projectorettes

Click image to watch preview version (quicktime). If you want to get the PDF-VERSION, just send an email to proj@projectorettes.net

Ab nach Berlin!

FOR MORE INFO GO TO: PROJECTORETTES.NET/GIRLACTION

Fotos von unserm ersten Frühlings OPEN VISUAL LAB für Jugendliche. Das nächste VISUAL LAB findet am Samstag, 24.3.07 von 13 bis 17 Uhr in der Kaiserstrasse 34 statt. Bitte anmelden unter: visuallab@projectorettes.net

Thanks to the Community who came out to COKE PROJECT's first Spring07 event! Thanks to PINGPING for a beautiful  Life Performance! Thanks to  This is (not) a Magazine for nifty visuals! And thanks to Saint Maur for more sounds and all performers/MCs later that night! Click here for more impressions.

Donnerstag, March 15, 2007 @ COKE PROJECTS Kaiserstrasse 34, 1070 Wien Opening / Video Screening times: 19 & 20 Uhr Premiere live performance by Vienna's newest analog-set Pingping: 21 Uhr Musical intermissions by: Saint-Maur Clervaux (Minimalsoul) After Party @ Artklub (after exhibition) Donnerstags @ the Loft16 A-1160, Thaliastrasse 2 info: artklubloft16@gmail.com www.myspace.com/artklubloft16 Coke Projects kicks-off Spring with its first screening of the year by presenting: This Is a Magazine Number #19, 2006 (15mins): "I know you are, you said you are, but what am I?" A survey of animated-works from in and around the internet put together by Milan-based Karen Donnachie & Andy Simionato of This is (not) a Magazine featuring: "Prelude, Intermezzi, Finale": from Monsteria various excerpts, 2005. "Unigamble", various excerpts, Rene Schmidt, 2004. "Fearless Given (reprise), Animation, 4'20", Atsushi Hasegawa, 2006. "Dans ce monde flottant", animation-cut up, Thomas Barbey, 2'30", original without sound, 2004. This Is (not) a Magazine www.thisisamagazine.com www.thisisnotamagazine.com ABOUT: Milan-based art publication This Is a Magazine is revolutionizing online publishing by leaps and bounds. With "sineractivity" as the unifying conceptual frame, This Is a Magazine blurs the divide between spectator, reader, and user-experience by initiating productions that only the spectator can complete with fully involved interaction and synthesis. Having recently branched out from Flash-interactive, folio-style issues to experiment with PowerPoint, its latest issues also includes over an hour of mesmerizing QuickTime video "peep shows," and long-standing collaborations with Italian contemporary artist Antonio Riello and others, rarely are experimentation and quality so well matched. Their recent book Compendium #5 "Who I think I am", has over 200 pages of new works, cut, sliced, diced, scored, folded and generally messed with stitch-bound hard-cover featuring a large number of DIY projects. More info about the book and purchasing details: www.thisisamagazine.com/whoithinkiam.htm

PROJ FLIRTS WITH EXPERIMENTAL CURATION AND SOCIAL INTERACTION WITHIN URBAN SPACES IN COMBINATION WITH THE ART OF CINEMA BY CREATING 'MOVIE NIGHT'; SURVEYING VIENNA'S NEWEST CINEMA RELEASES AT THEATERS AROUND THE CITY. GROUPS OF CINEPHILES ARE INVITED TO CHAT AT THE THEATERS TO DISCUSS AND WATCH FILMS IN CELEBRATION OF THE INTERNATIONAL ARTFORM OF CINEMA. THIS IS AN OPEN GROUP-FORUM WHO WILL MEET AT THE THEATERS BEFORE THE FILM. EXTENDED DISCUSSIONS WILL BE HELD ON THE PROJ BLOG-SITE.
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Film: The Last King of Scotland
Topics / Themes: Masculinity, Power Relations, Ethnicity, Heritage, Loyality, Patriotism, Iconoclasts, Friendship, Professionalism & Colonial Relations.

Related essays of interest: Derrida's writings on "Friendship" and "Hospitality".
Screening at Haydn Cinema, Mariahilfer Strasse 57
Meeting Date: Friday, March 23 (opening date March 16)
Meeting Time at Cafe: 18:30
Film starts: 18:50

About:
The Last King of Scotland is an Academy Award-winning 2006 British film based on Giles Foden's debut novel of the same name. It was adapted by screenwriters Peter Morgan and Jeremy Brock, and directed by Kevin MacDonald. The film received a 2007 BAFTA award for best British film and earned Forest Whitaker an Academy Award, a BAFTA, a Golden Globe and a SAG Award for best actor.
Forest Whitaker, who won more critics' awards (including the Golden Globe for Best Actor in a Movie Drama and Oscar for Best Actor) for his performance than any other leading actor in 2006, stars as the Ugandan dictator Idi Amin and Kerry Washington plays Kay, one of Amin's wives. As fictional characters, James McAvoy portrays Dr. Nicholas Garrigan (very loosely based on events in the life of
English-born Bob Astles); Gillian Anderson plays the health-aide wife of the doctor (Adam Kotz) with whom Garrigan first works in Uganda; and Simon McBurney plays a British diplomat.
Official Site: www.foxsearchlight.com/lastkingofscotland/

"QUESTIONETTE Repraesentation,
                          Inszenierung,
                 Performanz, "Bilder", Fragen, ...usw.
                                   Regina Steidl

Wir arbeiten an der ersten Ausgabe von PROJ JOURNAL, inklusive einer Dokumentation der CocA.CoL.A Galerie Projekte 2006. Erscheinungsdatum: March 2007. We're currently working on our first issue of PROJ JOURNAL, which includes a documentation of the events taking place at CocA.CoL.A Galerie in 2006. The Journal will be presented in March 2007.

If you're a young woman in NY (1oth to 12th grade) and want to take part in a music video workshop October 27th and October 28th, send an e-mail to: video@projectorettes.net

posted by Regina
... ist mit "Hamburger Lektionen" zu Gast bei der Viennale 2006.
"...Im Januar 2000 hielt Fazazi im Gebetsraum der Moschee mehrere so genannte Lektionen, bei denen die Anwesenden Fragen zu verschiedenen Aspekten des Lebens stellen konnten. Diese Sitzungen wurden auf Video aufgenommen. Nach den Anschlägen vom 11. September 2001 wurde bekannt, dass drei der vier Selbstmordpiloten regelmäßig die Moschee besucht hatten und in engem Kontakt zu Imam Fazazi gestanden waren. Auf der Grundlage des Videos rekonstruieren die Hamburger Lektionen den vollständigen Wortlaut zweier Sitzungen vom Januar 2000...."

Die Darbietung von Manfred Zapatka ist aus meiner Sicht beeindruckend; obwohl auch nicht ganz leicht durchzuhalten. Er liest die aus dem Arabischen uebersetzte Rede/Lektion, die Fragen, die Antworten (ueber 133 Minuten) ...
Nach dem Film -der Regisseur war anwesend - kamen einige Bedenken aus dem Publikum - denen ich mich spontan angeschlossen haette - bezueglich der Repraesentanz, bezueglich der moeglichen Gefahr der Vereinnahmung solcher Dokumente von politisch rechter Seite, bezueglich der Reaktionen von muslimischer Seite.
Interessant eine Reaktion des Regisseurs, in der er meinte, er faende es seinerseits interessant, dass nach einem Beispiel massiver Drohungen in Richtung " Unglaeubige/Nicht-Muslime" (wohl ein Grossteil des Publikums) von Seiten Fazazis als erstes Bedenken ueber Reaktionen von "Muslimen" kommen.

Das kam mir im ersten Moment nun hart vor, beim Anschauen der Filme, die Karmakar bisher gemacht hat, sehe ich es etwas anders (Das Himmler-Projekt ...)

Er schert sich wohl nicht darum, vorsichtig zu sein, "gute Stimmung" zu machen.
Jetzt kommt mir vor, er hat Recht. Ich fuehle mich ja auch nicht angesprochen, wenn er im "Himmler-Projekt" einen Aspekt der NS-Vergangenheit bearbeitet ... Es gibt also allen Grund, dafuer, dass Menschen, die muslimischen Glaubens sind, sich NICHT und zwar GAR NICHT mit Fazazi in einen irgendwie gebauten Topf schmeissen lassen muessen, eine ernsthafte Auseinandersetzung darf aus Angst davor, falsch verstanden zu werden, nicht  verabsabsaeumt werden und die Frage der Repraesentanz stellt sich wohl auch nicht.
Wenn ich es so nachwirken lasse, trennt Karmakar wohl ganz klar, was man selbst vielleicht aus der Distanz zusammendaechte.
?

Ps. Diskussion: Gibt es ein anderes Kino?
16.  Oktober, 17:00 Uhr, VIENNALE Zentrale
Ein Gespräch mit Patric Chiha (Home), Valeska Grisebach (Sehnsucht) und Romuald Karmakar (Hamburger Lektionen)
Moderation: Hans Hurch

posted by andrea
Neu! If you're interested in taking part in a VIDEO PRODUCTION TEAM, there's still the chance to join us every other monday from now. Next meeting: Monday, October 23rd, 18 Uhr at CocA.CoL.A Galerie. Our current theme: DAS SEIN (BEING)
We discuss ideas, assist each other's film, provide technical help. Contact us for more information.

posted by andrea

Visuals by Jacob Dwight, Music Selections by Genoa Mungin. More pictures from the screening here

posted by Regina

[...]ne klare Tendenz, die Nonchalance und Froehlichkeit, die man vielleicht in den 90ern noch erlebt hat, zu kontern mit einer neuen Ernsthaftigkeit, mit 'ner neuen Reflexion auf gesellschaftliche Probleme [...]
Bin gerade zufaellig bei der Suche nach Information ueber Jacques Ranciere auf diese neue Zeitschrift gekommen.
Hier gibts ein Interview mit Peter Siller.

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Jacob Dwight: "The Superorganic " Ausstellung
Freitag, 6.10.06 19Uhr-21Uhr
@(PrOj) Project Space aka CocA.CoL.A Galerie
34 Kaiserstrasse, 1070
Reception & Music Lounge (after)
************************************************
African-American digital media artist Jacob Dwight has had his digital hands in mutiple creative projects and a recent venture in the media lecture circuit. Emerging out of fine arts painting to the plethora of possibilities and enhanced sensibilities of digital technology, his digital automaticism has reached an almost 'mangelic' cosmic mythos. Dwight presents a survey of his personal digital works (via PowerPoint applications), showing different stages of artistic development and output, feature digital stills, audio loops and studies from his newest animations, revealing both the natural and sublime
through the aegis of assemytric logic and intuitive communication where macro and microcosmic spheres collide into new forms that both conceal and reveal themselves in a type of digital phenomenology. The Superorganic, a multimedia series that will model Dwight's theory of organic animation, or life process animation.
-PrOj

posted by andrea

For more pics from the screening last Thursday click here

posted by andrea
The following are excerpts from an interview with political/cultural theorist and video maker Christoph Spehr, taken from the IDC mailing list. You can read the full interview here.

"Education happens everywhere in the realm of the social, it's inseparable from our social practice - social practice is education, education is social interaction. Education as a institutionalized setting, as a school or an educational system (or only a specially designed situation, like a talk in a café), is to education what the teacher is to the learning: a means of facilitating, by giving resources and by manipulation - to and of both the teachers and the students (which in real life are mutually changing roles). And society is to institutionalized education what the educational system is to the learning/teaching subjects, a means of facilitating, by giving resources and by manipulation. Again, you don't get the manipulation out of the education. But manipulation does not mean to shape something after a picture. You cannot do education like you build a chair. We can conceive education only as cooperation.
(...) For a lot of stuff you have machines; what counts in education is more and more purely the social, virtuality and IT urge for an education that is about interaction between people, social abilities- because there's no point in repeating what the machine already offers. The more >immaterial< education becomes the more difficult. (...) Remember: education is inherently violent; something confrontational, obscene; it does not go without manipulation. This is only bearable in a free cooperation, in a form of enabling that can be controlled and taken back, and where the roles are not fixed one-sided, where learning/teaching is done by every member, where the teachers have to learn and the students have to teach the teachers. In a forced cooperation, the weaker side follows the rules as far as they can be coerced, but instinctively rejects manipulation. (...) I don't really have an original idea about new media education in particular. Just be honest, try not to be afraid; accept that you are part of the problem. Try to be part of the solution. Have visions, cooperate, support free cooperation while rejecting forced cooperation. Go around, do not live inside institution, do other things, ask people. Find the rebels. Be patient, be revolutionary. The usual stuff. Try to find a better answer than this."

„Ich habe dich in einen Käfig gesperrt, weil ich dich liebe”

Donnerstag, 21. September ab 18.00 Uhr
Open Space Projectorettes
(ex CoC.ACoL.A galerie)
Kaiserstrasse 34

Videoarbeiten in Zusammenarbeit mit dem Projekt "Saray // Mozart alla Turca", eine Produktion des Schauspielhaus Wien in Koproduktion mit Mozartjahr 2006, Grand Théâtre de la Ville Luxembourg und Het Toneelhuis Antwerpen.

Als Teil des Arbeitsprozesses an Saray entwickelten Regisseur Ibrahim Quraishi, Bühnenbildnerin Stefanie Wilhelm und Dramaturg Gabriel Smeets einen Video-Workshops mit jungen Wienerinnen und Wienern, der drei Hauptthemen gewidmet war:
"Das Ich und das Andere"
"Der Käfig"
"Der historische Relativismus unter dem Blickwinkel der heutigen Migration"

Projectorettes sind GastgeberInnen eines Abends mit Videoarbeiten von:
Nazim Binal Yilmaz
Djana Covic
Aylin Irmak
Öner Tanyeri
Burak Büyük
Alev Irmak
Umut Dag

Me and the others - no reality-principle when there is no scandal
Yes. No, there is only this old woman, yelling at something and the Invisible around – it's the invisible people we walk past every day, the ones we may become, or do only exist in one's minds eye. See the invisible, and you will know what's going on.
Me and the other. Me not the other – it's an imaginary effect that hides, that outside the artificial surrounding, there is not more reality than in the inside. Take the view of the absence, the view of the invisible people, it's a story of misfits. Me, is someone other.
(Text und Video Stills: Djana Covic)

Thanks to Alejo Duque and Laura Tonigna for coming all the way from Luzern to set up their interactive video installation in our space. We heard about Colombian media projects, home made antennas and internet shooting devices. More pics here