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speakers

Katharina Ammann
born 1973; studied Art History and English Literature at the universities of Geneva (CH) and Oxford (GB). From 2001–2004 she was a curatorial assistant at the Kunstmuseum Solothurn (CH) where she curated a series of exhibitions on contemporary art, most recently the survey «black on white» on positions related to cross-media drawings. She also coordinated exhibitions on robotics and computer generated art. Since 2005, with a grant by the Schweizerischer Nationalfond, she works on her Ph.D. at the university of Bern (Prof. Dr. P. Schneemann) on the subject of exhibiting focussing on the presentation of video and the relevance for the development of the medium.

Anita Beckers
Born 1947; worked until 1984 as a teacher for office economics; 1990 foundation of an edition for contemporary art; 1992, at the Mathildenhöhe Darmstadt, organization of the symposium «LIFE IS ART ENOUGH» (Performance and expanded art forms) (publication) and 1993 organization of an international performance festival in cooperation with the Kunsthalle Düsseldorf and ASA European; 1995 founding of a gallery in Darmstadt dedicated to the support of emerging artists; 1998 move to Frankfurt/Main with the gallery; since 2000 presentations of video art in a separate space next to the exhibitions of the gallery. Video artists of the galllery include Bjørn Melhus, Yves Netzhammer, Sigalit Landau a.o.

Christoph Blase
Born 1956, freelance art journalist a.o. for ART, Wolkenkratzer, FAZ, Kunst-Bulletin. 1995 founder of the art critic Web site www.blitzreview.de. 1995–1997 professor for art history at the University of Applied Sciences. Since 2004 Head of the «Laboratory for antiquated video systems» at the Center for Art and Media Karlsruhe; lives in Karlsruhe.

Hans D. Christ
1996 Hans D. Christ and Iris Dressler found the hartware medien kunst verein, Dortmund (D), as an independent platform for the presentation of contemporary art; since 2005 director of the Württembergischer Kunstverein, Stuttgart (D), together with Iris Dressler; Projects (selection 2001–2004), together with Iris Dressler*: 2001 «dialogues & stories», Museum Küppersmühle Sammlung Grothe, Duisburg*; «new ideas – old tricks», hartware medien kunst verein, Dortmund*; 2002 «no one ever dies there, no one has a head», hartware, medien kunst verein, Dortmund*; «Say Hello to Peace and Tranquility», Montevideo/TBA, Amsterdam (NL) und Nikolaj Centre of Contemporary Art, together with Jan Schuijren, Copenhagen (DK)*; 2003 «games. Computerspiele von KünstlerInnen», together with Tilman Baumgärtel, Dortmund*; «404. Object Not Found. Was bleibt von der Medienkunst? Internationaler Kongress zu Fragen der Produktion, Präsentation und Konservierung von  Medienkunst», Dortmund*; «Muntadas. On Translation: Das Museum», Museum am Ostwall, Dortmund, in cooperation with Museu d’Art  Contemporani de Barcelona (MACBA), Barcelona (E)*; 2004 «The 3rd Seoul International Media Art Biennale», Media_city Seoul 2004, co-curator together with Tilman Baumgärtel, Seoul; «Nam June Paik Award 2004», PhoenixHalle Dortmund, commissioned by the Kulturstiftung NRW*, Dortmund; lives in Stuttgart.

Prof. Dr. Dieter Daniels
b 1957 in Bonn (D); 1984 co-founder of the Videonale Bonn; numerous projects, exhibitions and symposia in the field of media art; 1991–1993 head of the Mediatheque at the ZKM, Karlsruhe (D); since 1993 professor for Art History and Media Theory at the Hochschule für Grafik und Buchkunst (HGB) in Leipzig (D); publications on art of the twentieth-century a. o. on Fluxus, George Brecht, Marcel Duchamp, and most recently the books «Kunst als Sendung» (2002) and «Vom Ready-Made zum Cyberspace» (2003); co-editor with Rudolf Frieling of «Media Art Action» (1997), «Media Art Interaction» and «Media Art Net» (2004/2005); lives and works in Leipzig.

Dr. Barbara Engelbach
Barbara Engelbach studied art history, German literature and cultural studies in Freiburg and Hamburg. In 1997 she did her Ph.D. on body art and video art. 1997–1999 she worked at the Westfälische Landesmuseum, Münster and in 1998 co-curated the Sculpture Biennial in Münsterland. 1999–2004 she was the artistic director of the Museum of Contemporary Art Siegen. Since 2004 she is curator at the Museum Ludwig, Cologne and responsible for the collection of contemporary photography, film, video and media art. Engelbach has curated numerous exhibitions and has written on performance art, video art, contemporary photography, intermedia, and art in public spaces. Lives in Cologne.

Rudolf Frieling
Born 1956 in Münster; studies humanities at the Free University of Berlin; 1988–1994 curator of the International VideoFest Berlin; since 1990 he has lectured and published internationally extensively on art and media; since 1994 curator and researcher at the Center for Art and Media (ZKM) in Karlsruhe, Germany, until 2001 head of the video collection; has lectured a. o. at the Hochschule für Gestaltung und Kunst Zürich, Hochschule der Künste Berlin, and was guest professor at the media faculty, University of Applied Sciences, Mainz; 2001–2005 head of the Internet project «Media Art Net» at ZKM; most recent projects as curator: Biennale Sao Paulo 2002 (Net Art section) and «Sound-Image», Mexico City 2003; he has published and co-edited with Dieter Daniels for Springer Vienna/New York a series of volumes on the history and current context of media art: «Media Art Action» (1997), «Media Art Interaction» (2000) and «Media Art Net 1/2» (2004/2005) as well as co-edited the volume Bandbreite. Medien zwischen Kunst und Politik (with Andreas Broeckmann), Kadmos: Berlin, 2004; lives in Karlsruhe.

Johannes Gfeller
born 1956 in Burgdorf (CH), studies in Art History, Literature and Philosophy, and graduating with a thesis on Etienne-Jules Marey. Working with electronics since the late 1960s, with photography since 1972 and with computers since 1981. 1978 co-founder of a video production cooperative. 1983–2001 freelance photographer and media technician. 1988–2002 teaching technology and aestethics of video art at the Schule für Gestaltung Bern. Since 2001 Professor for conservation and restoration of modern media at the Hochschule der Künste Bern HKB. Head of the research project www.aktivearchive.ch; publications include a. o. «Kunstfehler! Elektrisch, elektronisch, digital: fünf vor zwölf zeigt die Uhr allemal. Für einen historisch informierten Umgang mit Medienkunst», in: «horizonte. Beiträge zu Kunst und Kunstwissenschaft. 50 Jahre Schweizerisches Institut für Kunstwissenschaft», Zurich, 2001; «Pixel und Zeile zu Frame, Baukasten zu einer Theorie der Medienerhaltung», in: «Visions of a future. Art and art history in changing contexts», ed. by Hans-Jörg Heusser and Kornelia Imesch, Zurich, 2004; lives in Berne.

Prof. Dr. Boris Groys
born 1947 in East-Berlin (GDR); 1965-71 studies of Philosophy and Mathematics at the University of Leningrad (RUS); 1971-76 scientific collaborator of various scientific institutes in Leningrad and 1976-81 collaborator for the Institute for Structural and Applied Linguistics of the University of Moscow; 1981 emigrates to West-Germany and 1982-85 receives various scientific stipends for Germany; 1986-87 freelance writer living in Cologne (D); 1988 visiting professor at the University of Pennsylvania, Philadelphia (USA); 1991 visiting professor at the University of Southern California, Los Angeles (USA); 1992 Ph.D. in Philosophy at the University of Münster (D); since 1994 Professor for Art History, Philosophy and Media Theory at the Hochschule für Gestaltung Karlsruhe (D); member of the Association International des Critiques d'Art (AICA); publications (selection): «Gesamtkunstwerk Stalin», Munich, 1988; «Über das Neue. Versuch einer Kulturökonomie», Munich, 1992; «Logik der Sammlung», Munich, 1997; «Unter Verdacht. Eine Phänomenologie der Medien», Munich, 2000; «Politik der Unsterblichkeit. Vier Gespräche mit Thomas Knöfel», Munich, 2002; lives in Karlsruhe.

Dr. Jackie Hatfield
Jackie Hatfield is an artist and writer who makes expanded and participatory cinematic work, using digital video, performance, sound and digital print. She has contributed essays and co-edited two critical books around women’s use of technology in art practice, «Desire by Design», and «Digital Desires» and published articles concentrating on under-explored histories of experimental film and video practice. She organized the major retrospective of artists moving-image from the late 1960s, «Experiments in Moving Image» in London 2004 and is currently editing an «Anthology of Experimental Film and Video,» a collection of artists’ writing. She received a Ph.D. from the University of Westminster and is currently Post Doctoral Research Fellow on «REWIND» at the Duncan Jordanstone College of Art and Design at the University of Dundee; lives in London.

Hans Dieter Huber
born 1953; studies in Painting and Graphics at the Academy of Fine Arts in Munich (D) and  Art History, Philosophy and Psychology in Heidelberg (D). 1986 Ph.D. in Art History and 1994 habilitation. 1997–1999 Professor for Art History at the Academy of Visual Arts, Leipzig (D); since 1999 Professor for Art History of the Present, Aesthetics and Art Theory at the State Academy of Fine Arts Stuttgart (D). Publications include a.o. «System und Wirkung. Interpretation und Bedeutung zeitgenössischer Kunst», 1989; «Dan Graham. Interviews», 1997; «Kunst des Ausstellens», 2002; «Bild Medien Wissen», 2002; «Bild, Beobachter, Milieu. Entwurf einer allgemeinen Bildwissenschaft», 2004; lives in Stuttgart.

Caitlin Jones
Born 1973, Vancouver, British Columbia (CDN). Caitlin Jones holds a combined research position in both the Curatorial and Conservation departments at the Solomon R. Guggenheim Museum.  With a background in Art History and Archival Studies she originally worked in conjunction with the Daniel Langlois Foundation for Art, Science, and Technology as the Langlois Fellow for Variable Media Preservation.  She co-edited the Guggenheim/Langlois publication «Permanence Through Change: The Variable Media Approach» was co-curator of «Seeing Double: Emulation in Theory and Practice» at the Guggenheim, and recently worked on the Deutsche Guggenheim Berlin exhibition, «Nam June Paik: Global Groove 2004».

Prof. Dieter Kiessling
b 1957 in Münster (D); 1978–1986 studied at the Kunstakademie Münster; from the mid 1980s artistic work with video, photography and installation, above all as closed-circuit installation; 1998–2004 professor of media art at the Hochschule für Gestaltung, Karlsruhe (D); lives in Düsseldorf (D).

Ulrich Lang
*1968, studies in Restoration and graduated with a thesis on kinetic art by Gerhard von Graevenitz. Since 2001 chief conservator at the Museum für Moderne Kunst, MMK Frankfurt/Main; co-founder and head of the expert group el_media within the association of Conservators (VDR) and cooperating partner in the EU-project Culture 2000 «Preservation and Presentation of Installation Art»; publications: «motion as material. the kinetik art of gerhard von graevenitz», in: ICOM-CC Modern Materials, Munich, 2002; »Volatile Memory«, in: Preservation of Electronic Records: New Knowledge and Decision-making - Postprints, Canada, 2005; lives in Frankfurt/Main.

Yvonne Mohr
born 1966 in Karlsruhe (D); studies in Visual Communication and Experimental Film at the Hochschule der Künste Berlin with Valie Export and Heinz Emigholz, and at the École des Arts Décoratifs Strasbourg (F) with Philippe Delangle. 1991 first artistic works in video and installations; since 1994 freelance work in the field of digital image processing, CD-ROM, DVD, video and TV production (concept, camera, editing, compositing) a. o. for ZKM Karlsruhe, Centre Pompidou, Paris, as well as the broadcasters SWR, ZDF and arte. 2002–2004 artistic collaborator of the Hochschule für Film und Fernsehen Potsdam Babelsberg (D). At present, collaborator for the project «40yearsvideoart.de» and responsible for digitale image restoration at the ZKM Karlsruhe; lives in Berlin and Karlsruhe.

Prof. Stephen Partridge
A media artist since the 1970s and a TV producer for BBC and Channel Four. He has also curated a number of influential video shows: Video Art 78 in Coventry; UK TV New York; National Review of Live Art 1988-90; 19:4:90 Television Interventions. He has lectured since 1975 in a number of art colleges, and established the School of Television & Imaging at Duncan of Jordanstone College of Art & Design (University of Dundee). He is presently Professor of Media Art and Associate Dean of Research & Enterprise. He is the principal investigator on the AHRC funded, four-year research project REWIND since November 2003.

Walter Plaschzug
born 1966, studied Telematics at the Technical University in Graz from 1985 to 1990; work on communication products as a technical product manager with Digital Data Systems - Vienna; in 1995 start at Joanneum Research, Graz (A), as project manager for digital multimedia activities («LIMELIGHT» project to develop a set of automatic film cleaning tools and successful management of the Esprit EU-project «FRAME» as project co-ordinator); since 1998 managing director of HS-ART Digital Service GmbH in Graz. Responsible for successful market introduction of the digital film restoration software «DIAMANT» that has since then become one ot the  major restoration dedicated products with approx. 50 installations world-wide; lives in Graz.

Karsten Rentz
Born in 1966 in Münster, North Rhine-Westphalia, studied physics at the University of Paderborn, guitar at the Hochschule für Musik Münster, and music transmission at the Erich Thienhaus Institute of the Hochschule für Musik Detmold, where he received a degree in sound mixing. In addition to numerous recording activities as a freelance sound mixer for various labels and in the areas of film, the acoustic irradiation of events and sound installations, since 1999 he has worked for one of the largest DVD studios in Europe, Digital Images GmbH, first as the director of the audio department and as a project manager, and for the last three years as production manager and producer. Amongst his most outstanding achievements are the award-winning opera DVD TAMERLANO (Goethe Theater Bad Lauchstädt; 2002), the opera recording TESEO (Schlosstheater Potsdam, 2004), which he produced completely on his own, and the sound mixing of the pilot film for the European Docu Zone («White Diamond,» Werner Herzog, 2004). He has also taught and lectured at several universities and various other institutions, amongst others at the Hochschule für Darstellende Kunst und Musik Mannheim, the Erich Thienhaus Institute in Detmold, and the Hochschule für Grafik und Buchkunst in Leipzig. Lives in Halle.

Bart Rutten
born 1972; Bart Rutten is a leading Dutch expert within the field of video art. He studied art and cultural history at the University of Utrecht and at the University of Wisconsin, Madison (USA). Since 1997 he has been working for the Netherlands Media Art Institute, MonteVideo/TBA, where he started by doing research on the collections inherited from the former Time Based Arts, Lijnbaancentrum (Rotterdam) and De Appel (early video art). This research resulted amongst other things in a reference room and tape library at the institute, which was set up by Rutten. In 2002 he became a member of the direction and is now responsible for the presentation section (exhibitions, distribution and collections) at the institute. As lecturer he has worked for the University of Utrecht (history of video art) and is currently working for the Royal Art Academy in The Hague. Rutten also publishes frequently in Dutch periodicals on film and contemporary art. He co-edited with Jeroen Boomgaard «The Magnetic Era. Video Art in the Netherlands 1970–1985» (Nai publishers, 2004), an anthology about early Dutch video art, and also contributed to it as a writer; lives in Amsterdam.

Sandra Thomas
Born 1971; studied Art History, German Literature and Philosophy in Würzburg and Cologne (D); her work focusses on contemporary art, media art and the history of the 20th century avantgardes, specifically on aesthetics of reception and strategies of viewer participation;1998–2002 various activites in the field of cultural and exhibition management for cultural institutions, galleries, artists and 235Media, Cologne; since 2003 director of the project «MedienKunstArchiv» (MediaArtArchive) together with Alexandra Wessels; taking into consideration the relevance of art historical questions, she developed a sustainable strategy for the conservation of video art in cooperation with experts from the field of restoration and video technology; lives in Cologne.

Dr. Stephan Urbaschek
born 1966 in Usingen/Ts. (D); studies in Art History, Theater Science and Economics in Bayreuth and Munich (D); Ph. D. in Art History at the Humboldt-University Berlin (D); 1994–1997 Curatorial Department, Dia Art Foundation, New York (USA); 1997–2000 freelance curator for the Bayerische Staatsgemäldesammlungen, Munich; since 2000 Curator for Film and Video, Collection Goetz Munich. Besides organizing the film and video exhibitions for the collection, co-curator of «fast forward», ZKM Center for Art and Media, Karlsruhe, 2003/2004, and «fast forward/avance rápido», Centro Cultural Conde Duque, Madrid (E), 2005. Numerous publications on contemporary film and video artists, co-editor of the volume on media works of the Collection Goetz «fast foward».

Heather Weaver
Senior Preservationist, has worked as a professional preservationist and senior online editor for over ten years at Bay Area Video Coalition (BAVC) in San Francisco, California, USA. She has worked with award–winning PBS producers  and with institutions such as the San Francisco Museum of Modern Art, the Asian Art Museum, and Video Data Bank.  Heather’s work preserving and restoring The Eternal Frame, a 1976 video work by Ant Farm and T.R. Uthco, was featured as a case study on BAVC’s Playback: Preserving Analog Video DVD. She has been a featured presenter at key gatherings of leaders in field of electronic media preservation, including the Western Association for Art Conservation conference, several AMIA conferences and panels, and BAVC’s own «Looking Back, Looking Forward: A Symposium on the Physical Preservation of Independent Electronic Media». She has written numerous articles on video editing and preservation for national publications: most recently, «Restoring ‹The Eternal Frame›» appeared in the July 2003 issue of DV Magazine.

Tina Weidner
born 1977 in Schmalkalden, Thüringen (GDR); 1995-1999 internship as conservator at the Thüringisches Landesamt für Denkmalpflege, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg (D) and the Donald Judd Estate in Marfa, Texas (USA); 1999–2004 studies in Conservation, Art Technology and Conservation Science at the Technical University of Munich (D) and in that time practical studies at the Chinati Foundation, Marfa, the Städtische Galerie im Lenbachhaus, Munich, the Hong Kong Museum of Art and at the Stichting Kollektief Restauratie Atelier (SKRA) in Amsterdam (NL); 2004 diploma with a thesis on the mutation of video installations analyzing the examples of Nam June Paik «One Candle» (1988) and Bill Viola «The Stopping Mind» (1991) at the Museum für Moderne Kunst in Frankfurt/Main (D); 2004–2005 Assistant Conservator for the research project «40yearsvideoart.de» at the ZKM Center for Art and Media in Karlsruhe (D); since April 2005 Assistant Time-Based Media Conservator at the TATE Gallery London (GB). Collaborator for the EU-research project «Preservation and Presentation of Installationart»; lives in London.

Alexandra Wessels
Born 1968; studied TV, Film, Theatre and Economics in Cologne and Wuppertal (D); since 1996 work in the context of media art: management, project organiser, exhibition concepts, catalogue contributions; 1998–2000 responsible for the video art edition as a promotion and distributionactivity by 235 MEDIA, Cologne; since 2003 director of the project «MedienKunstArchiv» (MediaArtArchive) together with Sandra Thomas; in 2004 she began her Ph.D. studies in Art History at the Kunsthochschule für Medien in Cologne with Prof. Dr. Hans Ulrich Reck. Her dissertation focusses on the possibilites of representation of video art in the context of memorisation and the generating of knowledge, as well as the exemplary development of an «Eclectic Atlas» for video art in the digital knowledge spae; lives in Cologne.

Gaby Wijers
Coordinator of preservation, research and development at the Netherlands Media Art Institute, Montevideo/TBA Amsterdam (NL); participated in various international projects dealing with the documentation and preservation of Media Art and coordinated the project «Preservation of Video Art» under the auspices of the Foundation for the Conservation of Modern Art (SBMK); selected publications: «The Sustainability of Video Art : Preservation of Dutch Video Art Collections», ed. by Gaby Wijers, Evert Ridrigo, Ramon Coelho, Foundation for the Conservation of Modern Art: Amsterdam, 2003; «Control and Preservation of Videotapes: An introduction to the handling, storage and conservation of analogue and digital videotapes» by Gaby  Wijers, NL version Cr no. 1, 2002; since 2005 she edits the online newsletter Monitoring Media Art Preservation with information and news about ongoing research, presentations and publications dealing with video and media art preservation; lives in Amsterdam.

 
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