30 May: the artists exhibiting under the theme “possessed” offer insights into their work on the streaming platform emaf.cinemalovers.de. In addition, documentaries and film tours of the exhibition will be presented successively in the coming days. For International Museum Day, EMAF curator Inga Seidler is offering an online guided tour of the exhibition at Kunsthalle Osnabrück on 16 May at 3 pm. It will be held via Zoom and requires registration at firstname.lastname@example.org by 14 May.
The class of art students from the Hochschule für Bildende Künste Braunschweig /Braunschweig University of Fine Arts participating in this year’s EMAF is putting on a special offer in the festival’s Campus section: In daily Artist Talks, they will offer insights into the works they created for the festival, inquiring into connections between the microcosm and the macrocosm, the political and the private, their own privileges and discrimination. You can follow the “Campus #smalltalks” on their own channel via the link www.emaf.de/sektionen/#section_4 until Sunday, 9 May.
The European Media Art Festival (EMAF) extends its thanks to its sponsors, in particular nordmedia, the City of Osnabrück, the Goethe-Institut, the German Foreign Office, the Stiftung Niedersachsen, the VGH-Stiftung and the Landschaftsverband Osnabrücker Land e. V..
Warmest greetings from your EMAF 2021 team
04/26/2021The Award Winners
The EMAF juries distinguish three groundbreaking experimental films
The 34th European Media Art Festival (EMAF) have been announced: The EMAF Award for a groundbreaking work in media art goes to the British artist Emily Wardill for her experimental film “Night for Day”, which discusses the dialectic of utopian thinking as exemplified by a mother-son relationship in Portugal.
The Dialogue Award for the promotion of intercultural exchange goes to Ana Vaz, Vera Amaral and Mário Neto for their film “13 Ways of Looking at a Blackbird”, in which they explore the essence of cinema through their own observations.
“Michael Ironside and I” by German artist Marian Mayland wins the Media Art Award of the Association of German Film Critics (VdFk). The essay film critically investigates film and television history via media images of masculinity in the 80s and 90s.
All award-winning films, as well as the entire film programme of the 34th EMAF, can be seen on the streaming platform www.emaf.cinemalovers.de up to and including 2 May.
The EMAF Award and the Dialogue Award are presented by a jury of media artists and curators, which this year includes Christina Li, Nour Ouayda and Claudia Slanar. The film critics Dunja Bialas, Tina Waldeck and Jan Künemund make up the jury for the EMAF Media Art Award of the VdFk.
The EMAF prize is awarded to “a poignant work that explores the power of cinema as a tool to time travel, and to create imaginary kinship across generations”. “Almost as a counterpoint to the precision afforded by current image technology, Wardill expertly employs light and shadow as a filmic device that points to the opaque and fractal nature of historic narratives as well as present realities.”
The EMAF Awards jury extends an honourable mention to “Happy Valley” by Chinese-American director Simon Liu: „A collage of surreal and material observations of the city, set against a soundscape of 80s Hong Kong pop songs and soap operas, it evokes a deep sense of longing for a common experience, and is a celebration of a survival instinct that is fundamentally human and universal”.
The Dialogue Award for “13 Ways of Looking at a Blackbird” by Ana Vaz, Vera Amaral and Mário Neto distinguishes “…a remarkable exercise in unschooling founded upon intergenerational rapport and curiosity, where they jointly explore ways of seeing beyond sight. By doing so, filmmaking becomes a performative and sensory practice that involves the entire body. The film’s evocative soundscape and use of multi-vocality adds to the layered texture of the film that is underpinned by the present discourses of care and generosity, as we witness these young filmmakers investigate the relations between the visible and invisible, the sensible and insensible facts that will constitute how they view the world”, thus the jury.
The experimental film “Letter From Your Far-Off Country” by Indian-American filmmaker Suneil Sanzgiri receives an honourable mention from the Dialogue Award jury. The work evokes “the power of communication through letters that connects the protagonists of emancipatory struggles in India through almost half a century. In ‘Letter From Your Far-Off Country’ Suneil Sanzgiri explores how historic events can be turned into performative gestures which then inform present and future tactics in fighting oppression and censorship. He follows the images and sounds of revolutionary moments by bringing different sources such as analogue video, 16mm footage and digital renderings together thereby not only destabilizing a linear historic narration but also blurring the boundaries of experimentation in cinema”.
With “Michael Ironside and I” by Marian Mayland, the EMAF Media Art Awards Jury of the Association of German Film Critics distinguishes “a complex essayistic examination of film and television history. In the flowing montage of found genre images, traces of toxic masculinity become visible that do not permit nostalgic transfiguration. Nonetheless, the author’s cinephile sensitivity remains the fuel of (self-)reflection”.
The exhibition of the 34th EMAF is on until 30 May at the Kunsthalle Osnabrück. You can find out more about the exhibition at www.emaf.de. We will inform you about virtual insights into the exhibition shortly. As soon as the Osnabrück pandemic regulations permit, we may be able to open the exhibition at the Kunsthalle Osnabrück.
The media art works of the EMAF Campus section can currently be seen in Osnabrück until 9 May in the windows of the Kunstraum hase29, the BBK Kunstquartier and in the windows of the University of Osnabrück in the Seminarstraße. The objects, installations and videos were created by students of Hochschule für Künste Bremen, Hochschule für Bildende Kunst Braunschweig, Institut für Kunst|Kunstpädagogik der Universität Osnabrück and Hochschule Osnabrück. Only the works of the Hochschule für Kunst Bremen in the hase29 art space will be dismantled on 29 May, following which the works of the Hochschule für Bildende Kunst Braunschweig will be presented there.
We offer our sincere thanks to our sponsors, in particular nordmedia, the City of Osnabrück, the Goethe-Institut, the German Foreign Office, the Stiftung Niedersachsen, the VGH-Stiftung, and the Landschaftsverband Osnabrücker Land e. V.
Best regards from the EMAF team 2021
04/21/2021The Festival is Open
The 34th European Media Art Festival (EMAF) is open. Starting today, Wednesday 21 April, festival visitors and accredited persons can access an extensive festival programme from the sections Exhibition, Film and Campus on the streaming platform emaf.cinemalovers.de. The complete online programme will be available up to and including 2 May, supplemented by numerous accompanying events such as conversations with artists, making-ofs, virtual tours and talks (see below for dates). To the extent that the Corona measures of the city of Osnabrück permit, there will also be onsite opportunities to visit the EMAF exhibition set up until 30 May in the Kunsthalle Osnabrück as well as works by art academies in the Campus section at Coronacompliant exhibition venues in the city. The EMAF will provide daily information on this.
In this year’s film programme, the 34th European Media Art Festival presents over 120 contributions from 31 countries, which can be viewed on the streaming platform emaf.cinemalovers.de from today until 2 May. To facilitate an exchange with the filmmakers and discussions on media art in a festival atmosphere despite the Corona pandemic, the EMAF programme team and the guest curators have conducted in-depth “Artist Conversations” in advance, which are now available online to accompany the films. The EMAF plans to catch up on selected film programmes in cooperation with domestic and foreign partners as soon as public cinema screenings are possible again. emaf.cinemalovers.de
The EMAF exhibition curated by Inga Seidler takes the festival theme “possessed” as its starting point and explores the meanings of possession and obsession in today’s world in the form of seven installations by international artists, which have been set up in the Kunsthalle Osnabrück. An opening to the public will take place as soon as the Corona measures of the city of Osnabrück permit. A virtual visit to the exhibition will be possible for festival visitors: on the festival’s streaming platform, a making-of and a virtual tour, among other things, can be enjoyed in the “Exhibition” section. The EMAF will inform festival visitors, as soon as the virtual visit of the exhibition is opened. emaf.cinemalovers.de
Invited theorists, artists and activists will speak in six virtual discussion rounds curated by Daphne Dragona and Alfred Rotert on selected thematic focuses within the framework of the EMAF, for instance on the similarities between economies based on burning fossil energies and colonial large-scale plantations, on technoheritage and cultural dispossession, on the labour force working in secrecy and slavery, on digital habits and collective trauma. The talks will be streamed live on the EMAF website and will be available later here on the streaming platform emaf.cinemalovers.de. This year’s EMAF Talks in detail:
Thursday, 22 April
Against Cultural Dispossession: Performing Bodies and Machines
Petrochemical Legacies of Possession and Haunting
Friday, 23 April
Against Colonialism within New Digital Regimes
Rethinking Data Possession: Towards Machine Learning and a Precognitive Mode of Black Existence
Saturday, 24. April
Against the Plantationocene: Black Ecologies and Environmental Justice
Planet City and the Return of Global Wilderness
The festival section Campus offers a platform to classes and specialist groups from European academies and universities. Due to Corona, these will be available mainly on the streaming platform emaf.cinemalovers.de, but also on site in Osnabrück in the windows of the hase 29 art space, in the windows of the Institute for Art/Art Education in Seminarstraße and in the window of the bbk art quarter. emaf.cinemalovers.de
To make possible festival moments of the social kind, the EMAF invites all festival visitors to the virtual party “Bal Masqué” on Saturday, 24 April 2021. In addition, the performance kit “Soft Prison” by the artist duo OJOBOCA, which can be ordered by parcel delivery to your home, offers an exceptional opportunity to be performer and audience at the same time. “My flesh is in tension, and I eat it” is a Mail Art project by artists Teo Ala-Ruona and Jaakko Pallasvuo that references the film programme “The New Death”, curated by Steve Reinke and Jaakko Pallasvuo. The two editions can be ordered directly via the festival. emaf.cinemalovers.de
Catalogue & Timetable
The 34. European Media Art Festival’s (EMAF) catalogue can be ordered at the mail address email@example.com and downloaded from the following website: www.emaf.de/files
A timetable for the entire festival is available here: www.emaf.de/timetable
Tickets & Service
Tickets for the online programme are now available online at emaf.cinemalovers.de. Visitors can register there and purchase a festival pass. Online group tickets are also available this year, valid for up to 20 people. All available films, conversations with filmmakers and documentaries will be available for your enjoyment during the period 21.04.-02.05.2021, with no time limit. We are pleased to announce that the majority of the films will be available worldwide without geo-blocking. The festival’s Talks and other special programmes will be held via Zoom, for which you can register as a discussion participant. The Talks (all in English) will also be available free of charge via stream on our website. www.emaf.de/en/service
Accreditation is possible for artists, curators and speakers involved in the programme. This includes access to the online programme as well as the right to free entry to the festival events, provided they can be held. Accreditations are also possible for institutions, distributors, festivals, etc. Please find all modalities for accreditations to this year’s EMAF here: www.emaf.de/en/service
The European Media Art Festival (EMAF) extends its sincere thanks to its sponsors, in particular nordmedia, the City of Osnabrück, the Goethe-Institut, the German Foreign Office, the Stiftung Niedersachsen, the VGH Stiftung and the Landschaftsverband Osnabrücker Land e. V.
With best wishes and warmest greetings from the EMAF 2021 team www.emaf.de
04/17/2021Specials for Festival Visitors
This year, EMAF is offering a series of outstanding participation projects to enable festival visitors to actively take part in the 34th European Media Art Festival (EMAF), and to provide encounters with dialogue on media art, despite our hybrid version in these Corona times: In addition to the film programmes and media art works presented on the streaming platform emaf.cinemalovers.de, visitors can join workshop discussions with the artists and talks on selected key festival topics. What’s more, EMAF invites you to the virtual party “Bal Masqué” on Saturday, 24 April 2021. The performance kit “Soft Prison” by the artist duo OJOBOCA, which can be ordered by parcel delivery to your home, offers an exceptional opportunity to be both performer and audience at the same time. “My flesh is in tension, and I eat it” is a Mail Art project by the artists Teo Ala-Ruona and Jaakko Pallasvuo that references the film programme “The New Death”, curated by Steve Reinke and Jaakko Pallasvuo. The two editions can be ordered directly via the festival.
Bal Masqué on Saturday, 24 April 2021, 20:00 PM
The Bal Masqué is a virtual club night and a Corona-proof combination of an online dance battle, a digital masked ball and any number of individual VJ sets, which is offered exclusively during the 34th EMAF in cooperation with IMPAKT. You are all invited to wear your craziest digital or real masks and party with us! If you prefer, you can join the party completely anonymously behind your mask, but you can also choose to take centre stage and join one of the battles that we will arrange during the Bal Masqué. The battles are the ball’s highlights, in which three participants at a time compete for the prize for the most amazing background and mask performance. The Bal Masqué breaks down the divide between audience members and participants. Access is free of charge after registration at https://impakt.nl/events/2021/party/bal-masque-x-emaf/.
In times when attending a festival in person is not an option, the home performance kit “Soft Prison” offers you an opportunity to experience a unique live performance at home instead. With the aid of a simple object and step-by-step instructions, your own body becomes the ultimate performer. The kit includes a phosphorescent 35mm slide, illustrated instructions and an accompanying box. You can order it directly from the festival at firstname.lastname@example.org and it will be sent by post. Cost: 10,00 EUR plus shipping.
My flesh is in tension, and I eat it
“My flesh is in tension, and I eat it” was originally a performance that premiered in Helsinki in 2021. This letter is a revised part of the performance script, written and translated into English by Teo Ala-Ruona and illustrated by Jaakko Pallasvuo. It dialogues with the film programme “The New Death”, curated by Steve Reinke and Jaakko Pallasvuo for EMAF. You can order the letter directly via the festival by writing to email@example.com, and it will be sent to you by post. Cost: 5,00 EUR plus postage.
Talks and Conversations with Artists
The 34th European Media Art Festival (EMAF) offers an extensive online programme with background discussions and expert talks to accompany the film programmes and the festival focus “Possessed”, which visitors with festival tickets or accreditation can access and enjoy from 21 April at emaf.cinemalovers.de.
We offer our sincere thanks to our sponsors, in particular nordmedia, the City of Osnabrück, the Goethe-Institut, the German Foreign Office, the Stiftung Niedersachsen, the VGH-Stiftung, and the Landschaftsverband Osnabrücker Land e. V.
04/13/2021Talks & Campus
In this year’s hybrid version of the European Media Art Festival (EMAF), the Talks and Campus sections feature a series of media art discussions on the festival’s focus “Possessed”, as well as a selection of current works in which specialised media art groups from European art academies present their perspectives. You can engage with the programmes for the most part on the streaming platform emaf.cinemalovers.de, but they will also be shown in the windows of exhibition venues in Osnabrück’s old town, depending on current Corona pandemic regulations.
The Talks at this year’s European Media Art Festival (EMAF) address the question of what “ownership” and “possession” mean in today’s world and investigate their potential interrelationships. “The speakers will discuss issues of ownership and control in the context of land, identity and information,” explains curator Daphne Dragona, who is responsible for the talks programme. “In the process, they also address the power of belief systems, customs and dominant narratives. At the centre of the programme is the connection between today’s forms of extractivism and exploitation - whether of mineral resources, human labour or data - and the colonialism of the settlers, racialised capitalism”.
In six virtual discussion rounds, the participating theorists, artists and activists will discuss, among other things, the similarities between economies based on the burning of fossil fuels and colonial plantations, technoheritage and cultural dispossession, today’s hidden workforce and slavery, digital habits and collective trauma. Special emphasis is placed on the incessant struggle of resistant networks and ecologies. Artists Nora Al-Badri and Lerato Shadi, among others, discuss strategies for countering cultural dispossession.
Heather Davis and Regine Rapp take up the role of plastic in our lives today. The binaries of human/machine and race/subjugation are central to the discussion by Dr Ramon Amaro and Maya Indira Ganesh. Ariana Dongus and Tiara Roxanne examine data colonialism. Black ecology and the connections between climate change and colonialism are the topics in the talk by Jacqueline Brown and Sria Chatterjee. And Liam Young joins us on a science fiction safari through an imaginary city made up of the earth’s entire population. “By reflecting on ancestral and contemporary technologies and cultural practices, the EMAF 2021 Talks programme underscores the continuing need for a differentiated perception of the world that will enable us to inhabit this planet in a different way,” says curator Daphne Dragona.
The entire EMAF Talks programme is available at www.emaf.de.
The festival section EMAF Campus is once again offering a platform to classes and specialist groups from European academies and universities in this festival year. Due to Corona, these will feature for the most part on the streaming platform emaf.cinemalovers.de, but also on-site in Osnabrück in the windows of the hase 29 art space, in the windows of the Institut für Kunst|Kunstpädagogik /Institute for Art/Art Education in the Seminarstraße and in the window of the bbk art quarter.
The classes of Julika Rudelius from the Hochschule für Kunst Bremen and Candice Breitz & Eli Cortiñas from the Hochschule für Bildende Kunst Braunschweig will present installations, performances and videos, while the class of Katarina Zdjelar from the Piet Zwart Institute in Rotterdam will be represented with a video programme.
The Institut für Kunst|Kunstpädagogik /Institute for Art|Art Education at the University of Osnabrück will also feature videos from the modules of Bettina Bruder and Barbara Kaesbohrer, and the Osnabrück University of Applied Sciences will present apps and videos from the Media& Interaction Design course, supervised by Christoph Mett, Hannes Nehls, Björn Plutka and Michaela Ramm.
We offer our sincere thanks to our sponsors, in particular nordmedia, the City of Osnabrück, the Goethe-Institut, the German Foreign Office, the Stiftung Niedersachsen, the VGH-Stiftung, and the Landschaftsverband Osnabrücker Land e. V.
A total of 110 films from 31 countries will be presented by the 34th European Media Art Festival in this year’s programme, titled “Possessed”. However, in view of rising infection figures and considerable travel restrictions, the film programmes will be held as an online-only event. The exhibitions in the Kunsthalle and other venues will be set up as planned and, depending on circumstances, will also be open to the public.
The streaming offer will be online from 21 April - 02 May and will include conversations with artists, live talks and insights into the exhibitions, in addition to the film programmes. “As soon as public screenings are possible, we will present a number of films once again in physical form,” says Katrin Mundt, member of the EMAF management team.
With over 2,600 submissions, more artists than ever before applied for inclusion in the EMAF programme; 31 films were selected for the competition. “Many of these films deal with landscapes marked by the traces of historical occupations or current conflicts,” says Katrin Mundt, who is in charge of the film programme. “The artists’ stance can be very critical, but also very personal. And often they are looking for alternatives: for other models of the world and new forms of community life.”
Marwa Arsanios’ Who Is Afraid of Ideology? Part 3: Micro-Resistances (2020), for example, tells of the struggle for land and mineral resources in Colombia and the empowerment of indigenous women through the dissemination of ecological knowledge. Simon Liu’s Happy Valley (2020) combines traces of the protests in his home city of Hong Kong into a melancholic tour through a city in the process of disappearing. Other works revolve around the close connection between body, place and identity. In Daddy’s Boy (2020), Renèe Helèna Browne examines the role of father figures in finding one’s own identity. The Hollywood classic Jurassic Park provides Browne with arguments for a different, “monstrous” way of being in the world. And Marian Mayland’s Michael Ironside and I (2020) also searches the film sets of 1980s and 90s sci-fi productions for notions of a technologically expanded masculinity.
Sharing and passing on experience, communicating across cultural boundaries and geographical distances is another focus of the competition. For instance, 13 Ways of Looking at a Blackbird (2021) is the result of a collaboration between the artist Ana Vaz and two students from Lisbon, Vera Amaral and Mário Neto. Their film asks fundamental questions about how we make sense of the world by seeing and filming, and how we locate ourselves in relation to others. In Three Works for Piano (2020), Dani Gal combines two very different narrative levels: three piano performances and the account of a former soldier in the Israeli army. Both illuminate different dimensions of speaking and silence, of memory and stage-setting.
The festival theme “Possessed” is spotlighted by a series curated by Anja Dornieden and Juan David González Monroy (Berlin). Titled “The Unpossessable Possessor”, it focuses on the cinematic apparatus: how is it connected to us humans, how it takes possession of us.
Artist and curator Nour Ouayda (Beirut) presents a series on the history and present of video art in Lebanon. In Show Us the Money and We Will Resist, she traces the role that the resources and networks of Lebanese television played in the development of video art in the 1990s, and what new media infrastructures have taken their place to enable both artistic experimentation and intervention in society.
We warmly invite you to join us at the EMAF 2021, whether online or on site!
Up-to-date information on this will be published on our website.
The 34th European Media Art Festival will begin in Osnabrück in a few weeks. However, we cannot currently guarantee under which conditions a visit in person to the festival will be possible under the Corona guidelines in force at the end of April. We are therefore also preparing online formats that will enable a virtual visit. At the same time, of course, we are planning for the visit as usual - this also applies to this year’s EMAF exhibition in the Kunsthalle Osnabrück, which is entitled “possesed” and curated by Berlin curator Inga Seidler.
In keeping with the double meaning of the word “possessed” in its German translation - the EMAF exhibition moves in the field of tension between the concepts of possession and obsession. The works on display address colonial and capitalist contexts of domination, control, ownership and property in a variety of ways. Particular attention is paid to the role of technologies. At the same time, the media art works counter them with new, alternative and indigenous visions of interaction and ownership.
One highlight among others is the altar-like video installation “Madre Drone” by the Chilean artist Patricia Domínguez: It fuses myths, symbols and rituals with images of extraction and indigenous land rights, cultural appropriation and the destruction of nature through industrialisation. Nora Al Badri’s work, entitled “Babylonian Vision”, interrogates contemporary museum practices by using artificial intelligence (AI) and machine learning to generate synthetic Babylonian objects based on antiquities. What it means to have no history and thus no future culminates in the video “Motlhaba Wa Re KeNamile”, which Lerato Shadi shot in her hometown Lotlhakane (Botswana): The work is reminiscent of the so-called slave masks that white slave owners put over the heads of their dehumanised workers. Pedro Neves Marquez examines histories of colonisation through the lens of biotechnology, pointing out how closely the colonisation of peoples is linked to the colonisation of land and to control over biological reproduction as a whole. With his large-scale map of new extractivism Vladan Joler explores and visualises a range of technical and social aspects of contemporary phenomena at the intersection of technology and society. One of the theses that artist Johannes Paul Raether works with in the guise of “Protektorama, the World Healing Witch”, is that humanity, obsessed with the principles of capital, is mutating into a prosthetic of its own digital devices.
We warmly invite you to join us at the EMAF 2021, whether online or on site!
Up-to-date information on this will be published on our website.
At present, thousands of visitors at a festival, as was usual at the European Media Art Festival before the Corona pandemic, is not even remotely conceivable. Our curators are therefore planning various online formats in addition to the events and exhibitions in our real space. They will be available online from April 21 - at emaf.cinemalovers.de. The films, installations and talks will be available beyond the duration of the festival until May 2.
In addition to the films in the International Competition, this year’s highlights surely include the film series curated by Anja Dornieden and Juan David González Monroy on the festival theme, “Possessed”. The series explores how the cinematic apparatus is bound up with us human beings and takes possession of us - in films by Ruy Guerra, Amy Halpern and Eva C. Heldmann, among others. In addition, the series “Show Us the Money and We Will Resist”, compiled by Nour Ouayda, focuses on the history of video art in Lebanon. Works by Akram Zaatari, Mohamed Soueid, Chantal Partamian and others illuminate the interrelationships between television, artistic experimentation and alternative media.
At Kunsthalle Osnabrück, curator Inga Seidler will present works that address colonial and capitalist impulses on the themes of domination, control, ownership and property in a variety of ways, taking a particular look at the role of technologies - for instance in Vladan Joler’s “New Extractivism” or Nora Al Badri’s “Babylonian Vision”. Patricia Dominguez’s altar-like video installation fuses myths, symbols and rituals with visions of extraction and indigenous land rights, cultural appropriation and nature destroyed by industrialisation.
Art and culture have not exactly been at the top of the priority list in the political sphere in recent months. But they are important elements of social discourse, creating meeting spaces and promoting social cohesion. With its programmes and themes, the EMAF 2021 stands for this aspect as well.
“The EMAF traditionally has a very international audience. Through the online programme, we can make as many films and contributions as possible accessible to a broad audience - without anyone having to get on a train or a plane”, says Alfred Rotert, member of the festival management.
We warmly invite you to join us at the EMAF 2021, whether online or, if possible, on site!
01/14/2021Special Focus: “Possessed”
Our heartfelt thanks to all filmmakers, artists and distributors who submitted their works to us! At 2,600, the number was significantly higher than in previous years. “We are thrilled with the large number and diversity of forms of the works submitted to us for the 34th European Media Art Festival in Osnabrück. There is also a much broader geographical spread than in previous years”, says Katrin Mundt, head of the EMAF film programme and a member of the festival management.
This year’s EMAF theme “Possessed” focuses on questions of ownership and forms of possession. Films, installations, performances and lectures will be shown that explore how ownership determines our global present and future and how this is interwoven with our recent past. They show how objects, spaces or experiences can take possession of us, and in doing so facilitate alternative forms of being and acting together. And by experimenting with strategies of appropriation, distribution and withdrawal, the contributions propose new modes of presence and participation in the spaces and institutions of film and media art. While the exhibition, film programme and talks are each devoted to different aspects of the thematic focus, individual formats address their connections and interrelationships.
The exhibition curated by Inga Seidler takes ownership and colonialism, i.e. (racial) capitalism as its starting point. The selected works deal with inequalities that this system of ownership and property (rights) has produced: the expropriation and deprivation of land, subjectivity, histories, memories and rights. They shed light on the ways in which this continues in the digital realm and feeds back into the connection between technology and abstraction. The exhibition also presents works by artists and activists who imagine alternative forms of ownership, different models of communality without property, and changing social realities.
Curated by Anja Dornieden and Juan David González Monroy, the film programme entitled “The Unpossessable Possessor” considers the cinematographic apparatus as a living creature entangled in a complicated relationship with humans. Is its relationship with us parasitic or mutualistic? Are its intentions pure or corrupt? Are we its master or does it have reign over our selves? Is it human? Or something else? Does it love us? Clearly we have ceded a good part of our collective consciousness to the film machine. Perhaps it would be a good idea to find out who it is and what it wants.
Curated by Daphne Dragona, the talk programme explores what “possession” and “being possessed” mean in and for the contemporary world and how they are connected. Visual artists, filmmakers and theorists are invited to discuss property, control and sovereignty in the context of land ownership, identity and technology, and to explore how these are informed by old and new beliefs, rituals and habits. By focusing on historical and contemporary forms of colonialism and extractivism, the programme asks what it means to own, lose and reclaim one’s world/s, and explores forms of resistance, relationality and kinship.
12/17/2020Lichte Momente - Body Hacking
We would have loved to provide you with information about our programme for the International Short Film Day on 21 December! But sometimes more important things come up, which is why the Short Film Day unfortunately has to be cancelled this year. In these times of more stringent Corona regulations, we extend our solidarity to the cinemas and other cultural institutions that have had to close down.
Last Call for Entries - Deadline: 31 December, 2020
You still have until the end of the year to submit your works for the EMAF 2021 screening – at: submissions.emaf.de. We look forward to receiving your films, videos, installations, performance projects and works from the field of Expanded Media!
Lichte Momente - Body Hacking
For those of you who happen to be in Osnabrück over the festive season, it is definitely worth your while to take a stroll through the old town, where the outdoor media art project “Lichte Momente” can be seen until 31 December.
Entitled Body Hacking, the project places the much-discussed topic of “posthuman bodies” at the hub of artistic debate: body hackers, for instance, have RFID chips surgically implanted under their skin, which they use to unlock doors, unlock smartphones or store data. By taking chemical substances and hormones, they optimise their bodies - and in doing so reduce all normative categories to absurdity.
In their aesthetic positions, this year’s artists Stine Deja, Eva Papamargariti, Filip Ćustić and Younghee Shin encircle, question and reflect on the theme of body hacking and approach it in serious, poetic, ironic or humorous ways.
We wish you all happy and above all healthy holidays and all the best for the New Year!
11/19/2020New Film Selection Committee
EMAF 2021 will begin in five months, and despite these uncertain times of the Corona pandemic, we are looking ahead and working on a festival edition that will not only present our familiar, carefully curated film programmes, installations, live works and talks in Osnabrück, but will also take into account the special demands of the present moment with digital offerings. We will keep you informed over the coming months about details of our programme planning and new team members. Today we would like to introduce our new selection committee:
New Film Selection Committee
A warm welcome to our new selection committee! Eli Cortiñas, Mason Leaver-Yap and Philip Widmann, together with film section director Katrin Mundt, make up the curatorial team that will develop the competition and feature film programmes of EMAF 2021 in the coming months and present them at the festival.
Eli Cortiñas currently holds the professorship for Spatial Concepts at the HBK Braunschweig together with Prof. Candice Breitz. Her films and installations have been shown in solo and group exhibitions at Museum Ludwig, Kunsthalle Budapest, CAC Vilnius, SCHIRN Kunsthalle, SAVVY Contemporary, Museum Marta Herford, Centre Pompidou, Museum of Modern Art Moscow, Kunstmuseum Bonn and MUSAC, as well as at international biennials and festivals, including the the Riga Biennale, the Moscow International Biennale for Young Art, the Short Film Festival Oberhausen and at Curtas Vila Do Conde. Cortiñas lives and works in Berlin.
Mason Leaver-Yap develops texts, exhibitions and events in collaboration with artists. Leaver-Yap most recently worked with Ingrid Pollard, Renée Green and Free Agent Media, Onyeka Igwe, Lin+Lam, Evan Ifekoya, Oreet Ashery, Laura Guy, Sunil Gupta and the Estate of Tessa Boffin, Sharon Hayes and Mathew Parkin, Lucy McKenzie, Iman Issa, Wendy Jacob, Alejandro Cesarco, Jimmy Robert, Rachel O’Reilly, Andrea Büttner, Alexis Mitchell and Sharlene Bamboat, Kat Anderson, Jamie Crewe and Beatrice Gibson. Leaver-Yap lives in Glasgow and Berlin.
Philip Widmann creates films, texts and film programmes. His films and videos have been shown at the Berlinale, IFF Rotterdam, Views from the Avantgarde, Yamagata International Documentary FF, FID Marseille, CPH:DOX, Wexner Center for the Arts, KW Berlin and Videonale, Bonn. He has compiled film programmes for Arkipel Jakarta, Image Forum Tokyo, the Kassel Dokfest and others. In 2017 Widmann received the EMAF Media Art Prize of the German Film Critics (VDFK) for his work “Das Gestell”. He lives in Berlin.
Call for Entries
Our Call for Entries for EMAF 2021 is open until 31 December. Current works can be submitted in the Film, Installation and Expanded Media sections. Please find the submission platform here: https://submissions.emaf.de/
„Lichte Momente 2020 – Body Hacking“
“Lichte Momente” is a project of the Experimentalfilm Workshop e.V., which is also the supporting organisation of the EMAF. This year, for the 13th time, the outdoor video art exhibition will present works by international artists on the walls and facades of houses in Osnabrück’s historic centre. Under this year’s theme, “Body Hacking”, visitors will experience art that can otherwise only be seen in a museum - with works by Stine Deja, Eva Papamargariti, Filip Custic and Younghee Shin.
The Cologne artist Gunter Demnig commemorates with the art project STOLPERSTEINE in Europe the victims of the NS era. A brass plaque is set into the sidewalk in front of their last self-chosen place of residence or work. In the meantime, “Stumbling Stones” have been laid in 1265 municipalities in Germany and in 21 European countries. In Osnabrueck, there are a total of 296 brass plaques on the sidewalks of the “City of Peace”.
Today, the anniversary of the 1938 Pogrom Night, “die Osnabrücker VIELEN” want to commemorate the victims of the NS regime with the action #stolpersteineputzenOS. The EMAF is part of “die Osnabrücker VIELEN” and has participated in the action.
“Die Osnabrücker VIELEN” are cultural creators and institutions from the city and district of Osnabrück who have declared themselves in favor of tolerance and artistic freedom and show solidarity with actors in the cultural scene who are attacked or questioned by right-wing populist and right-wing extremist positions.
In the coming week, three special films from this year’s program of the 33rd European Media Art Festival will be shown for the first time in Lower Saxony. Following the cancellation of the festival planned for April 2020 due to the pandemic, the EMAF is now presenting them in cooperation with the Independent FilmFest Osnabrück and the Kino im Sprengel in Hanover.
EMAF at the Independent FilmFest Osnabrück
At the invitation of the Independent FilmFest Osnabrück, which opens next Wednesday, two documentaries will be shown as part of an EMAF guest program: The Magic Mountain by Eitan Efrat and Daniel Mann (BE 2020, 68 min.) and What remains | Šta ostaje | What remains / Re-visited by Clarissa Thieme (DE/AT/BS 2020, 69 min.)
The Magic Mountain takes us to three places in Europe where quarries and caves allow us to look into the depths of the earth and the traces of our recent history. The film is an exploration of alternative forms of experiencing the world around us. (October 24, 17:30, Filmtheater Hasetor, Osnabrück, followed by a discussion with director Eitan Efrat)
What remains | Šta ostaje | What remains / Re-visited is a rapprochement with scenes of war crimes committed in Bosnia and Herzegovina in the 1990s, which Thieme had already filmed ten years earlier. With an intervention that is as simple as it is cautious, she invites the local people to meet and remember. (October 25, 15.00, Filmtheater Hasetor, Osnabrück)
EMAF at Kino im Sprengel
In cooperation with the EMAF, the Kino im Sprengel in Hanover is showing the feature film debut of the Colombian Camilo Restrepo, Los Conductos (CO/BR/FR 2020, 74 min.), which won an award at this year’s Berlinale. The film tells the story of a young man in Medellín who, having just escaped a religious sect, is haunted again and again by the ghosts of the past. A deeply political cinematic trip. (October 24, 20.30, Kino im Sprengel, Hanover)
All filmmakers are long-standing guests of the EMAF and have helped shape the festival’s profile as an internationally renowned venue for young, experimental art. For this reason, we are particularly pleased to be able to bring their films to the cinema together with our cooperation partners, even under the current difficult conditions.
The Call for Entries for 34th European Media Art Festival is open
Deadline: 31 December 2020
Films, videos, installations and performance projects or expanded media works – we look forward to receiving your entries for European Media Art Festival No. 34!
The festival takes place from 21 to 25 April 2021. For five days, Osnabrück will become an international and trend-setting platform for media art and a meeting place for artists, curators, gallerists and students. The exhibition at Kunsthalle Osnabrück will be on view until 30 May 2021.
Our selection committee and curators will review the submissions in the coming months and develop the programme for the upcoming festival. The full programme will be available on our homepage www.emaf.de from mid-March 2021.
At the festival, two juries will select the winners of the “EMAF Media Art Award of German Filmcritics (VDFK)”, the “Dialogue Award” given by the German Ministry of Foreign Affairs and the “EMAF Award” for a trend-setting work in Media Art.
We warmly invite you to submit your works!
Please use the online forms to submit all your entries by 31 December 2020 at the latest.
Please find further information and the submission documents at our website submissions.emaf.de.