© by Ji Hyun Kim Kharkiv - 19 March – 18.00 – 19.00 Figure it Out - Ane Lan (Norway) - Ane Lan, 2:50, 2001 performance <strong>in</strong> <strong>videoart</strong> Cynthia Whelan (UK) - Selfportrait, 3:27, 2005 S<strong>in</strong>asi Gunes (Turkey) - Anatolia, 2:27, 2007 curated by VideoChannel Cologne Boris Sribar (Serbia) - I love you so much I could kill for you, 3:20, 2010 Kisito Assangni (Togo) - Explosion, 2:22, 2009 Roland Wegerer (Austria) - How to Clean a Puddle, 1:48, 2008 Virg<strong>in</strong>ie Foloppe (France) - J.F.’s Toolbox” 2004, 5:50 Renata Gaspar & Marc<strong>in</strong> Dudek (Poland) - Axis, 2010, 3:07 m<strong>in</strong>. Luc Gut (Switzerland) - Alter Ego, 2008, 2 m<strong>in</strong> Agricola de Cologne (Germany) - Silent Cry, 3:05, 2008 Unnur Andrea E<strong>in</strong>arsdottir (Iceland) - Toilet, 5:00, 2005 Francesca F<strong>in</strong>i (Italy) - Cry Me, 2009, 4:34 Valerie Garlick (USA) - Cakesitter, 4:52, 2007 Shahar Marcus (Israel) - The fathers have eaten sour grapes, and the children’s teeth are set on edge, 4:07, 2008 Oksana Shatalova/Alla Girik (Kazakhstan) - Warn<strong>in</strong>g: Women!, 3:12, 2005 Ji Hyun Kim (South Korea) –Wo-men, Wo-rld, 3:34, 2004
City Art Gallery Kharkiv <strong>CologneOFF</strong> <strong>2011</strong> – a festival as a creative tool lecture by Agricola de Cologne (short synoposis) The lecture goes down to the question who is actually design<strong>in</strong>g culture, and what are the tools for design<strong>in</strong>g culture. Agricola de Cologne is us<strong>in</strong>g his festival project "<strong>CologneOFF</strong> <strong>2011</strong> - <strong>videoart</strong> <strong>in</strong> a <strong>global</strong> <strong>context</strong>" - as a tool for design<strong>in</strong>g his idea of an "ideal" culture, which is based on diversity, network<strong>in</strong>g and cooperat<strong>in</strong>g, and video as the <strong>global</strong> medium of the field of his activity, "art and mov<strong>in</strong>g images". <strong>CologneOFF</strong> <strong>2011</strong> started on 1 January <strong>2011</strong> a virtual and simultaneously a physical tour around the globe. The nomadic festival project is <strong>in</strong>corporat<strong>in</strong>g more than 800 videos from 70 countries, so the <strong>global</strong> aspect is already manifest<strong>in</strong>g itself <strong>in</strong> this fact, whereby <strong>CologneOFF</strong> has a share about 50% and the 40 curatorial contributions conta<strong>in</strong> the other 50 %. One might call <strong>CologneOFF</strong> <strong>CologneOFF</strong> <strong>2011</strong> – <strong>2011</strong> <strong>in</strong> its totality a creative pool for creat<strong>in</strong>g dynamic images via curat<strong>in</strong>g, select<strong>in</strong>g and compil<strong>in</strong>g. a festival as a creative tool A video artist himself , Agricola de Cologne sees his curat<strong>in</strong>g as the specific form of his artistic expression, lecture by Agricola as an ongo<strong>in</strong>g de Cologne creative (short synoposis) process. So his position as a curator is fundamentally different than the position and task of a museum curator, for <strong>in</strong>stance, even The lecture if goes the result down to of the curat<strong>in</strong>g question eventually who is would actually be design<strong>in</strong>g even similiar. culture, His and position, what however, are the tools is not for less design<strong>in</strong>g justified culture. or valuable Agricola than de the Cologne other. is us<strong>in</strong>g his festival project "<strong>CologneOFF</strong> <strong>2011</strong> - <strong>videoart</strong> <strong>in</strong> a <strong>global</strong> <strong>context</strong>" - as a tool for design<strong>in</strong>g his idea of an "ideal" culture, which is based on diversity, network<strong>in</strong>g His and approach cooperat<strong>in</strong>g, to curat<strong>in</strong>g and video "art as & the mov<strong>in</strong>g <strong>global</strong> images", medium a term of the which field of Agricola his activity, de Cologne "art and is preferr<strong>in</strong>g, mov<strong>in</strong>g images". s<strong>in</strong>ce the term "<strong>videoart</strong>" has its own restricted history, is marked by the deep passion, even love, for art, the knowledge of creat<strong>in</strong>g total art by us<strong>in</strong>g the medium <strong>CologneOFF</strong> of <strong>2011</strong> video, started the skills on 1 <strong>in</strong> January all processes <strong>2011</strong> a like virtual film<strong>in</strong>g, and simultaneously edit<strong>in</strong>g etc, so that a physical his view tour on around the artistic the globe. results The of his nomadic artists festival collegues project is go<strong>in</strong>g is <strong>in</strong>corporat<strong>in</strong>g more than 800 much videos deeper from than 70 fac<strong>in</strong>g countries, just some so the aesthetic <strong>global</strong> aspect surfaces is already or any manifest<strong>in</strong>g pseudo-scientific itself <strong>in</strong> categoriz<strong>in</strong>g. this fact, whereby Not be<strong>in</strong>g <strong>CologneOFF</strong> affiliated has to any a share about 50% and the 40 curatorial <strong>in</strong>stitutional contributions <strong>context</strong>, conta<strong>in</strong> he has the expressively other 50 %. no One real might distance call which <strong>CologneOFF</strong> would <strong>2011</strong> allow <strong>in</strong> a more its totality objective a creative po<strong>in</strong>t of pool view for on creat<strong>in</strong>g the art dynamic genre of images via curat<strong>in</strong>g, select<strong>in</strong>g video, as and such, compil<strong>in</strong>g. the <strong>in</strong>dividual works, or the artists, but it is his personal and emotional affection and <strong>in</strong>volvement, thus mere subjectivity, which is mark<strong>in</strong>g his deep respect for art, artists, artworks and not to forget the audience, s<strong>in</strong>ce Agricola de Cologne is A video artist curat<strong>in</strong>g himself for , Agricola the audience. de Cologne Curat<strong>in</strong>g sees is his no job, curat<strong>in</strong>g duty as or a the purpose specific for form itself, of his but artistic a need, expression, a manifestation as an how ongo<strong>in</strong>g Agricola creative de Cologne process. is So his position as tak<strong>in</strong>g a curator responsibility is fundamentally <strong>in</strong> art. different And this respect than the is position caus<strong>in</strong>g and aga<strong>in</strong> task not of only a museum respect curator, from the for artists' <strong>in</strong>stance, or audience even if the side, result but of generally curat<strong>in</strong>g eventually would be even openness similiar. and His trust, position, thus the however, best atmosphere is not less justified for encourag<strong>in</strong>g or valuable art and than artists. the other. His approach The to presentation curat<strong>in</strong>g "art of & <strong>CologneOFF</strong> mov<strong>in</strong>g images", <strong>2011</strong> a Ukra<strong>in</strong>e term which (Kiev Agricola and Kharkiv) de Cologne is conta<strong>in</strong><strong>in</strong>g is preferr<strong>in</strong>g, more than s<strong>in</strong>ce 18 the hours term screen<strong>in</strong>g, "<strong>videoart</strong>" whereby has its own <strong>in</strong> Kharkiv restricted history, is marked by 194 the deep id passion, ill b even love, dfor i art, hi the 13 hknowledge of creat<strong>in</strong>g i hil total 72art idby us<strong>in</strong>g ill the b medium dof i video, Ki the Thi skills ill <strong>in</strong> all processes l like film<strong>in</strong>g, edit<strong>in</strong>g etc, so that his view on the artistic results of his artists collegues is go<strong>in</strong>g much deeper than fac<strong>in</strong>g just some aesthetic surfaces or any pseudoscientific categoriz<strong>in</strong>g. Not be<strong>in</strong>g affiliated to any <strong>in</strong>stitutional <strong>context</strong>, he has expressively no real distance which would allow a more objective po<strong>in</strong>t of view on the art genre of video, as such, the <strong>in</strong>dividual works, or the artists, but it is his personal and emotional affection and <strong>in</strong>volvement, thus mere subjectivity, which is mark<strong>in</strong>g his deep respect for art, artists, artworks and not to forget the audience, s<strong>in</strong>ce Agricola de Cologne is curat<strong>in</strong>g for the audience. Curat<strong>in</strong>g is no job, duty or a purpose for itself, but a need, a manifestation how Agricola de Cologne is tak<strong>in</strong>g responsibility <strong>in</strong> art. And this respect is caus<strong>in</strong>g aga<strong>in</strong> not only respect from the artists' or audience side, but generally openness and trust, thus the best atmosphere for encourag<strong>in</strong>g art and artists.