{"id":52,"date":"2018-01-17T03:30:00","date_gmt":"2018-01-17T02:30:00","guid":{"rendered":"http:\/\/mariavedder.sights1.atria.uberspace.de\/?page_id=52"},"modified":"2020-03-12T12:11:53","modified_gmt":"2020-03-12T11:11:53","slug":"video","status":"publish","type":"page","link":"https:\/\/www.mariavedder.de\/en\/video\/","title":{"rendered":"Video"},"content":{"rendered":"

“In Maria Vedder\u2019s new video pieces the question of the specifics of media debated so hotly in the seventies and eighties has largely evaporated. The works focus on a few image-objects that speak essentially for themselves. In their minimalism the ambiguity of the images becomes tangible. The video Allianzen (alliances)<\/strong> shows whirlwinds on a sand pile before the surging tower of the Allianz concern, which played a major part in the turbulences of the financial crisis. In the five-channel installation Aus dem Nichts, Out of Nothing<\/strong>, the viewer witnesses the generation of a traffic jam. As the title states, the jam emerges out of thin air before disappearing again, all without recognisable cause in accordance with the principles of chaos theory. The charming simplicity in Maria Vedder\u2019s video pieces, which do without technical and thematic effects, maybe wants to tell us that the \u201cneue Unuebersichtlichkeit\u201d (\u201cnew confusedness\u201d) of the world, long since diagnosed by Juergen Habermas, demands \u2013 among others \u2013 from art a new \u201ceconomy of attention\u201d that no longer stands in competition to the digital information flood. Maria Vedder works on rendering us sensitive to the visible signs of the invisible, e.g. electricity, the financial crisis and chaos theory. For Marshall McLuhan, electricity was simply \u201ca medium without a message\u201d and therefore something invisible to itself, while generating visibility. In the same way, there is a latent connection between theme and technique in Susurrus<\/strong>. To put it another way, this video installation also needs electricity and it is precisely this fact that the installation makes explicit. Susurrus is thus media-specific, but in the depth structure of its techno-social context, not on the visual surface.”
\nDieter Daniels, from the catalog “.move forward- new mexican and european media art”, Werkleitz Festival 2012<\/p>\n

please refer:
\nVideo-Forum in the \u201cNeuer Berliner Kunstverein\u201d:
\nhttps:\/\/www.nbk.org\/en\/video-forum\/Maria_Vedder.html<\/a><\/p>\n

Videography (selection)
\n<\/strong>No Senses, work in progress, 2000 until today<\/p>\n

The Indian Olympics \/ Die Indische Olympiade, work in progress, 1981 until today<\/p>\n

The flying dutchman \/ Der Fliegende Holl\u00e4nder, work in progress, 1980 until today<\/p>\n

Thing Sites \/ Thingst\u00e4tten, 2019<\/p>\n

Against the wall \/ Gegen die Wand, 2018<\/p>\n

The Rainmakers \/ Die Regenmacher, 2016<\/p>\n

Ghost Dance, 2014<\/p>\n

Chinese Whispers, 2013<\/p>\n

Pure Hand Work, 2013<\/p>\n

Susurrus, 2013, 2012, 2010<\/p>\n

La Bestia, 2012<\/p>\n

Alliances \/ Allianzen, 2010<\/p>\n

Out of Nothing \/ Aus dem Nichts, 2010, 2009, 2008<\/p>\n

The ice sphinx, 2007<\/p>\n

Threshold \/ Schwelle, 2006, Soundtrack Brian Eno<\/p>\n

at close quarters (beieinander), 2006<\/p>\n

Surfing, 2004<\/p>\n

Joss, 2001<\/p>\n

For Hermann, 2000<\/p>\n

Metal Talk, 2000<\/p>\n

Breathless \/ Ausser Atem, 2000<\/p>\n

Berlin 21.6.1996, 1996<\/p>\n

Drifting, 1995<\/p>\n

The expanded respiratory center \/ Das erweiterte Atemzentrum, 1992<\/p>\n

Tape it, 1992<\/p>\n

The respiratory center \/ Das Atemzentrum, 1991<\/p>\n

The videochoir \/ Der Videochor, 1991<\/p>\n

The electronica soup \/ Die elektronische Suppe, 1990<\/p>\n

And the Galaxis heard \/ Und die Galaxien h\u00f6rten, 1990<\/p>\n

The Target, 1990<\/p>\n

Cologne fairy tale, 1989, with\u00a0Wulf Herzogenrath<\/p>\n

Sparkle and fire \/ Glanz und Feuer, 1989,\u00a0Soundtrack: Brian Eno<\/p>\n

Shut Up, 1989<\/p>\n

Circling, 1988, with\u00a0Douglas Davis\/New York und Hank Bull\/Vancouver<\/p>\n

PAL oder Never The Same Color”, 1988<\/p>\n

Travelling Acquaintance \/ Reisebekanntschaft, 1988<\/p>\n

The Heartbeat of the Anubis \/ Der Herzschlag des Anubis, 1988,\u00a0in collaboration with B. Gruber<\/p>\n

Wireless Operator to the Sirius, part 2 \/ Funker zum Sirius Teil 2, 1987<\/p>\n

Blues for an unknown Photographen \/ Blues f\u00fcr einen unbekannten Photographen, 1987<\/p>\n

Silent Language, 1986,\u00a0Soundtrack Brian Eno<\/p>\n

Live broadcast of the opening of the Klaus Peter Schn\u00fcttger-Webs Museum in the opening of the Museum Ludwig \/ Direkt\u00fcbertragung der Er\u00f6ffnung des Klaus Peter Schn\u00fcttger-Webs Museums in die Er\u00f6ffnung des Museums Ludwig, 1986, with Dirk Bach, Brian Eno, Thomas Gr\u00fcnfeld, Georg Herold, Hella von Sinnen et al.<\/p>\n

Catfish Tango, 1986,\u00a0in collaboration with B. Gruber<\/p>\n

A look in the video workshop, 1986, in cooperation with Bettina Gruber and Ulrich Tillmann, commissioned production for the ZDF \/ second German television, production: Blitzvideo<\/p>\n

Young art for the telly, 1986, in cooperation with Bettina Gruber, commissioned production for the ZDF \/ second German television, production: Blitzvideo<\/p>\n

Big Brother Blues, 1986,\u00a0in collaboration with B. Gruber<\/p>\n

A day at the country side, 1985<\/p>\n

Mama\u2019s little pleasure, 1984,\u00a0in collaboration with B. Gruber<\/p>\n

The geometrical locus of all points (Der Geometrische Ort aller Punkte),\u00a01984<\/p>\n

The artistic work place or the secret of artistic creation (K\u00fcnstlerisches Arbeitsfeld oder Das Geheimnis des k\u00fcnstlerischen Schaffens),\u00a01981<\/p>\n

Reinhald von Dassel – Wireless Operator to the Sirius \/ Reinhald von Dassel – Funker zum Sirius, 1980,\u00a0in collaboration with B. Gruber<\/p>\n

A hollow way in the mountains of the brave adventurer \/ Ein Hohlweg in den Bergen des mutigen Abenteurers, 1979<\/p>\n

Abdullah Fr\u00e8res,1979,\u00a0in collaboration with B. Gruber<\/p>\n

About Culture \/ \u00dcber Kultur, 1978,\u00a0in collaboration with B. Gruber<\/p>\n

Intersections \/ Schnittpunkte, 1978<\/p>\n

World city of Cologne \/ Weltstadt K\u00f6ln, 1975, Super 8 film, in collaboration with Bettina Gruber and Wolfgang Woessner<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

“In Maria Vedder\u2019s new video pieces the question of the specifics of media debated so hotly in the seventies and eighties has largely evaporated. The works focus on a few image-objects that speak essentially for themselves. In their minimalism the ambiguity of the images becomes tangible. The video Allianzen (alliances) shows whirlwinds on a sand […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/pages\/52"}],"collection":[{"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/comments?post=52"}],"version-history":[{"count":18,"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/pages\/52\/revisions"}],"predecessor-version":[{"id":2036,"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/pages\/52\/revisions\/2036"}],"wp:attachment":[{"href":"https:\/\/www.mariavedder.de\/en\/wp-json\/wp\/v2\/media?parent=52"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}