Marieke Istha
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Works in Amsterdam Netherlands

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Press Release, Netherlands Media Art Institute

IN THE MIDST OF<?xml:namespace prefix = o ns = "urn:schemas-microsoft-=
com:office:office" />

Video works by Seoungho Cho

April 9 - June 6, 2004

Opening: Thursday, April 8, from 5:00 to 8:00 p.m.

This spring the first solo exhibition by Seoungho Cho in Europe will be see=
n at the Netherlands Media Art Institute. In addition to a number of new vi=
deo installations, a retrospective of his earlier work will be presented.

The works of Seoungho Cho are poetic video reflections. The sources for his=
works can be anything, such as a short video clip, music, landscapes, a li=
ne or verse of poetr. But also everyday images and objects from our ordina=
ry environment. In his complex video installations these concrete images, t=
ogether with sound and text, merge into a dream-like collage. The boundarie=
s between the conscious and subconscious thus blur, and those things with w=
hich one is very familiar become alien, and sometimes even sinister. Althou=
gh Cho's work is of outstanding technical perfection, he emphasizes that th=
e development in his work is not so much stimulated by technical innovation=
as by his artistic vision. In this Cho proceeds from his intuition, and ex=
perimentation is the starting point for his videos.

During the exhibition the following works will be shown:

The video installation In the Midst of (1997) consists of six monitors that=
hang from the ceiling and a screen that lies on the floor. On this screen =
swirling water gurgles away into the dark center of a drain. In Analysis (1=
995) the image of a match being lit appears on a monitor. Meters record the=
sound and the action. This is visualized on two other monitors by means of=
audio and visual signals. A fourth monitor shows blue/black/white negative=
images of elements from natural landscapes. ColdPieces II (2002) is an ext=
ensive investigation into the changeability of pure form. It is a close-up =
study of water in its various forms, such as drops coming from a faucet or =
waves that roll across the screen. The installation Respiration (1998) cons=
ists of 14 monitors that hang from the ceiling. These show the flashing eme=
rgency lights of ambulances and police cars together with fragments of text=
. The work Preserved (1995) reflects the artist's interest in bringing the =
subconscious to the surface by creating a balance between experiences under=
gone and the activity of the mind. 1/1 (2001) is a playful work that to a l=
arge extent was filmed in deteriorated black and white. It reminds one of t=
he early experiments carried out by video artists in the 1970s. In the two=
new video installations, Untitled (2004) and Untitled II (2004), the artis=
t continues his consistent search for the elements of nature. In this new w=
ork he concentrates on the wind that constantly gives new forms to the dese=

The following single channel works will be seen in the projection space: Ho=
rizontal Silence (2003), Orange Factory (2002), 67/97 (2001), Linear Tracki=
ng (2000), ColdPieces I (1999) and Salt Creek (1998).

Short biography:

Seoungho Cho has been living and working in New York for fifteen years, whe=
re he has produced a large number of single channel tapes and video install=
ations. He was born in Pusan, South Korea, in 1959. After he completed his =
BA and MA in Graphic Arts at the Hong-Ik University in Korea, he went to th=
e United States to obtain his MA in Video Art from the University of New Yo=
rk. He has had solo exhibitions at the Museum of Modern Art in New York and=
the Pusan Metropolitan Art Museum in Pusan, South Korea, among other place=
s. His work has been shown at numerous international festivals and exhibiti=
ons, including the World Wide Video Festival in Amsterdam and the Change Bi=
ennial in Korea.

For more information / visual materials:

Danielle van Drie (Communications) T +31 (0)20 623 7101 E danielle @montev= <>

Dominique Busch (Exhibitions) T +31 (0)20 623 7101 E

Exhibition open Tuesday - Saturday and every first Sunday of the month from=
1:00 to 6:00 p.m.. Open additional hours April 18 (Museum Weekend), May 16=
and 23.

Note for the press: The artist will be in Amsterdam for the week preceding =
the opening.

Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
NL 1016 EV Amsterdam
The Netherlands
T +31 (0)20 6237101
F +31(0)20 6244423
E <>



Call for proposals Artist in Residence

Mon Feb 16, 2004 06:37

Call for proposals Artist in Residence

The Netherlands Media Art Institute, Montevideo/TBA invites artists to subm=
it proposals before the 1st of March 2004 on the field of:

Streaming media & Wireless applications

Through the Artist in Residence programme artists are invited to submit a p=
roject proposal. The conditions to participate in this project can be read =
at the website

Contact: Gaby Wijers


Het Nederlands Instituut voor Mediakunst, Montevideo/TBA nodigt kunstenaars=
uit om onderzoeks- en ontwikkelings voorstellen in te dienen voor 1 maart =
2004 op het gebied van:

Streaming media & Wireless applications

Via het Artist in Residence programma worden kunstenaars uitgenodigd om een=
projectvoorstel in te dienen. De voorwaarden om voor dit programma in aanm=
erking te komen zijn op de website te vinden htttp://

Voor meer informatie: Gaby Wijers gaby@montevi=

Marieke Istha

Nederlands Instituut voor Mediakunst
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423


Press Release: Netherlands Media Art Institute, Montevideo/TBA

(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=

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.=

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=

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 <> cia.or=

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. <h=

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.

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. <>

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=

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

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. <htt=

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=

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.= <>

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://= <>

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:/=

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.


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.=

Annet Dekker (Tentoonstellingen) T 020 6237101 E

Openingstijden tentoonstelling: dinsdag - zaterdag van 13.00 - 18.00 uur

Toegang: 2,50 / 1,50



Tue Oct 14, 2003 11:28

Call for Proposals:

Artist in Residence


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

*Streaming media

*Wireless applications

*3D applications

Artistic concept, innovation and cooperation are to be central in these inv=
estigations. Preference will be given to research which makes use of "open =
source" and that develops "tools" which will be available for further use. =
Investigations that have an interdisciplinary character will also receive p=
reference. The artists will be working together with Dutch universities and=
academies in the research.


An Artist in Residence will have at his/her disposal

*Technical facilities, including assistance

*Working budget


Technical specialists advise the participating artists during research, ex=
periments and production.


The outcome of the research will be presented in an appropriate manner, thr=
ough exhibitions, discussions, seminars, publications and workshops.


Applications will be evaluated twice a year by an internal committee. This =
will be done on the basis of a research proposal with a work plan, which mu=
st include a formulation of the problem, and a description of the resources=
needed (technical and facilities) and the result. The artist should also s=
ubmit a comprehensive biography, with documentation on his/her previous pro=
jects. The final round of the selection process will be based on an intervi=
ew. The duration of the work will depend on the research proposal, but shou=
ld run an average of three to six months.


For more information:

Gaby Wijers, Artlab

Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam

The Netherlands
T +31 20 6237101
F +31 20 6244423


Press release

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 <> Exh=
ibition open Tuesday - Saturday 1:00 - 6:00 p.m. Entrance: 2,50/1,50

Marieke Istha

Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
T +31 20 6237101
F +31 20 6244423