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PNEUMA MONOXYD Thomas K\u00f6ner, <\/strong>Pneuma Monoxyd<\/strong>, Germany-Serbia, 2007, 10 min (continuous loop)<\/strong><\/p>\n Merging surveillance images of a German shopping street and a Balkan marketplace, K\u00f6ner\u2019s darkly abstract work, with its spatially evocative soundtrack, generates a muted sense of spectral dystopia.<\/p>\nPROGRAMME NOTES<\/a> PNEUMA MONOXYD PNEUMA MONOXYD Thomas K\u00f6ner attended music college in Dortmund and studied electronic music at the CEM-Studio in Arnhem. Extending his explorations of sound and duration to images, he began to work on video installations, photography and net art. Alchemie <\/em>(1992) was the first of a sequence of collaborations with film artist J\u00fcrgen Reble in which sound and image were integrally manipulated during live performance. K\u00f6ner has also composed music to accompany historic silent films for the Louvre and the Mus\u00e9e d’Orsay, Paris. He has been awarded the New Media Prize at the Montreal International Festival New Cinema New Media (2000), the Golden Nica at the Prix Ars Electronica (2004) and the Tiger Cub Award, International Film Festival Rotterdam (2005). His installation Suburbs Of The Void <\/em>received the Transmediale 2005 award in Berlin and was presented at La Biennale di Venezia, Teatro La Fenice, as a live performance that the same year. K\u00f6ner participated in the Media Art Biennal Seoul in 2008, and is currently working on a suite of five permanent sound installations commissioned by the Mus\u00e9e Rimbaud in Charleville-M\u00e9zi\u00e8res. www.koner.de<\/a><\/p>\n
\nSaturday 25 October 2008, from 12-7pm
\nLondon BFI Southbank Studio<\/strong><\/p>\n
\n<\/strong>Saturday 25 October 2008, from12-7pm
\nLondon BFI Southbank Studio<\/p>\n
\nThomas K<\/strong>\u00f6<\/strong>ner, Germany-Serbia, 2007, video, colour, sound, 10 min
\n<\/strong>As surveillance becomes a fundamental of today\u2019s society, K\u00f6ner\u2019s work focuses on its implications by monitoring observation and usurping its tools. With the intention of taking a step forward from here, the artist began to invent his own imaginary tool. The scenes in Pneuma Monoxyd <\/em>are observed with such an imaginary tool. Its ability to unlock future, past and present unveils the moment as it is being pieced together, blurred and unstable. Premonition, memory and splinters of \u2018here\u2019 and \u2018now\u2019 become perceptible as part of the fabric of the observed time. A static gaze of a Balkan market unveils the present moment as a porous frontier and seems like a window looking out to the beyond. (Transmediale 2008)<\/p>\n