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Johanna Domke [Videonale.10]

* 1978 in Kiel GER, lives in Berlin GER
Studied at Royal Danish Academy of Fine Arts, Copenhagen DEN
, at Malmö Art Academy, Malmö SWE
, at Royal Danish Academy of Fine Arts, Copenhagen DEN and at Muthesius Kunsthochschule, Kiel GER

 

Exhibitions [Selection]: 

2010 Screenspirits, Städtische Galerie Bremen GER 
[S]
         Kurye , Istanbul Modern Museum, Istanbul TUR

         Off Dak´art / Dakar Biennial, Sicap Mermoz, Dakar SEN

2009 Yellow Smile, NLH Space, Kopenhagen DEN 

[S]

         A Body is presented to me and you, Souterrain Amsterdam NED

         Rencontres Internationales, National Museum Reina Sofia, Madrid ESP

2008 Marginal Moments, Art Agents Gallery, Hamburg GER [S]
         AudioVideo, Gimsinghovedet, Struer DEN


2007 Sequent silence, Olivier Houg, Bureau pour l’art contemporain, Lyon FRA [S]
         Subtle whispering, Total Museum of Contemporary Art, Seoul KOR

         I Need No Map, Anna Akhmatova Museum, St. Petersburg RUS

 

www.johannadomke.net

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Johanna Domke

 

Johanna Domke x

You'll miss what's gonna stay, 2004, 7:15 min, sound, colour, [VIDEONALE.10]

In her video works, Johanna Domke examines the phenomenon of how we perceive time in moving pictures, describing the discrepancy between real and experienced time, which are inextricably at odds with one another. You'll miss what's gonna stay shows a trivial scene of young people passing the time together, laughing and having fun. It seems as if they have just gathered; the actual event and reason for their meeting is yet to be revealed. A linear narration is suggested to the viewer from the start, which puts him in a state of expectancy. After a short while, however, it becomes clear that this is a situation that does not allow for any fundamental development. The people portrayed move within their own individual time frames, asynchronous to one another. Their actions are reproduced in endless loops, each shifting in relationship to the others, generating for the viewer an ongoing series of new image sequences and connections. It is clear that time is elapsing in linear progression, but the continuously changing scene contradicts this by stagnating as it persists in incessant motion. While real time marches on, subjectively felt time ticks away in a different rhythm and fluctuating frequency for each individual.

Daniel Stursberg

Johanna Domke