Springs.video

14/04/2023

Recommended weekend reading at Springs.video - Lesia Kulchynska interviews Oleksiy Radynski plus a series of black and white photos by Oleksiy:

Q: Why black and white?
A: Basically because of my daughter who is interested in analogue photography. I just had this black and white film and started to take these pictures in Kyiv in April, when it became possible to take pictures again. Because during the first month of the invasion, it was almost impossible to take pictures without special permission. But in April, the situation became more relaxed in Kyiv, so I started using this black and white film for documenting the city. And then I thought that it was actually a very appropriate medium for what was going on, because this war and the way this invasion happened was very old-school. Even to call it a “XX-century-style invasion” would be doing a favour. It’s an invasion based not only on very conservative political ideas, but also on strangely conservative military strategies. It all looked like a historical reenactment, which of course has a structural link to conservative ideology, kind of reenacting the phantasies about s**t that never actually took place in real life. Before the invasion, there were so many fears about Russian advanced military technologies, Russian hackers, etc., but when it came to practice, they turned out to be extremely backwards. So because we are now kind of travelling to the past in time, this black-and-white style makes sense to me.

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13/12/2022

Yates Norton curates videos for Springs.video

The four films selected by Yates Norton reflect on how people live, grapple and play with the peculiar qualities of a place. In the films, the artists let us into the world of cities (Gerda Paliušytė; Oleksiy Radynski), a peculiar monument erected to create myths (Erdem Taşdelen), and a home constructed through fear and power (Adam Walker and Vicki Thornton).

Links in comments.

The platform is partially funded by the Lithuanian Council for Culture and Vilnius City Municipality.

02/11/2021

A new program at Springs.video curated by Elene Abashidze with videos by Anna Dziapshipa, Andro Eradze, Ana Gzirishvili, and Anuka Ramischvili – Shafer.

Now Mindia believed if he
Ate of the loathsome meat, ‘twould turn
To poison in his veins and every
Fibre of his body burn.
He ate one piece, and sickness smote
His every nerve: a chilling sweat
Ran down his face, and he could scarce
Repress the horror that he felt.
But suddenly it seemed to him
That from above flowed splendent light
And spreading through his veins he felt
A surging stream of strange delight.
New wisdom pierced his wond’ring brain;
He saw the world with different eyes,
He saw it smile, he heard it speak,
He knew the meaning of its sighs.
All things that breathed or lived had tongue,
Held converse soft in language strange;
And as he learned their secret thoughts
He wondered much at all this change.

An excerpt from "The Snake Eater" by Vazha Pshavela, 1901.

01/10/2021

A friendly reminder!

The new curated program by Michal Novotný, titled "It is my country even though I do not belong here", focuses an former or current students of the Academy of Arts, Architecture and Design in Prague – who question their identity in relation to belonging.

With videos by Lizaveta Hrydziushka, Masha Kovtun, Olga Krykun, Milica Mijajlovic, Minami Nishinaga, Sofie Tobiášová.

Stream it on Springs.video

21/09/2021

"Ostrannenie". A great film by Alexandra Anikina from a program curated by Alexander Burenkov.

"He who draws a map holds the power. "Ostrannenie" sees cartography as a symptom of the contemporary image ecology: the difficulty, or even impossibility to find yourself completely outside of the map of any kind. Our precise and accessible maps have acquired more weight than the ever-imperfect reality. Weaving the history of technology together with the history of human imagination, the video follows the genealogy of the ‘worldview’ - from the times when the Earth rested on elephants’ backs to the current moment of Google Maps and hyper-real stock footage.

At the same time, the video-essay refers to the works of Viktor Shklovsky, who invented the term ‘ostranenie’ (estrangement) in order to describe how literary language and art function. The slowing down of perception through language radically renews the perception of an art object or a text, allowing us to see its renewed essence. In the work, however, this important function is read as one turning territory into a country (‘strana’) through maps and language - something that can be subject to the tourist industry and media culture. Finally, ’ostrannenie’ points out that the neutrality of the images used in the film (and which come from the Western culture) is an illusion that serves cartographic interests."

Alexandra Anikina, (b.1989, Kolomna, Russia) is a researcher & artist investigating algorithmic governance, affect and visual culture. Completed PhD at Goldsmiths, London. Her work was shown at VI Moscow International Biennale for Young Art, HKW (Berlin), Anthology Film Archives, Korean Film Archive, NCCA Moscow, Krasnoyarsk Museum Biennale. Curator of IMPAKT 2018 'Algorithmic Superstructures'.

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14/09/2021

Check out a new curated program ‘Ostranenie: how to see the world differently’ by Alexander Burenkov with Anna Leonova, Kirill Savchenkov, Sofa Skidan, Sara Culmann, Kristina Matveeva, Anna Rotaenko, Gediminas Daugela, Aleksei Taruts, Egor Tsvetkov, Ulyana Podkorytova, Vasiliy Sumin, and Alex Anikina.

According to Burenkov, art and philosophy are often understood as providing ideas for politics as they expand the boundaries of imagination and the utopian horizons of the future. But what's the changing role of art in the world after the pandemic? Which forms of reconstructing the world can be proposed and how can contemporary art not only create new cartography of the world through personal lenses and find out new horizons but also offer an alternative arsenal of ways to resist what we might call modern cosmology and contribute to the dialogue about the potential of art for worldmaking?

Watch it on Springs.video

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01/09/2021

WE ARE EVERYWHERE
🏳️‍🌈 Lithuanian and international art and culture initiatives in support of Kaunas Pride 2021! 🏳️‍🌈
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🏳️‍🌈 MES ESAME VISUR - KAUNAS PRIDE 🏳️‍🌈
MES ESAME VISUR!
Lietuvos ir tarptautinės meno ir kultūros iniciatyvos palaiko Kaunas Pride 2021!
🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈

04/08/2021

Springs.video, streaming contemporary art.

In 2021 Springs.video will include videos by Piotr Bosacki, eeefff, Adrian Ganea, Antanas Gerlikas, Milda Januševičiūtė, Felix Kalmenson, Pavel Khailo, Martin Kohout, Mariia Kovtun, Olga Krykun, Julia Kul, Rafal Morusiewicz, Marina Naprushkina, Ignė Narbutaitė, Katrīna Neiburga, Ongoing Project. Video News, Gerda Paliušytė, Jaakko Pallasvuo, Anna Puolakka, Oleksiy Radinsky, Daniil Revkovsky and Andriy Rachinsky, Elske Rosenfeld, Anton Sarokin, Miša Skalskis, Ieva Kotryna Skirmantaitė, Anna Slámová, Anastasia Sosunova, Erdem Taşdelen, Viktor Timofeev, Marta Trektere, Daiva Tubutytė, Dana Venezia, Adam Walker and Vicki Thornton, Weronika Wysocka, and others. The platform will feature curatorial selections by Elene Abashidze, Andreas Angelidakis, Aleksei Borisionok & Olia Sosnovskaya, Alexander Burenkov, Flora Gadó, Keiu Krikmann, Inga Lāce, Yates Norton, Michal Novotny, Matthew Post, Simona Žemaitytė and others.
Springs.video is programmed from Vilnius, Lithuania and is designed by Nerijus Rimkus, with IT programmed by Giedrė Kavaliūnaitė, curatorial assistance from Daura Polonskytė and curated by your humble servant Valentinas Klimašauskas, its curator-at-large.

Huge thanks to everyone involved!

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28/07/2021

Finally, Springs.video launches with two video programmes selected by Inga Lāce and Aleksei Borisionok with Olia Sosnovskaya. Thanks, dears, for being a part of it!

New international moving image streaming platform Springs.video launches two curated programmes