| Invitation Goethe-Institut Jakarta & ruangrupa presents : "Picturing Places Around the World" Video works screening from the n.b.k. Video-Forum, selected by Kathrin Becker Friday, October 30, 2009 4 PM Open for public / free of charge @ ruangrupa Jl. Tebet Timur Dalam Raya No. 6, Jakarta Selatan 12820 t/f: +62 21 8304220 e-mail: info@ruangrupa. www.ruangrupa. The screening consists of works of international artists that are part of the N.B.K. Video-Forum, the eldest video-archive in Germany. It focuses on interventions of artists in the urban space or their analysis of urban phenomena. The screening has six different "stops" in six different places of the world : 1. Stop: Hamburg: Food Shopping Die Jagd (1992-1997 | 1' 11" | Christian Jankowski ) 2. Stop: Mexico. Wild dogs El Gringo (2003 | 4' 12" | Francys Alys) 3. Stop: Bukarest/Romania: A man with a door on his back Sample City (2003 | 11' 45" | Calin Dan) 4. Stop: Jerusalem: Being a Palestinian Girl Happy Days (2006 | 3' | Larissa Sansour) 5. Stop: Berlin: Two Lonely Men Dieter (2007 | 17' 50" | Artur Zmijewski) I? (2004 | 4' 17" | Shahram Entekhabi) 6. Stop: Somewhere in the virtual worlds Eight miles high (2001 | 3' 18" | Domingo Molina Cortés) Also present video from Indonesia : 1. Jalan Tak Ada Ujung (The Endless Step) (2006 | 7' | Maulana M Pasha) 2. What (2001 | 10' 42" | Reza 'Asung' Afisina) 3. Alam: Syuhada (2005 | 9' | Hafiz) 4. Rumah (Home) (2007 | 7' | Otty Widasari) 5. Bilal (2006 | 4' | Bagasworo Aryaningtyas) 6. Tamasya Reklame (2007 | 2' | Singgih AP) 7. Crash (2004 | 40" | Anggun Priambodo) 9. Iqra (2005 | 2' 10" | Ari Satriadarma) 10. Pemandangan Piknik (Scenery) (2003 | 7' | Forum Lenteng) 11. Benhil (2003 | 5' 37" | Forum Lenteng) Biographical Information about Kathrin Becker Kathrin Becker is a curator and has been director of the Videoforum at the Neuer Berliner Kunstverein and of the Neuer Berliner Kunstverein (N.B.K) in Berlin since 2001/2003. Having studied art history and Slavonic studies in Bochum, Moscow and St Petersburg and spent two years living in the former Soviet Union and Russia from 1989 to 1991, Kathrin Becker began working as an independent curator. In 2001 Becker became director of the 'Videoforum' in the Neuer Berliner Kunstverein, a video archive that now encompasses over 1000 works from the beginnings of video art up to the present day. Besides digitizing the archive's holdings, she has been responsible for numerous exhibition projects and collaborations with institutions in East and West Europe, in the United States of America and Mexico. In the last few years Becker has become increasingly interested in the question of the social dependence and political dimensions of art. In this respect the possibilities offered by combining visuality and ideological mood strike her as more interesting than documentary or anti-representative Neuer Berliner Kunstverein N.B.K. is a site of contemporary art and discourse production. It was founded in 1969 with the goal of presenting contemporary fine art to a broader public, and to invite that public to actively participate in cultural processes. In 1970, n.b.k. founded one of Germany's first "arthotheks," from which art enthusiasts can borrow from over 4,000 works of international art from twentieth and twenty first century. Artothek mobil creats exhibitions for public institutions, schools, and businesses. With the Video-Forum, n.b.k. possesses a collection of over 1,000 international art videos that has constantly been expanding its founding in 1972.
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Art & Culture Indonesia (ACI) peduli pada pengembangan seni budaya Nusantara warisan nenek moyang kita. Warna-warni dan keragaman seni budaya Indonesia adalah anugerah terindah yang kita miliki. Upaya menyeragamkan dan memonopoli kiprah seni budaya Indonesia dalam satu pemahaman harus kita tentang mati-matian hingga titik darah penghabisan.
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Art & Culture Indonesia (ACI) peduli pada pengembangan seni budaya Nusantara warisan nenek moyang kita. Warna-warni dan keragaman seni budaya Indonesia adalah anugerah terindah yang kita miliki. Upaya menyeragamkan dan memonopoli kiprah seni budaya Indonesia dalam satu pemahaman harus kita tentang mati-matian hingga titik darah penghabisan.
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