On the 31st of May at 6p.m. at the gallery "Meno parkas" (Rotušės sq. 27, Kaunas) was presented VIDEOHOLICA 2011 SPECIAL SELECTION, which on the 10th of June moved to Town Hall Square at the outside screen of cafe "Skliautas" and stayed there till the 8th of July.


The special selection of Videoholica 2011 is another cross section of the best video artists and their video works, which were awarded by the international jury of the 4th festival edition.  The jury of Videoholica 2011 was composed of the following members: Cohn Drennan (Dallas, USA), Adelina Popnedeleva (Sofia, Bulgaria), Floriane Davin (Rennes, France), Mariyana Hristova (Varna, Bulgaria), Simon Guiochet (Rennes, France), Isabelle Henrion (Rennes, France) and Celia Eid (Brazil / France).

The selection of Videoholica 2011 presents 17 video works created within the period 2008 - 2011, with prevailing authors from Europe but with a strong participation of Asian video artists as well.

The special selection of the 4th Videoholica is said to represent authors, who do not put up with mere recording of reality, even in cases when at first sight they seemingly do just that. The present-day plots of the video works analyze the unification and toxification of individuality in contrast to the passive reality; poetry in tune with the tension of human effort; colors - lost and transformed by the image compression. No matter whether they enjoy laconism or verbosity as their creed, the artists draw out the extract of the shaking and transforming power of creativity from the contingency circumstances of the creative situation - on the verge of death, or in the chaos of everyday life. The video artists reveal a solid balance of fancy images and imaginativeness in simulative (simultaneous) unreality of the moving image – subject of their work. This sample of artists explores the limits of the visible and foreseeable in an attempt to rationalize what we miss behind the hollow imagery of the aggressive media culture.


Neno Belchev

Pavlina Mladenova


Videoholica Special Selection 2011

Fedor Belenky (Germany / Russia), The People from Flight 103, 2010, 8:34

2 Fedor Belenky

Caused by a terrorist attack, Flight 103 broke into smithereens in the sky over Lockerbie. All of the 259 passengers were flung out of the plane and fell over two minutes long down to earth. Some of them didn’t lose their consciousness. What goes on in somebody's mind who is falling out of a plane? How long is he paralyzed by the fear of death? How long does it take before he starts getting settled in his new "environment"?


Kiron Hussain (UK), Slick Horsing, 2010, 02:44


4 Kiron Hussain

A fragmented allegory — the lady kindles her photo-sensitive epilepsy in lieu of opium.

Max Hattler (Germany / UK), AANAATT, 2008, 04:45

6 MaxHatler -AAnAAtt

The ever-shifting shape of Analogue Futurism.

Several mirrored spaces, multi-colored paper, geometric and indefinable objects are engaged in a dance of reflections, mutual amalgamations and uncontrollable elements - clouds, sunlight and moving shadows.

Emilia Loseva & Danny Winkler (UK), Twelve Haikus in Lethargy (Unfinished), 2010, 07:17


12 Emilia Lozeva  Dany Winkler

The passive realism of nature reveals itself through simplicity and lightness. Three lines of verse draw on the correlation between image and phenomena at one temporal point. Using the manoeuvres of this stylized form, the film captures with minimal means of expression the rhythm of the way of things.

Ana Čigon (Slovenia), One More Kick, 2010, 03:40

14 Ana Cigon

"One More Kick" is a short video with a meaningful ironic message that is slowly revealed while watching the video. Tension is created by the unfinished sentence and the repetition of kicks which at times look painful, at times full of energy and at times even funny. The suspense is continuously building up until the very end when finally the whole purpose and meaning of the performance and all letters are revealed in the video.



Owen Eric Wood (Canada), Holobomo, 2009, 05:00

16 Owen Eric Wood

What happens when the images take over?
Every day we are bombarded by images. Our eyes are real estate coveted by the media-driven culture in which we live. Our field of view overflows with visual entertainment and advertisements that have grown to become more important than our own memories and experiences. We become overwhelmed with stimulants, that often has no relevance to our lives.
Still, we struggle to find meaning in the images we see. Desperate to connect, we find ourselves appropriating this artificially-constructed culture as our own. The stages of our lives segmented into episodic time slots. Our interactions mimicking staged events we've seen somewhere before. All we want is to be part of the picture. In the end, we become imitations of life.
Owen Eric Wood's Holobomo looks at the notion of appropriation in relation to life in a society over saturated with images. He struggles to find a personal connection with the images he sees by attempting to place himself inside film footage. Since all of the appropriated material in Holobomo comes from Mike Hoolboom's "Imitations of Life," which itself is composed entirely of borrowed or found footage, Wood is in a sense re-appropriating the footage he uses. By doing so, he emphasizes the decomposition of context as meaning is recycled and reinterpreted.

Yunji Park (Korea), To the Moon, 2009, 02:53


The moment the light shines its self to let us realize our blindness to see each other beyond the light. The light is not an existence, but the truth exists to keep the distance between us.

Yu-Chi Hsiao (Taiwan), Breakthrough tight encirclement, 2008, 01:03

10 Yu-chi Hsiao -Breaking Through Tight

The serial videos, I still keep finding the relationship between the viewer and life circumstance with me, whether I face camera lens or social environment. It’s the same attitude that I have. I struggle with invisible frame in visible way and try to find an exit. I was used to using different action and appearance to constitute the shape or resistance outside influence. Maybe there’s just a virtual situation for resisting outside influence. However, it’s really true behind the virtual situation in our life.

Piotr Lis (Poland), Margin, 2011, 02:56


11 Piotr Lis

The video speaks about limits of our consciousness, the dimensions that are often difficult to distinguish connect, separated by a conventional border. It is an attempt to challenge what is unknown to us to end of world of illusions, imagination and senses.



CAPTURE group/ Stéphanie CAZAENTRE, Ana Maria GOMES, Alice de SAGAZAN (France), Chameleon, 2010, 01:00


13 Stephanie Casaentre CAPTURE

The video is about wandering of a young girl who seeks his place in the city.

Chika Matsuda (Japan), Detoxification and Descending Matter, 2011, 05:00

15 Chika Matsuda

The accident at Fukushima nuclear plant in Japan on March 12th, 2011 was a manifestation of the failure of our rationality and was a denial to our way of the energy consumption. The radioactive materials are still being released at the very moment. Our lives are polluted and these toxins will continue to spread out into the air, water, and go deeper into the land. People will plant sunflowers for detoxification and there may be helplessly blooming many fields of sunflowers in Fucushima in near future.


Jacques Perconte (France), Apres le Feu, 2010, 07:09

17 Jacques Perconte

As I started working on After the Fire, I started breaking through my images. That is exactly the effect compression I had on my images. Crushing the substance of the dark areas, compression gathered and shaped the shadows. The image was flattened, creating a new symbolic dimension for the landscape. What used to be recognizable, transformed itself: the soil was dug, the rails jumping off it. Every shadow became a hole, as earth was vanquished and consumed. After the fire, the images are still burning and the landscape disappears.

Mattias Harenstam (Germany / Sweden), Closed Circuuit (In the Middle of Sweden), 2011, 02:57

1 Mattias Harenstam

The video shows a quiet residential street somewhere in Sweden. The constantly moving camera travels down the street, into a large pothole at the end, is been "swallowed" by a huge chewing mouth and turns up on the same street again. The camera goes down the street again, down the same pothole that this time leads to a giant intestine, which "we" are passed through until we are back on the street from the beginning and the circuit starts over.


Lin Cheng-Wei (Taiwan), Super Life, 2011, 02:59

3 Lin Cheng-Wei

If I can have super powers, I think my life will be better. Even if they only exist in visualization. I still hope the dreams come true in this chaotic world.

Marek Grzyb (Poland), Ranks (version 2), 2011, 03:08

7 Marek Grzyb

A short film showing the effects of unification and imitate others. RANK is an allegory of uncritical assimilation and validation.

PetriPaselli (Matteo Petri & Liciano Paselli), (Italy), Giochi a carica (Spring Toys), 2011, 5:26

8 PetriPaselli

A plan of black, in which make their appearance small wind toys. First one at a time and then gradually one after another, these games start to interact with each other on the floor, bumping and stacked against each other in their ringing, filling the entire visual space. Which becomes an infinite space of collective memories that seem to come from everywhere, to contribute to the concept expressed in the scene: we are like those games, share memories, that just a device to turn in our minds that mechanism that allows us to interact emotional with each other.

Nina Kurtela (Hrvatska), Transformance, 2010, 10:00

9 Nina Kurtela

Transformance is a video-event-work that activates and documents a five-month durational performance. Over this period of time, Nina Kurtela establishes a daily practice of visiting and witnessing the changes at the building site of the Uferstudios, Wedding, Berlin - the warehouse for the repair of public trams and buses becomes a dance institution. She is spectator to the making of an institution, an art institution, the making of the theatre stage. The camera acts as a witness to her performing/witnessing. The piece emerges as a case study of an individual subject's encounter with the radical transformations of social structures and operative models within the performing society.

The artist is present at the birth of Berlin's new contemporary dance centre, an institution that will certainly come to play a part in shaping and organizing the dynamic of the city's dance community. The work emerges in the force field of a commitment to the daily execution of present-ness in relation to the specific context where this act takes place: the building site of the theatre. What unfolds is a 8-minute work with multi-faceted implications. The body is rendered a statue through the changes of time. The screen becomes the performing skin.