(Nederlandse versie onderaan)

"My Story"

Stories Visualized<?xml:namespace prefix = o ns = "urn:schemas-microsof=
t-com:office:office" />

January 10 - March 8, 2004

Opening January 9, 5:00 p.m. - 7:00 p.m.

Emmanuelle Antille, Susanne Berkenheger, Persijn Broersen & Margit Lukacs=
, Olia Lialana, Shahryar Nashat, Jogchem Niemandsverdriet, Tabaimo

Although the manner in which stories are told and visualized changes, narra=
tive has not lost its power. Our lives take on form with the help of storie=
s. We learn by means of stories, we define stories, deconstruct stories, an=
d of course tell stories. In the exhibition "My Story" Stories Visualized, =
the Netherlands Media Art Institute shows the various ways in which artists=
visualize a story: multiple screens, spatial montage and interactive appro=
aches. In personal, insistent and fanciful ways the artists tell stories ab=
out people and their lives, posing questions about the definitions of reali=
ty.

In The Red Cabin (a part of Angels Camp, 2003), the characters do not feel=
at home in this world. They therefore decide to begin a new life in which =
they will determine their own norms and values. "And Angels Camp is our cry=
/ The place where we buried our dreams / Our soiled virginity / And all th=
e lost things we'll never again see." Emmanuelle Antille alternates apparen=
tly insignificant images with extremely suggestive images and scenes. The w=
ork is characterized by "tainted innocence". As a viewer you try to get a g=
rip on the created world, but just as in her earlier work the characters th=
emselves give little away. http://www.angelscamp.ch <http://www.angelscamp.=
ch/>

The installation Crossing the Rainbow (2003) by Persijn Broersen & Margit L=
ukacs is shown with the aid of two projections and is about the lives of =
two young people. They tell - sometimes in a cloyingly sweet way - about ea=
ch other and the relation in which they find themselves. The split screen a=
llows the scenes to sometimes supplement one another, while at other times =
the two stories are played against each other. Now and then the camera take=
s over the narrative in order to visualize the story in some associative ma=
nner.

A conversation between two persons slowly comes into being as the user clic=
ks the computer mouse in My Boyfriend Came Back from the War (1996) by Olia=
Lialana. "My boyfriend came back from the war. After dinner they left us a=
lone." The mental world of the two people who were separated from one anoth=
er and now try to come back together is slowly unraveled. Lialana uses the =
possibilities of hypertext to tell multiple stories simultaneously within o=
ne screen. Various frames can be opened, providing parallel and associative=
narratives. http://www.teleporta <http://www.teleportacia.org/war/> cia.or=
g/war/

Die Schwimmeisterin (UK version, 2004) by Susanne Berkenhegen also works in=
the same way. She herself terms her work Internet literature. This interne=
t project is primarily based on text and graphic references. Without the he=
lp of the visitor, nothing happens. But after a number of mouse clicks a vi=
rus, 'hai75', is activated. The virus tries to slowly but surely tempt the =
visitor to certain choices that lead to the death of the central character.=
At the end of the story the route followed becomes visible, and the reader=
is once again confronted with the events. http://www.schwimmeisterin.de <h=
ttp://www.schwimmeisterin.de/>

Laterally Yours (2002): "I should have known better. If I hadn't hidden in =
there they would have found me out. And if I hadn't hidden out they would h=
ave caught me where I sleep. I didn't know it was all over until it was too=
late." In this work Shahryar Nashat shows how fantasy gets a place in impr=
isonment, how it leads to alienation, and in what manner anxiety takes shap=
e. In the multichannel installation image and sound come at the viewer from=
different sides. The setup allows the story and the facts in the video to =
confirm or contradict each other. http://www.shahryarnashat.com/

In NobodyHere (1998-present) Jogchem Niemandsverdriet lives on the Internet=
. His identity is shaped by the small stories that he tells and visualizes,=
through which the viewer can click. The one-to-one interaction and the per=
sonal stories make Jogchem a personal, virtual friend, someone with whom th=
e visitor to the site can enter into a relationship. Now and then Jogchem a=
sks for advice, to which the viewer can respond by e-mail. The adventures a=
nd stories that are created subsequently become linked with one another at =
multiple points. http://www.nobodyhere.com <http://www.nobodyhere.com/>

Tabaimo investigates social and cultural tensions in Japan. She visualizes =
the traditions, gender differences, family relations and cultural etiquette=
. The everyday worries of a housewife are revealed in Little Japanese Kitch=
en (2003). Tabaimo shows us this apparently unusual banality raw and unvarn=
ished. The subtle and detailed animations are recognizable and disorienting=
at the same time. She presents her story without commentary, but with a ra=
zor-sharp realism.

In addition:

Discussion / presentation evening with Mediamatic and Submarine.

Film evening in which a number of artists shed light on their inspiration b=
y means of film, video and other fragments.

For more information / visual material:

Danielle van Drie (communications) T +31 (0)20 6237101 E danielle@montevide=
o.nl

Annet Dekker (exhibitions) T +31 (0)20 6237101 E annet@montevid=
eo.nl

Exhibition is open Tuesday - Saturday 1:00 - 6:00 p.m.

Admission: EUR 2,50 / 1,50

"My Story"

Verhalen Verbeeld

10 januari - 8 maart 2004

Opening 9 januari 17.00 - 19.00 uur

Emmanuelle Antille, Susanne Berkenheger, Persijn Broersen & Margit Lukacs=
, Olia Lialana, Shahryar Nashat, Jogchem Niemandsverdriet, Tabaimo

Hoewel de manier waarop verhalen verteld en verbeeld worden verandert, heef=
t het verhaal niet aan kracht ingeboet. Ons leven krijgt vorm met behulp va=
n verhalen. We leren door middel van verhalen, we definieren verhalen, de=
construeren verhalen en natuurlijk vertellen we verhalen.

Het Nederlands Instituut voor Mediakunst laat in de tentoonstelling "My Sto=
ry" verhalen verbeeld verschillende manieren zien waarop kunstenaars een ve=
rhaal visualiseren: multiple screens, spatial montage en interactieve benad=
eringen. De kunstenaars vertellen op een persoonlijke, indringende en fanta=
stisch wijze verhalen over mensen en hun leven, waarbij de definities van r=
ealiteit ter discussie staan.

In the Red Cabin (onderdeel van Angels Camp, 2003) hebben de personages het=
gevoel niet thuis te zijn in deze wereld. Ze besluiten daarom een nieuw le=
ven te beginnen waarin ze hun eigen normen en waarden bepalen. "And Angels =
Camp is our cry / The place where we buried our dreams / Our soiled virgini=
ty / And all the lost things we'll never again see. " Emmanuelle Antille wi=
sselt schijnbaar onbeduidende beelden af met extreem suggestieve beelden en=
scenes. Het werk wordt gekenmerkt door 'bedorven onschuld'. Als kijker pro=
beer je vat te krijgen op de gecreeerde wereld, maar evenals in haar eerd=
ere werk geven de personen zelf weinig prijs. http://www.angelscamp.ch <htt=
p://www.angelscamp.ch/>

De installatie Crossing the Rainbow Bridge (2003) van Persijn Broersen & =
Margit Lukacs wordt vertoond met behulp van twee projecties en gaat over=
het leven van twee jonge mensen. Zij vertellen, soms op mierzoete wijze, o=
ver elkaar en de relatie waarin ze zich bevinden. De split-screen zorgt erv=
oor dat de scenes elkaar soms aanvullen terwijl een andere keer de beide =
verhalen tegen elkaar uitgespeeld worden. Af en toe neemt de camera de vert=
elling over om het verhaal op associatieve manier te verbeelden.

Een gesprek tussen twee personen komt langzaam tot stand door het klikken v=
an de computermuis door de gebruiker in My Boyfriend Came Back From the War=
(1996) van Olia Lialana. "My boyfriend came back from the war. After dinne=
r they left us alone." Langzaam ontrafelt de gedachtewereld van twee mense=
n die van elkaar gescheiden waren en nu weer naar elkaar toe proberen te ko=
men. Lialana gebruikt de mogelijkheden van hypertekst om tegelijkertijd mee=
rdere verhalen binnen een scherm te vertellen. Verschillende frames kunnen =
geopend worden en zorgen daardoor voor parallelle en associatieve vertellin=
gen. http://www.teleportacia.org/war/

Op een zelfde manier werkt ook Die Schwimmeisterin (UK versie, 2004) van Su=
sanne Berkenheger. Zelf noemt ze haar werk Internetliteratuur. Dit internet=
project is voornamelijk gebaseerd op tekst en grafische verwijzingen. Zonde=
r de hulp van de bezoeker gebeurt er niets. Maar na een aantal muisklikken =
wordt een virus 'hai75' in werking gezet. Het virus probeert langzaam maar =
zeker de bezoeker te verleiden tot bepaalde keuzes die leiden tot de dood v=
an de hoofdpersoon. Aan het einde van het verhaal wordt het gevolgde trajec=
t zichtbaar en wordt de lezer opnieuw met de gebeurtenissen geconfronteerd.=
http://www.schwimmeisterin.de <http://www.schwimmeisterin.de/>

Laterally Yours (2002): "I should have know better. If I hadn't hidden in =
there they would have found me out. And if I hadn't hidden out they would h=
ave caught me where I sleep. I didn't know it was all over until it was too=
late. " In dit werk laat Shahryar Nashat zien hoe fantasie een plaats kri=
jgt in gevangenschap, hoe het leidt tot vervreemding en op welke manier ang=
st vorm krijgt. In de multi-channelinstallatie komt beeld en geluid van ver=
schillende kanten op de bezoeker af. De opstelling zorgt ervoor dat het ver=
haal en de feiten in de video ondersteund of tegengesproken worden. http://=
www.shahryarnashat.com <http://www.shahryarnashat.com/>

In NobodyHere (1998-heden) leeft Jogchem Niemandsverdriet op het Internet.=
Zijn identiteit wordt gevormd door de kleine verhaaltjes die hij vertelt e=
n verbeeldt, en waar de bezoeker doorheen kan klikken. De een-op-ee=
n interactie en de persoonlijke verhalen maken Jogchem tot een persoonlijke=
, virtuele vriend, iemand met wie de bezoeker van de site een intieme relat=
ie aangaat. Af en toe vraagt Jogchem raad, waarop, door middel van e-mail, =
gereageerd kan worden. De avonturen en verhalen die ontstaan worden vervolg=
ens weer meervoudig met elkaar verbonden. http://www.nobodyhere.com <http:/=
/www.nobodyhere.com/>

Tabaimo onderzoekt sociale- en culturele spanningen in Japan. Ze verbeeldt =
de tradities, sekseverschillen, familierelaties en culturele etiquette. In =
Little Japanese Kitchen (2003) zijn de alledaagse beslommeringen van een hu=
isvrouw te zien. Tabaimo laat deze schijnbaar ongewone alledaagsheid rauw e=
n ongezouten zien. De subtiele en gedetailleerde animaties zijn herkenbaar =
en vervreemdend tegelijk. Zonder commentaar, maar met een vlijmscherp reali=
sme presenteert ze haar verhaal.

Additioneel:

Discussie- / Presentatie-avond met: Mediamatic en Submarine.

Filmavond, waarin een aantal kunstenaars aan de hand van film-, video- en a=
ndere fragmenten hun inspiratie toelichten.

Voor meer informatie / beeldmateriaal:

Danielle van Drie (communicatie) T 020 6237101 E danielle@montevideo.=
nl

Annet Dekker (Tentoonstellingen) T 020 6237101 E annet@montevideo.nl

Openingstijden tentoonstelling: dinsdag - zaterdag van 13.00 - 18.00 uur

Toegang: 2,50 / 1,50

Press Release

<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:offi=
ce" />

The Postman is a Genius:

Experience and Imagination in Seoul

August 29 - October 18

Opening August 28, 6:00 - 8:00 p.m.

Participating artists: Flyingcity, Im Heung-soon, Jo Seub, Koh Seung Wook, =
Park Hwa Young and Rhii Jewyo

The exhibition The Postman is a Genius: Experience and Imagination in Seoul=
reveals how South Korean artists experience life in one of the largest cit=
ies of the world, Seoul. In their work they let us see experiences and fant=
asies about their life in a city with 12 million inhabitants. The artists a=
re between 30 and 35 years of age, and the background of this generation ha=
s been shaped by the immense political and economic changes, including urba=
nization, that have taken place in Seoul over the last decades. The need to=
visualize the consequences of these changes is the motivation for these ar=
tists. They not only show us how Seoul looks, but also raise the question o=
f what has been forgotten and repressed during the process of change in the=
past decades. With their work they lodge a protest against what has been l=
ost. Their approach to that problem is predominately light and amusing, but=
the undertones are melancholic and serious.

The artists have made use of diverse media. Their works vary from video fil=
med in documentary style to fantasy films, from photography to drawings. Th=
ere are also cardboard models of an ideal city made by children under the g=
uidance of the artists' group Flyingcity.

An extra video program goes further into how this city is visualized in con=
temporary South Korean video art. Artists in this program are Bae Young-Hwa=
n, Hoi Jung-Kwa, Kim Beom, Kim Ji-Hyun, Lim Minouk & Frederic Michon, Mix=
rice, Park Hye-Sung and Park Se-Jin.

The Postman is a Genius is the outcome of collective organization by The Ne=
therlands Media Art Institute and the Marronnier Art Center (MAC) of the Ko=
rean Culture and Arts Foundation, Seoul. The exhibition is the result of a =
collaboration between Mark Kremer, guest curator at the Netherlands Media A=
rt Institute, and Beck Jee-Sook, curator of the MAC. The exhibition takes p=
lace as part of Facing : Korea, a set of four exhibitions of Korean artists=
, opening simultaneously on August 28 at four Amsterdam institutions: De Ap=
pel, Foam, Canvas International Art and the Netherlands Media Art Institute.

Note for the press: Curators and artists are available a week before the op=
ening. Please contact us if you wish to arrange interviews.

For more information / visual materials: Marieke Istha (communications) T +=
31 (0)20 623 7101 E <mailto:istha@montevideo.nl> istha@montevideo.nl. Exh=
ibition open Tuesday - Saturday 1:00 - 6:00 p.m. Entrance: 2,50/1,50

Marieke Istha
Communication

Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
T +31 20 6237101
F +31 20 6244423
istha@montevideo.nl
www.montevideo.nl

****** CALL: DEADLINE PROPOSALS NEXT PERIOD JULI 1 2003

Artist in Residence

Starting in 2002, the media lab at the Netherlands Media Art Institute, Montevideo/Time Based Arts is offering artists from The Netherlands and other countries the possibility of carrying out investigations in three areas: