Category: Summer School

2019 Summer School for Video, Film and New Media

Introduction:

Initiated by New Media Society in 2018, after 4 years of educational activities,
the Tehran based collective/ archive and library has created a platform for
alternative education to cover the intersection of Inter-media/ Moving Images and experimental film.

The summer school of Moving images and new media finished its second year in
August 2019, The workshops and lectures span over the course of 2 months from June to August in 2 parts. The 1st intensive part focused on various modes of media perception, interview techniques, and transmedia on stage
(theater/dance/performance) among other topics.

And the 2nd part took place during the Limited Access Festival (July 26 – August
2, 2019)

Around video presentation/exhibition design in museums / experimental films /
Video Art scene in Isfahan and Crowdfunding in Art and Media Projects.

This post only focuses on the German lecturers/artists/filmmakers whose
presence made possible with the kind support of the German embassy, we also had
the pleasure of benefiting from workshop leaders and curators from Iran, Turkey,
The Netherlands, Canada, and Austria.

About the Summer School 2019:

  1. Artistic Films – From Materiality to Immateriality | Wolfgang
    Knapp
  2. The Role Of Interview In Documentary Filmmaking | Presenting The
    Oral Storytelling Interview Forms | Friederike Bérat
  3. Video And Cinematography On Stage in Performing Arts, Concerts, and
    Performances | Nazgol Emami
  4. Technic visions from Videonale on tour Program (Screening and
    workshop) | Tasja Langenbac

Workshop by Wolfgang Knapp:

The Main Topic of the Workshop:

Artistic Films – From Materiality to Immateriality – About Changes in Contexts
of Making, Presenting, Perceiving, Interpreting and Distributing Film

Workshop Leader Biography:

Wolfgang Knapp focuses on interdisciplinary projects, art and
the media, curatorial activities, and international project cooperation. Knapp
is professor h.c. At the Department of Fine Arts and Design at Zhejiang
Commercial Technical College in Hangzhou/China and has been the chairperson of
the Commission for artistic and scientific projects at the University for the
Arts in Berlin. He created the udk-Preis für interdisziplinäre Kunst und
Wissenschaft(udk Prize for interdisciplinary art and science).

Date and Period:

– The Workshop started on June 11, 2019, and completed 14 June 2019

– The Duration of the workshop was 12 hours during the 4 days.

Target Participants:

– There Were 12 participants from various artistic backgrounds,
including Filmmaking, Photography, Choreography, Animation, Arts Criticism,
Music Technology and Digital Media, etc.

The Methodology of the Workshop:

– Providing Context on the goals and the backgrounds of participants
and their unanswered questions in their artistic career.

– Brainstorming Regards the definition of Space, Place, and
Atmosphere.

– Exposing Participants to various film perception situations with
the available resources in New Media Projects, namely a cell phone screen,
Laptop monitor, old TV set, wall projectors.

– Leading Open discussions, in both verbal and written form, on
interactive, interdisciplinary approaches to conducting artistic projects.

– Encouraging Collective interactions and practical exercises,
individually and collectively.

The Discussed Questions During the Workshop:

– How Space, time, and chronobiology of film perception influence
using, understanding, and interpretation of films.

– How Many different kinds of technical-based film presentation
(mechanical/analog and digital) could we find in the past two or three decades?

– How Far individual biographies of film perception vary in a given
period? (This Question included a biography-based mapping of individual film
consuming/looking/using).

Public Lecture by Wolfgang Knapp

“Moving Images; Presentation Contexts And the Separation of Perception”

New Media Projects hosted the public lecture on June 15, 2019. The lecture was
in English with consecutive interpretations by the Farsi-English interpreter.

The lecturer’s focus was on recent exhibitions like Venice Biennale 2019 and
shows in China (Shanghai and Hangzhou). In Analyzing the contemporary art
spaces, Wofgang Knapp presented a historical timeline dating back to the Teatro
Olimpico (“Olympic Theatre”) in Vicenza until Joan Jonas installation, named
Moving Off the Land II, at Ocean Space, Chiesa di San Lorenzo in 2019. The main
points of presenting this wide-ranging spectrum were to highlight the
atmosphere, design, spaces, and recent conditions of looking at moving images in
exhibitions, shows, and screenings to explore if we are observing a gradual
shift from collective viewing to the individual perception context.


Workshop by Friederike Berat: The Role Of Interview In Documentary
Filmmaking

The Main Topic of the Workshop:

This workshop was intended to present a reflection about different interview
approaches in documentary filmmaking, the connection between form and content,
and the responsibilities you should think about before making a documentary and
conducting an interview.

Workshop Leader Biography:

Friederike Berat (born in 1971 in Berlin) is a curator and
filmmaker based in Berlin. She studied directing at ETTIC Paris and has been
making documentaries and video-installations. She is head of s.c.e.n.e 5 Verein
für Kultur und mehr e. V., organizes the exhibition and event space Villa
Kuriosum in Berlin Lichtenberg und is the founder and artistic director of
Circus Charivari.

Date and Period:

– The Workshop started on June 21, 2019, and completed June 23 2019

– The Duration of the workshop was 12 hours during the 3 days.

Target Participants:

There were 7 participants with various artistic backgrounds including
Documentary Filmmaking, Architecture, Photography, Sociology, and Cultural
Economics.

The Methodology Of the Workshop:

  • Performing introductory talk on various methods of interviews, the related
    applications in documentaries, the technical and formal conventions through
    presenting wide-ranging samples.
  • Providing context on the ongoing projects of participants to help them
    select the appropriate practice of interviewing.
  • .

The Discussed Questions During the Workshop:

  • How to conduct an oral history interview?
  • How to film an oral history interview? (Creative choices)
  • How to edit an oral history interview?

The workshop progress

  • Participants Present their ongoing projects and try to comment and share
    their ideas
  • Following up and practicing interview techniques and choosing different
    angles for their final practice.
  • Participants share their own experiences and struggles with their interviews
  • Writing interview questions for practicing terms and theory of Storyboard in
    documentary film
  • Discussing the role of the interview in film, photography and social studies
  • Using interview techniques for research and art practices

Public Screening “We Did What Had To Be Done”

90-min Documentary by Friederike Bérat and Ulrike Ertl + Q&A with the director

The Screening was held at New Media Project on June 20, 2019. There was a brief
artist talk with Friederike Bérat after the screening, the audience asked
questions about her methods in making this specific documentary and the
social/political implications of the interviews conducted during the film.

About:
“We did what had to be done” is a documentary about the role
that women played in the Northern Irish Troubles. “We Did what had to be done”
is a phrase nearly all interview partners used to describe their involvement.
Depending on their political affiliation, however, they meant very different
things with those words: to work in a British Army store, to break out of the
women’s prison in Armagh, to transport bombs, or to educate their children to
become Republican fighters or British soldiers. The women described their roles
in the war as a result of their individual political conviction, but above all,
they saw themselves as those who had to come to pragmatic decisions. With few
exceptions, the women stayed in the background. Unlike their male combatants,
they are rarely mentioned in history books or in the narration of the wartime.
This documentary wants to tell their story.


Workshop by Nazgol Emami:

Video And Cinematography on Stage:
In Performing Arts, Concerts, and Performances

The workshop focus was to encourage the participant to find a connection between
themselves, the surrounding space, and other participants. Based on each
participant’s personal expertise, they tried to carry out a cooperative
interdisciplinary project with the available material and devices in the very
place the workshop was held.

Workshop Leader Biography:

Nazgol Emami was born in Tehran in 1978. She lives and works as
a filmmaker and media artist in Cologne. Nazgol holds a Master’s degree in
Visual Communication from the University of Wuppertal and a diploma in Media
Arts from the Academy of Media Arts Cologne.

Since her early career, she has been working as a graphic designer in motion
design and a production manager, assistant director for various TV stations
(WDR, the Kinderkanal, Disney Channel, and Super RTL) and film productions. She
created media workshops for children and youngsters on photography, film, and
animation techniques for museums, art institutions, and schools.

She has been making video design on stage for many theatre productions and
musicians, across Germany, Austria, and Greece. Her work has been exhibited and
screened in Iran, Turkey, Serbia, Brazil, France, and the US. Further, as an
interdisciplinary artist, she engages in various forms of media such as video,
animation, photography, design, and architecture in her projects. In her works,
she focuses on socially relevant topics such as Identity, migration and working
life.

Date and Period:

– The workshop started on July 3, 2019, and completed July 5 2019

– The duration of the workshop was 9 hours during the 3 days.

Target Participants:

There were 8 participants with various artistic backgrounds including
َAnimation, Architecture, Photography, and Sound Art and Digital Art.

The methodology of the Workshop:

Various examples were shown to prepare the ground for an opportunity to
carry out small practices and exercises in an interdisciplinary space.

Asking each participant to choose a part of the New Media Projects building
to install their installation.

The participants had to use these five elements in making their
installation: Mirror, Projector, Moving images, Microphone, and a piece of
clothing. They had to present a project statement too.

An exhibition was held in New Media Projects displaying the participants’
projects.

The Discussed Questions During the Workshop:

  • How to change the perception of rooms and spaces via projections?
  • How to combine the live camera with found footage, staged footage, and
    animated videos on multi-channel Projections?
  • What is the workflow?
  • What are the contextual and technical parameters working on a field?
  • Where do different media melt together?
  • How to produce a multi-layered video?

One day workshop by Tasja Langenbach Technic visions from Videonale on tour
Program (Screening Seminar)

Date and Period:

– The Seminar started on July 31, 2019, and completed the same day.

The duration of the workshop was 3 hours.

Target Participants:

There were 14 participants from various artistic backgrounds including
Documentary Filmmaking, Animation, Architecture, Digital Media, Photography,
Sociology curating, and Cultural studies.

Biography:

Tasja Langenbach studied Art History and Cultural Sciences in Germany and Spain.
After working at the ZKM / Center for Arts and Media Karlsruhe, Germany for the
exhibition project MakingThings Public – Atmospheres of Democracy, she held a
position as gallery manager at Gallery Anita Beckers, Frankfurt, Germany. In the
following years, she curated the yearly film program of SoundTrack_Cologne / See
the Sound in Cologne, Germany, and was responsible for the festival program of
Videonale – Festival for Video and Time-Based Arts, Bonn, Germany. Since 2012
she has been the Artistic Director of Videonale. Tasja Langenbach still
periodically takes part in prize and competition juries, curates video and film
programs for different occasions, contribute to catalogs and teaches in the MA
program Culture, Aesthetics, Media at the University for Applied Sciences in
Dusseldorf.

For Limited Access Festival, Tasja Langenbach presented a special screening
program of the recent edition of the Videonale, REFRACTED REALITIES – a
selection Videonale 2017, as well as a public talk on the history of the
festival and its strategies on the course of decades since 1984, in presenting
moving images in an exhibition format and museum context. The screening/talk and
seminar took place at Bidar School for Art and Literature.

In addition to that she has held a One Day Seminar On One Of The Videonale On
Tour Programs: Technic Visions, Which is composed out of 6 works from the 80s to
today which had been presented in the past Videonale editions. The focus here is
on how artists deal with the technical developments of media technologies, from
an artistic point of view (as artistic material) but also from a social point of
view (how technologies influence social and identity processes).

Public talk by Tasja Langenbach | On Videonale

Videonale – Festival for Video and Time-Based Arts was founded in Bonn in 1984
and since this time takes place every two years. Since 2005 the festival and its
exhibition is located at the local art museum, the Kunstmuseum Bonn. Videonale
is one of the oldest festivals for video and time-based arts in Europe with a
special focus on young and upcoming international artists.

The 17th edition of the festival took place from February 21st to April 14th,
2019 and presented 29 moving image artworks from 20 countries, selected from
more than 1.100 entries under the topic of REFRACTED REALITIES. In optics,
“refraction” refers to the bending of a beam of light, a change in direction
which occurs at the moment when it passes from one medium to another. In its
figurative sense, refraction refers to a critical reflection on the means and
channels of visualization, and by extension, the possibility of our view of
things – how they are, were, or apparently, always have been. Our interest was
to ask what artistic strategies are currently being developed to create
alternative points of view and to integrate new perspectives. Which visual
languages are available to the artist? And how can we use these languages to
enter into dialogue again and discuss how we see things, saw them, or apparently
always have seen them?

www.newmediasoc.com

www.limitedaccessfestival.com

Videography Open-studio | led by Nazgol Emami


Summer School for Film, Video and New Media Presents:

Open Studio: Nazgol Emami

New Media Projects

Sunday, Jul 7, 2019 | 6-9 pm

 

Nazgol Emami was born in Tehran in 1978. She lives and works as a filmmaker and media artist in Cologne. Nazgol holds a Master’s degree in Visual Communication from the University of Wuppertal and a diploma in Media Arts from the Academy of Media Arts Cologne.

Since her early career, she has been working as a graphic designer in motion design and a production manager, assistant director for various TV stations (WDR, the Kinderkanal, Disney Channel and Super RTL) and film productions. She created media workshops for children and youngsters on photography, film and animation techniques for museums, art institutions, and schools.

She has been making video design on stage for many theatre productions and musicians, across Germany, Austria, and Greece. Her work has been exhibited and screened in Iran, Turkey, Serbia, Brazil, France, and the US. Further, as an interdisciplinary artist, she engages in various forms of media such as video, animation, photography, design, and architecture in her projects. In her works, she focuses on socially relevant topics such as Identity, migration and working life. Her last short film “The magnifying glass” is an international project supported by the Goethe Institute, Amman. The film is part of the feature film project ›beyond borders – stories of freedom & friendship‹, which has merely aimed immigrant children around the globe as its audience. Since March 2018 “beyond borders” was premiered in German cinemas and was also shown in refugee camps.

 

New Media Projects – No. 3, Araabi 3 Alley, North Kheradmand St. Karimkhan Ave. Tehran 

Tel: 021 88829253

@NewMediaSociety

swim\او | An Open Studio by Setareh Fahtehi

Summer School for film, video and New Media presents:

An Open Studio by Setareh Fahtehi

New Media Projects

June 19, 2019

In her open studio at New Media Projects (swim\او) on June 19, 2019, Setareh Fatehi shared parts of her current researches which have been developed out of her online encounters with her family and friends during the past two years.

In explaining her project; she says “I use the practice of storytelling through screenshots and moving screens to highlight the effect of a temporal frame, focus, and opacity on how the image (story) of my body is pictured. I’ve been practicing choreography as the selection of some fragments from the moving images which are unusually meaningful (instead of useful) and desirable (instead of entertaining). These fragments are chosen and arranged to play with the illusion of coherence.

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

Summer School of Moving Images

School of Moving Images

New Media Society

June-July 2018

New media society is pleased to announce its first [summer] School of Moving Images to be held in June and July 2018. New Media projects in collaboration with Cultural section of German Embassy, Goethe institute and Austrian Cultural Forum in Tehran (OKF) will host a series of seminars, workshops, screenings and talks together with artists, filmmakers and lecturers from Iran and abroad. These programs offer a diverse selection of disciplines, working methods and mediums around the subject of moving images: from experimental cinema to video art and from animation to augmented reality. Using film to new technologies create moving images different working strategies from interview to found footage, and from video essay to expanded cinema. The school hopes to facilitate a space to share knowledge and experience in the absence of academic and professional institutions by tracing a wide range of topics such as the progress moving images in art history to the socio-political aspects of experimental cinema, by referencing key figures and art pieces. Parts of the workshop is also designed cover the practical/technical side of the medium, to help participants in the process of their projects, helping them to enhance their work by knowing more about editing and sound. Reaching to an understanding of experimental ways of expression and extending the medium’s definition and potentials by various means such as group projects, feedback sessions and film screenings, is the aims of this interdisciplinary summer workshop.