Originally conceived of as something to be voyeuristically peeped at through a peephole, Birgitta Hosea’sHoles has been re-engineered for the exhibition Momentum in the immersive space at Krupa Art Foundation, Wroclaw, Poland.
It has become a new experience, from something interior and hidden that you peep at through a small opening into another world, it has become exterior – a whole audiovisual world that you can walk into.
The artist said, ‘I really enjoyed how visitors explored the experience with their whole bodies and entered into the world of my film’.
The film was wrapped around three walls and the floor of the space.
Installation shots for Krupa Art Foundation by photographer Alicja Kielan:
An English language catalogue for the ASIFAKEIL gallery in Vienna has now come out in English. ASIFA Austria has organised over 130 exhibitions of animated installation at their gallery in the Museum Quarter in Vienna. Animating Art is edited by Stefan Stratil and Holger Lang and features scholarly essays by media theorists, artists and curators alongside documentation of the different exhibitions that have taken place there.
Features an essay by Birgitta Hosea on ‘Perambulatory Perception’ and documentation of her first exhibition of Holes.
The Visual Music programme at Fredrikstad Animation Festival 2024 was curated by Trygve Signes Nielsen and featured presentations at the Fredrikstad Kino and performances by Will Bishops-Stephens, Derek Holzer, Eilif Hensvold, Birgitta Hosea and Trygve Signes Nielsen.
Birgitta Hosea orchestrated new performances of dotdot dash in the pedestrian underpass beside St Croix Kultur Huset. dotdot dashis a concert of visual music conducted by Birgitta Hosea, but made by the audience with laser pens and their own voices. This participatory, site-specific art work uses communal, collective action to reclaim the urban landscape at night. Coming together in a choral collaboration, participants are directed to explore the mark making possibilities of creating graffiti with light and to experience the power of their own voices. The performance is orchestrated by Hosea from a chance-based score made through walking with paint-covered feet over musical paper.
Her presentation at the Fredrikstad Kino explained all the ideas behind the work, including the influence of John Cage, experimental music notation, the research behind the Performance Drawing: New Practices Since 1945 book and the InspiralLondon collective.
Will Bishops-Stephens also talked about Thrum, his incredible series of animating and guitar playing machines. A live performance installation was exhibited in St Croix House. Thanks to the University for the Arts London for supporting the transportation of all his equipment from the UK. He got it all packed up to fit on the airplane!
Trygve Signes Nielsen talked about his research into drawn sound and oscilloscopes. He had an exhibition in the Kino of his oscilloscope drawings and his speculative design fiction speculations on visual music making systems. On the Friday evening he performed live with Eilif Hensvold to create oscilloscope images.
Installed within a peepshow, Holes is an abstract animation that hints at a visceral journey through the female body traced by oil pastels, milk, ink, detergent, lipstick and pomegranates using hand drawing, fingers, After Effects and a microscopic camera.
The exhibition at South Hill Park Arts Centre spread across the foyer, gallery and cafe spaces. It included production drawings used in the making of the film, and immersive drawings created after it was finished. Visitors were invited to participate by drawing their response to the show on an antique mirror.
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There will also be a (free) animation workshop on Sat 19th Oct (booking required).
South Hill Park Arts Centre is Berkshire’s centre for the arts. It is situated 35 mins walk (or bus / taxi ride) from Bracknell station.
Thanks for their support to South Hill Park curator, Aurora Ulian, to Lucia Manopoulou and to sound designer Anat Ben-David.
In this installation originally commissioned by Hunan Museum, an animated series of chalk footprints are projected downwards on a slate surface.
The exhibition, Wandering: Digital Art in Historical Space Time, was themed around contemporary artists responding to ancient, historical artworks. [Download catalogue essay]
This installation was subsequently included in Animation as Art: A Multi-Sensory Experience, an exhibition about the materiality of animation curated by Jorgelina Orfila, Francisco Ortega, Christine Veras for the Museum of Texas Tech, Lubbock, Texas, USA.
Performance by Birgitta Hosea at Hundred Years Gallery as part of her exploration of chalk as a material during her residency at the Centre for Recent Drawing (as part of the Performance Drawing 2021 exhibition events).
Guizhou Provincial Museum 29/4/22-31/8/22 Curated by Birgitta Hosea, Zhang Xiaotao, Li Fei
Featuring 44 international digital media artists, 54 works of art and covering 2200 square metres, this is Guizhou Province’s first international exhibition of digital art. The works cover a range of techniques, disciplines and approaches including interactive media, virtual reality, robotics, immersive installations, experimental animation, artificial intelligence and archaeological visualisation.
The central theme of Fission is the multiple different forms that digital art can take. Like the process of nuclear fission, the concept of digital art has become unstable and shot off in many different directions from its starting point at the intersection of science, technology and art. With transient populations, contradictions and conflicts between social interaction, capital and information, in our era of globalization technology and media reshape the world. Fission is a meeting in virtual time and space of digital art from the media laboratory to the public arena. It marks the rapid development of science and technology and provides a microcosm of the intersection of different cultures at a time of great change.
The exhibition is divided into four sections: 1) The Rebirth of Antiquities: the fusion of archaeology and digital art. 2) Post-life imagery: the connection between humans and nature, society and technology. 3) Synthetic Worlds: The Connection Between Virtual Reality and Real Worlds. 4) Algorithmic Images: The Meaning of Digital Art.
Co-curator, Birgitta Hosea, talks about the exhibition:
Co-curator, Zhang Xiaotao, talks about the exhibition:
My installation, Holes, ran at ASIFAKEIL, Q21, Vienna from 1/12/21 – 20/2/22.
I gave a presentation about the installation at Belvedere 21 Museum of Contemporary Art for the Under_the_Radar festival in Vienna on 27th March 2022.
I’ll be giving an updated version of this talk at Animafest Scanner IX as part of the Zagreb Animation Festival on 7-8th June 2022.
Some stills from the film, that has sound design by Anat Ben-David:
The short film, Holes, that is shown in the installation has just started on the film festival circuit and has so far been shown at:
A version of Holes (the installation) is included in Fission: The New Wave of International Digital Art at Guizhou Provincial Museum from 29th April – 31st August 2022.
Due to the lockdown in Austria, I was unable to travel to install this work in person, so I am very grateful to Stefan Stratil and Holger Lang for putting it together for me and the exhibition has now opened. It’s seen through the windows of the gallery, so can be visited as part of a lockdown-compatible walk in the area.
The show was due to have an opening event as part of the Under_the_Radar festival, but this is now postponed. We hope that the festival can run at the end of January and plan a finishing event and presentation about the exhibition then. All is dependent on the pandemic and the regulations in place in Austria then. More news to follow.
Erasure brings together a body of work from the last three years that addresses the erasure of women’s voices in society and visualises the invisibility of labour. The exhibition is named after my short film in which dirt, ink, bleach and other cleaning products are animated. It includes sequential drawings, performance and animated installation. Here are some of the plans that I have done in Sketchup.
I have many people to thank – Heashin Kwak and Soo Yeon Kim from Hanmi Gallery have done so much to make this happen; Sandra Nutmeg, Anne Pietsch and Maryclare Foa have given me so much support; very grateful to Calum F. Kerr for allowing me to share his studio; thanks to Lilly Husbands for writing the catalogue essay; a number of curators included pieces from this series in group shows or screenings which allowed me to develop the ideas further – Vanya Balogh, Tianran Duan, Rebecca Feiner, Lu Tingting, Gerben Schermer, Zhang Xiaotao; I was also supported by going on a number of residencies that enabled me space to progress at a time when I had no studio thanks to Susan Allen, Regine Bartsch, Rose Bond and Rekha Sameer; and finally I am so thankful to my employer, the University for the Creative Arts, for supporting the exhibition catalogue and my trip to Korea.
Some images from the show:
A video overview of the final exhibition filmed by Soo Yeon Kim:
Expanded Animation 