Workshop / Classes

Film Screening #57 | Micheal Pilz

School of Moving Images & New Media Society in collaboration with Austrian Cultural Forum in Tehran (OKF) present
Screening of 2 films by Micheal Pilz “Cage” and “Rose and Jasmine”

Monday, June 11 and Tuesday, June 12, 2018 – 7 pm


CAGE

140 minutes, Beta SP, 4:3, colour, PAL

In August 1992 we met for a four-week international symposium on dance, music, and film. As a result, the video State of Grace is a cinematic attempt to a maximum of exertion and a maximum of relaxation basing on the thoughts – among others – by John Cage and Chuang Tzu.

  • It was just a beautiful memory to me, it was something like I built up together with fifty more people and then also what we did with the girl, it had a very nice atmosphere, just really the air stopped, I didn’t do it for them but more I have taken their energies into me to do something together like if you make contact with somebody and you don’t know where it will lead, your movement goes somewhere, and it worked very well and then I walked out and the game was going on and I lost this feeling and from that point on when I lost it, it was not so interesting, my wife told me.
  • Your wife?
  • Yes, she told me at the beginning it was so solid, the atmosphere and the air in the room that you could really have cut it and she saw that, my God, what will happen here till the end if it goes on like this, she was really afraid at a point that it would really go too far maybe, because
    it is so –, and then I lost, I just forgot when I entered again, when I went out maybe this experience to me was too much, I forgot about going on with it, it was just somehow, a satisfaction, I should go home instead of running the whole.
  • Maybe you should not have been so satisfied.
  • Yeah, but how can you do that? Yes, you should get a lot of satisfaction during the work and then you are not so surprised when there is satisfaction at the performance.

    Ferenc Kálmán,
    in dialogue with Raffaella Giordano,
    from the film

Rose And Jasmine
Video, 106 minutes
digi-Beta, 16:9, color, stereo

In ancient China before an artist began to paint anything – a tree, for instance – he would sit down in front of it for days, months, years, it didn’t matter how long until he was the tree. He did not identify himself with the tree but he was the tree. This means that there was no space between him and the tree, no space between the observer and the observed, no experiencer experiencing the beauty, the movement, the shadow, the depth of a leaf, the quality of color. He was totally the tree, and in that state only could he paint.
Michael Pilz, Vienna, April 2010


Meditation is to be aware of every thought and of every feeling, never to say it is right or wrong but just to watch it and move with it. In that watching, you begin to understand the whole movement of thought and feeling. And out of this awareness comes silence. Silence put together by thought is stagnation, is dead, but the silence that comes when thought has understood its own beginning, the nature of itself, understood how all thought is never free but always old – this silence is meditation in which the meditator is entirely absent, for the mind has emptied itself of the past.

Jiddu Krishnamurti, Freedom from the Known

A cinematic poem based on the director’s journeys in Iran from 2006-2007. By patiently and gently observing both people and place, Michael Pilz collects images and sounds of ravishing beauty. A meditative experience.
40th International Film Festival Rotterdam, January/February 2011

This event is open to public and free.
New Media Projects: No. 3, Araabi 3 Alley, North Kheradmand St. Karimkhan Ave. Tehran
@newmediasociety

New Media Talk Series #56 | Sarah Maske

New Media Talk Series #56 | Sarah Maske

Permaculture + Art = Environments of Transition

Monday, April 30, 2018 – 6 pm

New Media Projects

Maria Thereza Alves, Ballast Seed Garden, 2012-2016, © Arnolfini Gallery

Short Abstract

Climate Change, Pollution, Ocean acidification, Extinction, Drought!

These big scary terms are not only big scary terms anymore, we actually see and feel them, in certain areas of the world, already suffer from them. They influence our lives and push them in certain directions. Up until this point, the human species thought it could not be affected long term by external influences at least not as an entire species – But now it begins to dawn on humans that the dualism of “us” and “nature” was only created to make our counterpart usable. We used nature as a resource and changed it without considering that it changes us too.

The changes are talking to us nowadays and we try to listen and understand. That is the reason why art, society, and theory aim at translating what they think to have understood. Scholars like Bruno Latour and Donna Haraway talk about cohabitation of human and non-humans. Stacey Alaimo proposes ‘intra-acting’ as a new approach of having an impact on each other.

Also, Ecological Art is more and more wondering how everything is connected and creates impressions of ecosystems and their changes. They show the status quo of environments of transition. In the form of Participative Environment Artworks, Research Artworks traceable through documentation material as well as Open Air Installations and Performances all referred to as Permaculture Art they let the participant experience the combination of art and ecosystems. The works result in a rather non-hierarchical view of ecosystems, in a network with every actor equally contributing rather than a hierarchical structure with the human species at the top.

This approach is used by Permaculture Design for decades already. The term Permaculture Design was coined by Bill Mollison and David Holmgren in the 1970s and is an ecosystem management method, which aims at creating a sustainable ecosystem.

This lecture sets out to examine how Permaculture Design can be connected to Ecological Art. It aims at understanding how ecological networks are presented in Permaculture as well as in Ecological Art, where the similarities are and why it makes sense to use Permaculture as a lens for complex artworks which work on revealing ecological networks.

Sarah Maske is a doctoral candidate at the University of Potsdam, where she researches processes and networks in Ecological Art. She is a scholar at Brandenburg Center for Media Studies that is kindly supporting her research. Additionally, Maske works as an independent curator and is a member of the board of Grüner Kultur e.V., an interactive association concerning Permaculture and sustainable lifestyle located outside of Berlin. Recently she founded Arta Atelier GbR in Berlin, Germany, together with director Ayat Najafi to promote interdisciplinary projects especially concerning art and ecology. Before that she studied History of Art and Business Administration at Johannes Gutenberg-Universität, Mainz and worked on numerous exhibitions, e.g. at Museum Morsbroich, Leverkusen, Museum Wiesbaden and ZKM | Center for Art and Media, Karlsruhe.

New Media Talk Series #52 | Vandad Farhady

New Media Talk Series #52 | Vandad Farhady

Wednesday, Jan 10, 2018, 6 pm
New Media Projects

Vandad Farhady is a video game artist and illustrator who is trained in the European game production pipeline. His passion about storytelling, specifically in video games, has driven him towards studies on cinema and classic literature in search for creative solutions concerning forming up a visually efficient narrative-line in the interactive manner of video games.

Soon in Winter 2018, Farhady in collaboration with New Media Society is going to hold a series of workshops about methods of storytelling and narrative in video-games based on lessons learnt from the treasury of cinema and literature. New Media Project will host an artist talk and presentation by Vandad Farhady on Wednesday, Jan 10, 2018, at 6 pm as an introduction to his workshop and to discuss the context he is researching on.The session will be held in Persian, free for all to attend.

New Media Projects: No. 3, Arabi 3 Alley, N Kheradmand, Karimkhan Ave. Tehran.

New Media Talk Series #48 | Michael Müller

New Media Talk Series #48 | Artist Talk & Presentation by Michael Müller
Nov 6, 2017 – 6 pm
New Media Projects – Tehran

Michael Müller (b.1970 Ingelheim am Rhein, Germany) lives and works in Berlin. He studied sculpture with Magdalena Jetelová at Kunstakademie Düsseldorf, Germany. Since 2015 he has been a professor at Berlin University of the Arts.
Müllers’s work develops out of existing historical narratives, methods and norms: systems which he pushes to their limits by modifying them along fictitious lines. His practice engages with the pictorialization of complex thought processes, whose transformation by various methods constitutes a slow and patient appropriation.
Although largely known for his drawings and paintings, Müller’s approach merges media such as sculpture, installation and performative art with the curatorial practice itself.

Selected solo exhibitions include For All Those Who Trust in Form and Not in Content, Jhaveri Contemporary, Mumbai, India (2017); SKITS – 13 Exhibitions in 9 Rooms, Staatliche Kunsthalle Baden-Baden, Germany (2016/17); Who’s Speaking?/ Wer spricht?, KW Institute for Contemporary Art, Berlin, Germany (2015/16); 18 exhibitions (2011- 2017), Galerie Thomas Schulte, Berlin, Germany (including: Berührung; Was nennt sich Kunst, was heißt uns wahrsein?, 2015/2014); Musikstücke und Farben, Jhaveri Contemporary, Mumbai India (2011).

Selected group exhibitions include Farewell to an Idea, Plattenpalast, Berlin, Germany (2016); …und eine Welt noch, Kunsthaus Hamburg, Germany (2016); 10×10, Konrad Adenauer Stiftung, Berlin, Germany (2015); Fire and Forget. On Violence, KW Institute for Contemporary Art, Berlin (2015); 1/1, Brandenburgischer Kunstverein Potsdam, Germany (2015); One place next to another, Winzavod Center for Contemporary Art, Moscow, Russia (2014); L’Art et La Santé, Sanofi France, Paris (2013); How to make – Ideen, Notationen, Materialisierungen, Kunsthaus Dresden, Germany (2012); 360° – Landart Biennale, Ulaanbaatar, Mongolia (2012 & 2010); Dopplereffekt. Bilder in Kunst und Wissenschaft, Kunsthalle zu Kiel, Germany (2010).

For more information contact us:
info@newmediasoc.com

New Media Projects
No 3, Arabi 3, Kheradmand-e Shomali St, Karimkhan Ave.

Explorations of Everyday | Wolfram Hanh

Explorations of Everyday
A photography summer workshop in Tehran
From 4th – 11th August 2017

This intensive five day workshop will bring together artists and photographers from Tehran. Each session will offer the chance for critique and collaboration as well as rapid generation of new work within Tehran with the guidance of World Press Photo Award Winner Wolfram Hahn.

The workshop aims to identify and explore the ‘everyday’. Participants will be asked to analyze how space is used by inhabitants and to notice the interactions and reflections passed by in everyday life.

The focus will be both critical and technical. Everyday each participant has the opportunity for the creation of individual work and will benefit from a 3 hour discussion and critique sessions following. In the end participants will be part of a public presentation of their work at New Media Society projects

Application to participate
Please apply with a Pdf or online portfolio with a Maximum of 15 images and a short text about the work. This is the work that you will present in the introduction session on the 1st day of the workshop.

Workshop fee: 240.000 Tomans
Discounted fee for students: 210.000 Tomans

Maximum amount of participants: 15

Dates:
04.08, 14:00, Opening Session, introduction of workshop theme. Participant are invited to bring one work.
05.08, 18:00–21:00 Critique Session
07.08, 18:00–21:00 Critique Session
09.08, 18:00–21:00 Critique Session
11.08, 11:00 Final Critique Session
19:00 Public Presentation at New Media Projects – Tehran

Applications and enquiries to
info@newmediasoc.com

Wolfram Hahn lives and works in Berlin. Exhibitions in numerous museums and galleries such as C|O-Berlin, Museum Angewandte Kunst Frankfurt/Main, Belfast Exposed, galerie du jour/agnes b. Paris, Starkwhite Gallery Auckland/New Zealand. He received a World Press Photo Award in 2011 and was honourably mentioned by Unicef Photo of the Year 2007.
For further information about artist check his website www.wolframhahn.de

New Media Talk Series #36 | Neil van der Linden

New Media Talk No 36 | Neil van der Linden

‘The Invisible Orchestra.

Losing Sense of Space and Time.’

How initially plain Romanticist composer Richard Wagner conceived the idea of the Total Work of Art and not only revolutionised music and theatre, and aimed to change visual art, but also deeply influenced philosophy (Nietzsche) and psychology (Freud(, and even politics. And it paved the way for French impressionism in music, Debussy, and German/Austrian and Russian expressionism in music, Richard Strauss, Schoenberg, Stravinsky, Schreker, Korngold, Hindemith, and even German expressionist film, Murnau, Lang, Wiene. And what are contemporary answers to his radically new but sometimes hypertrophic ideas?

Having graduated in medicine and law, Neil van der Linden is curator, programmer and matchmaker in arts in the Middle-East and North-Africa.

Thursday Feb 2, 2017, 5-9 pm

New Media Projects:

No 3, Arabi 3 St., Kheradmand Shomali St.,

Karimkhan St., Tehran – Iran

Tel: 88829253 – 86071640

New Media Talk Series #33 | Andreas Specht


New Media Society in collaboration with Noise Works presents

New Media Talk Series #33 | Andreas Specht
Memory in Circle
Artist talk with Andreas Specht
Wednesday, December 21, 2016 – 7pm
New Media Projects

Andreas Spechtl, born in Austria 1984, studied Media Science in Vienna and is currently living in Berlin.

Now and then he ́s also writing about music and literature for German and Austrian newspapers as well as online platforms like Spiegel, Falter or Fm4.

Over the years Andreas Spechtl was frequently invited by Cultural Institutes like Goethe Institute or DAAD to various countries like Italy, Ghana, Egypt, Sudan und Great Britain. In Alexandria he held a workshop at the Bibliotheca Alexandria with music students and developed some songs that were later performed in the Great Hall of the Bibliotheca. In Sudan ́s capital Khartoum he held a workshop at the University of Music Sudan and also one at an elementary school, recording some of his songs with children between the age of 7 to 10. In Birmingham’s Aston University he held a 2 weeks course on German and Austrian pop culture and discussed current political events in Germany and how they have influenced his work. He will be returning in Spring 2017. 2016 he spend several months in sicily ́s capital Palermo working with the artist Uwe Jäntsch on a soundtrack for his famous outdoor installa- tion Piazza Garrafello. Andreas Spechtl also frequently participates in panel discussions throughout Germany and Austria, regarding the topics music production, literature, poetry and politics.

With his Band Ja, Panik he recently published a book called FUTUR II, which was critically acclaimed throughout Germany, Austria and Switzerland.

His group Ja, Panik is traded as one of the most influential music groups in Germany of his generation. They have reached several billboard chart entries in Germany, Austria and Switzerland and released 5 full length albums in their ten years of existence.

Andreas Spechtl started to play the piano when he was 6 years old and changed to the electric guitar at the age of 10. He studied guitar until the age of 22 at Joseph Haydn Conservatory in Eisenstadt/Austria. Over the years he also taught himself to play the drums and the electric bass. In recent years he expanded his interests to sound production and electronic music. He arranged and produced two albums for the acclaimed german singer Christiane Rösinger and released his first Solo Album Sleep in 2015, which he recorded and played largely on his own. This album marked a turning point in his career as he moved away from his roots in classical songwriting towards an approach grounded in old dub techniques using the mixer and diverse effect devices as his main instrument. His album was described as a very genuine mixture of Ambient, Dub, Folklore and Italian Film Music of the 60ies.
He himself always states the importance of working in different layers. The first layer, and starting point, are mostly field recordings Spechtl habitually does when on the road with the band or traveling on his own. What he is most interested in is recording background noises, the humming of taxi motors or the summery nighttime chatter in front of a bar. These background noises of politics, machineries and everyday chatter are the actual starting point – the ambience which he’s recording and gradually turning into tracks. He somehow sees this recordings as the lyrical layer in his work, that has now turned mostly instrumental. What he once used to sing about, talks now for itself.

New Media Talk Series #19 | Marika Kuzmicz

New Media Society & Limited Access Festival in collaboration with Aaran art Gallery and Polish Embassy in Tehran present:

Polish Video Art (1973-1979) – Yet Unwritten Story
Lectuer by Dr. Marika Kuzmicz
Saturday 27 Feb, 2016. 6 – 7 PM
Aaran Projects, room 2

Yet Unwritten story - Polish Video Art 1973 - 1979 - Limited Access 6 Festival for Moving Image, Sound & Performance

Yet Unwritten story – Polish Video Art 1973 – 1979

Video art in Poland first emerged in the early 70s. Despite the inaccessibility of equipment (like video cameras) in that time in Poland, video soon became important medium, used by polish artists in diverse ways.

Avant-garde artists (members of independent experimental groups like Workshop of the Film Form and Gallery of Current Art), based on their experience of experimental film, explored the relationship between reality (visual reality) and the perception of the viewers.
According to this, they used video to make viewers fully aware of traps and manipulations of mass-media and of reality. They analysed the properties of broadcast television and it role in everyday reality in communist country. Only a few of them, like Paweł Kwiek and Jolanta Marcolla (first polish female video artist) received access to the TV Studio. The result of this situation were significant works of Kwiek “Video A”, “Video C” and “Video P” (1974/5) and – not preserved works of Marcolla “Dimension 1-4” (1975).
Polish video art of that time includes also video installations by Wojciech Bruszewski and Andrzej Różycki among others. Installations are evidences of intensive examination of the nature of this medium in the field of visual art in Poland and exploring its potential of communication of abstract ideas or communication, in general.
History of early polish video still need to be developed but for now, important video works are accessible in Arton Foundation on-line repository. The goal of that document is to present selected, significant works and artists, based on the content collected by Arton Foundation since 2011.

Dr. Marika Kuzmicz – a graduate of art history at the University of Warsaw, PhD in Institute of Art, Polish Academy Institute of Sciences in Warsaw. She conducts research on polish art of 70s. Head of Arton Foundation (Warsaw), non-profit organization, concentrates on researching and exhibiting polish art of the 70’s. The curator of contemporary art exhibitions, including “Conceptualism. Photographic medium “(Lodz, Poland, 2010) and” Conceptual Photography Poland “(Berlin 2011), “Doing the Impossible Light” (in cooperation with Florian Zeyfang (Warsaw 2015) and many others. Co-author and co-editor books devoted to the polish art of 70s. Lecturer at Warsaw University and Collegium Civitas (Warsaw).