Rosy Beyelschmidt

... AND THE MOON IS ALMOST HIDDEN · 2022
Ultra HD color video, 2-ch sound, 6:54 min [➚]
I'm on my way to Paris with my 404, it's 1969; will pick-up some books there are very important to me. It's favourable, can stay a few days, have short conversations with friends. But I can no longer get to them .... everything that was clear before, seems rather diffuse now.

It's 2022 - I'm standing in front of my wall of books, looking at a piece of steel from which 'Injection' was punched out - something that remained with me of my 404, my faithful companion of that time. I see the works I had picked up in Paris and some of it seems mysterious to me in a new way - the times, the events intermingle. I think of Rue du Dragon, of 'CALLIGRAMMES', but also of the energy that the owner of that antiquarian bookshop had at the time and the importance of the early works that were there.

All of these memories are currently mingling with language planning (Newspeak) tendencies that limit verbal expression and override freedom of thought. Books are taken off the market, others modified in content, adapted to suddenly emerging tendencies. I think of Ray Bradbury's novel 'Fahrenheit 451' from 1953. A feeling of unease sets in.

'... AND THE MOON IS ALMOST HIDDEN' is an autofiction, an attempt to order and reassess what has been experienced. It is an immersion in a system that is guided by 'NOMOS _ the METRONOME', clock generator and filter system, system-determining and unwavering. It takes the form of 12 TimeCubes with evaluation/assignment displays, control monitors and communication figurines in anonymous shape. Is it possible to bring such a system into overflow with the hope of self-dissolution? It's worth a try - anything is possible!


... AND THE MOON IS ALMOST HIDDEN · 2022
Installation
4 Monitore, 4 Videos, ... and more
to the presentation of the video '... AND THE MOON IS ALMOST HIDDEN'
at: clang artspace, Cologne, DE, September 2022


FROM THE HORSE'S MOUTH · 2021
Full HD color video, 2-ch sound, 4:13 min [➚]
'FROM THE HORSE'S MOUTH' looks at truth in its theoretical form of existence. The starting point is the idea of a communication situation in the sense of knowledge. A search for credibility and clarity in the statements wants to mean: 'I know it's true, because I got it straight from the horse's mouth'.

L’ancien Réservoir de Guilheméry
6 – 31 avril 2022, Toulouse, FR
XXVe Rencontres Internationales Traverse
Capacité (presque) illimitée · (Almost) Unlimited Capacity

During the liquidation of an antiquarian bookshop where I found only sadness on the last day, the elderly owner said to me « Look at the lost souls » and pointed to the tattered forest of leaves on the floor at the back of the room. « Take it, costs nothing – no one wants it. » On top of a pile was a small paving stone, with bluish tints. I asked about the paving stone : « where might it have come from? – Oh, the doorstop ; I’ve had it for ages, it came from the previous owner. Our conversation was abruptly interrupted – the empty shelves were picked up – I said goodbye, wishing her the best. In the evening I roughly sorted the book pages and cleaned the stone from its layer of dust. As I skimmed and sorted the pages of the book, an epic about a wrongly convicted armourer (1787), I detected an indefinable smell emanating from the pages with the painful lines. It was not the typical smell of old printed paper, but rather sweet-peppery – it seemed if the pages had been soaked. Also the stone in its kind – roughly hewn – found its face in the lamplight of that night, as I too revive in the nights. Musing in the night I thought I knew where I had registered the smell of the book pages before. In 1990 I was part of a residency/exhibition programme ‘Young Art in Europe, Foundation of Niedersachsen, Hanover’ and during this time I was housed in an old monastery complex just outside Hanover. I was assigned a room with only one huge bed, which stood on an old rather worn-out wooden floor. Here I remembered the same special smell, without being able to localise it at the moment. The large worn stone slabs in the cloister had particularly taken my fancy, matt-glossy in the evening light, in their simple beauty, when I spent there sometimes a few minutes at night. In my reflection I remembered ‘St. Mary’s in the Capitol’ an early Romanesque church building with a cloister not far from my studio, to go in search of clues the next morning – the video footage were also taken there; in one picture fragment the plague cross from 1304 can be seen. Although I tried to pick up the trail like a sniffer dog, I could not decipher the indefinable smell here either. Out of desire to give form to my world of thoughts, I began in the evenings to cover the walls of my studio completely with the pages of the book, in order to receive a reflection from this. Under this impression then I wrote down my 26 verses that reflect the feeling of that night.
For me, a search for answers is also always a self-questioning – the possibility of a correction of misinterpretations or communication in the sense of (one’s own) knowledge – eternal questions. From the horse’s mouth is also a dialogue with oneself in search of absolute purity.


... and clouds rose from their pockets · 2021
Full HD color video, 2-ch sound, 7:08 min [➚]

Writer · Director · Camera · Editor : Dieter Beyelschmidt
Camera · Sound : Rosy Beyelschmidt

Everyone remembers the sudden crash of a monolith at the end of 2001 A Space Odyssey and the interpretive questions it raised. Here it is a strange black box on the floor of a dump truck also loaded with cobblestones from which emerges the mystery that carries the film with its images, skilfully composed by the director and his wife Rosy Beyelschmidt, who is also responsible for the soundtrack. This shot, which resumes after a black fade, carried by the sound of a Polaroid fixing the object seen, feeds the mystery; this repetition refers to the slow downward journey with which the film opened. The tracking shot moved very slowly down the wall of a building whose colours and grain were quite fantastic before coming to a stop on the black box. The soundtrack supported the loop thus described by becoming more mysterious and deeper through beats, shrill noises and the scansion of a gong.

But what is a black box but what we are left with of a disaster? A voice-over that seems like a recording of a conversation between a pilot and his control tower suggests as much. Is this catastrophe that of a man, Pépé, whom he met while jogging at night and who has been unconscious ever since? What remains is wandering in the night, a skilful chiaroscuro revealing a deserted street, and enigmatic objects discovered behind the slats of a blind : scattered objects, motifs beloved by Morandi, remnants of what was once a life. Like the once-quoted André Breton, we are in search of what the sound of a sea shell held to our ear on a New York night evokes and brings forth in us. This nocturnal wandering plays with the slowness of its shots, especially its tracking shots, to make the ghostly presence of the one who lived there, dwelt there in times of need, even more haunting.

Didier Samson,
art curator of the 25rd Rencontres Internationales Traverse
Capacité (presque) illimitée · (Almost) Unlimited Capacity
at: ENSAV · 6 – 31 avril 2022, Toulouse, FR


SOMETHING SPOOKED THE HORSES · 2021
Full HD color video, 2-ch sound, 7:35 min [➚]
The video 'SOMETHING SPOOKED THE HORSES' explores landscape as a site of political fantasy, as a spectrum that is not limited to a specific set of values. Humans locate themselves in entangled stories whose present tense is revealed in bleached characters. Interwoven realities facilitate the uncovering of the past and the future. Open the black box!


ANGEL'S PIN NUMBER · 2020
Full HD color video, 2-ch sound, 8:06 min [➚]

Angel navigates in a world of computer-mediated technologies. One day she is living a bad dream. Lost in password jungle, confronted with the act to penetrate into the zones of their human vulnerability, to showcase her in public, she strives to restore her own identity.

Catalogue / Text:

Que l’on traduise « *pin* » par épingle/badge ou matricule, son association à « ange » en garde le sens énigmatique ; le numéro de matricule des anges/le numéro de l’épingle de l’ange ce que portent les accents de la musique en mineur, en boucle, en continu. Les gestes de la femme – l’artiste-performeuse – découverte en position de méditation, en collant et haut noir, son pas de danseuse, regard ailleurs, ne suivent pas davantage de logique banale. Elle contourne les panneaux, récupère la corde avec laquelle elle encercle trois boules sur quatre.
En *coda*, le *travelling* arrière la découvre, à nouveau assise coiffée d’un béret et écrivant. Fondu au noir. Pas d’explicitation des signes faits de colliers de serrage blanc, en plastique, qui réunissent, dans la superposition d’un plan en transparence, des boules dont une/sa main défait le tracé.
L’espace blanc, fermé, sur un côté, par un rideau noir, accepte divers objets rarement rassemblés en écho à ce « beau comme la rencontre fortuite sur une table d’opération d’une machine à coudre et un parapluie » de Lautréamont. Objets du passé : deux téléphones noirs en bakélite avec cadran rond sur une valise de cuir, chaises étroites tirées de rangées d’église d’abord cassées en amas puis reconstituées, intemporels comme les boules brillantes, la corde lourde et deux petits panneaux juxtaposés avec sinogrammes et tracés blancs faits de segments. En autre superposition, ce sont les téléphones qui sont touchés. L’espace ainsi meublé connote l’espace onirique. Les gestes fonctionnent comme un rébus dont on n’a pas la clef – le numéro. Elle – sans signe d’individualité – porte cette recherche de sens, de soi. Elle intrigue et capte.

Simone Dompeyre,
art curator of the 23rd Rencontres Internationales Traverse, Toulouse, FR, 2020 /
Goethe-Institut Toulouse




Don't piss down my back and tell me it's raining · 1996/2015
4:3 color video, 2-ch sound, 10:11 min [➚]

Writer · Director · Camera · Editor : Dieter Beyelschmidt
Performance · Sound : Rosy Beyelschmidt

'Don't piss down my back and tell me it's raining' is meant as a critique of an interest system that has been talking down the serious problems of microplastics in the oceans for animals and humans for years.

Action as part of:
House Kerp, Cologne, DE, anno 1903, shortly before its demolition in 2015 · a transformation
off · 2011
triangle chair, monitor, endpaper, blood of a cut, oil pastel, charcoal, 16,5x24 cm


INCOMING CALLS ONLY · 2011
Full HD b/w video, 2-ch sound, 10:39 min

A.I.A.F. - Asolo International Art Festival, Asolo, IT, 2011


A ROOM | A TABLE | INCOMING CALLS ONLY

a short wait | a felt long wait
perhaps in the end a futile wait as with godot
or (josef) k, who waits like a cow

wait that somewhat happens
cruel heteronomy

BOREDOM | FEAR | LONGING


Noah's Blues · 2011
4:3 b/w video, 2-ch sound, 2:18 min, 3 monitors, ash wood oiled / horse tail hair


3 HALF 2 · 2008
4:3 color video, 2-ch sound, 3:12 min, 2 projectors

Double T Studios, Toronto, CA · 2008


carbon heart · 2003
monitor, 4:3 color video, ext. 2-ch sound, temp. live tv, video switcher, frame 27x21 cm, 24 photographs

Cities lose their character; for example 'Liverpool' It was to find characters; to bring up for discussion the trace - guiding in a 'modern' aseptic clinic world.

carbon heart build on the performance / Installation 'displacements' in May 1992 at the Cake Shop Gallery, Liverpool in cooperation with the 'Bluecoat Gallery', Liverpool, GB.


drones · 2002
3 4:3 color videos, ext. 2-ch sound, projektor, 2 monitors

"I invented the color of the vowels!
A black, E white, I red, O blue, U green.
I wrote out silences and the nights.
I recorded the inexpressible.
I discribed fenzies."
- Arthur Rimbaud -

Moltkerei Werkstatt, Cologne, DE · 2002


SubSeven · 2001
3 handcarts, 3 monitors, 3 4:3 color videos, ext. 2-ch sound, scaffolding, 4 control monitors, x-rays

Kunstverein Viernheim, DE · Interdisziplinäres Forum für zeitgen. Kunst · 2001


PARK YOUR CAR AT THE RHUMBA PARTY · 2000
THE DAX-GROUP at Gothaer Kunstforum, Cologne, DE, May 2000

Action · Performance · Installation

THE DAX-GROUP, Spokane/WA, USA
Rosy Beyelschmidt and Prof. Bruce Breland [Art Department - Carnegie Mellon University Pittsburgh, Pennsylvania, USA]

Thanks to: Wim Salki (Déjeuner sur l'Herbe), Los Dansing Queenc and friends


Quiet Steps · 1999
4:3 color video, 2-ch sound, 9:18 min, branches

Kunstverein Friedrichshafen, DE · 2002


Fire Water Burn · 1997
2 x 4 monitors with red/blue acrylic glass filters, 2 4:3 b/w videos, 2-ch sound, 2:58 min/2:36 min, thermo-therapeutic suitcase

Catalogue:
RUFE
Rosy Beyelschmidt
Heidelberger Kunstverein, DE, 1997
ISBN: 3-926905-42-5


Vom dreyfachen Leben · 1997
(The Threefold Life)

oak column, 3 monitors, 4:3 color video, ext. 2-ch sound, 9sec loop

Kunstverein Würzburg, DE · 2000


GeneLog · 1996
horns, planks, monitor, 4:3 color video, no sound, 2:15 min
desk chair, logbook, radio sound

Górnoslaskie Centrum Kultury, Katowice, PL · 1997


Wenn Engel keine Flügel verleihen · 1996
(If Angels lend no Wings)

4 monitors, 4:3 b/w video, no sound, 12:16 min, dipstick, chunks of wooden ladder

WBK - at the 'Old Synagogue Essen', DE · 1996

Catalogue:
Einbrennungen
Rosy Beyelschmidt
WBK in der Alten Synagoge Essen, 1996


La recherche de la vérité · 1996
4:3 color video, 2-ch sound, 3:20 min, U-matic highband transferred to digital [➚]

Górnoslaskie Centrum Kultury, Kattowitz, PL, 1996 [c] · Bewegtes Licht, VideoNächte · Kunstvideo in Köln, DE, 1996 · Renshaw Gallery, McMinnville/Oregon, USA, 1996 [c] · 5e biennale internationale du film sur l'art (Petit Foyer), Centre Georges Pompidou, Paris, FR, 1996 · Gamle Kommunehuset, Dale i Sunnfjord, NO, 1999


Untitled · 1994
computer case with smoked glass door, 135x60x87 cm, mahogany chair, pane, gloves, video walkman, 4:3 color video, no sound, 2:36 min

Gallery Lutz Teutloff, Cologne, DE · 1995


Reflecting in my soda seat · 1994
4:3 color video, 2-ch sound, 6:12 min, U-matic highband transferred to digital [➚]

4e biennale internationale du film sur l'art, Centre Georges Pompidou, Paris, FR, 1994 [c] · AnnArt-5, Trench Art Festival, Sf. Gheorghe, RU, 1994 · 'von heute aus', Videokunst, Museum Ludwig, Cologne, DE, 1994 [Collection] · Video Art Plastique, Hérouville Saint-Clair, FR, 1994 [c] · 4a Bienal Internacional Do Filme Sobre Arte, Fundacao Calouste Gulbenkian, Lisboa, PT, 1994 [c] · Videoformes, International 'Rencontres', Clermont-Ferrand, FR, 1995 [c] · Bilder in Bewegung, Künstler & Video/Film 1958-2010, Museum Ludwig, Cologne, DE, 2010 [c]


Park my car at the Rumba Party · 1993
4:3 color video, 2-ch sound, 4:25 min, U-matic highband transferred to digital [➚]

Videoformes, International 'Rencontres', Clermont-Ferrand, FR, 1993 [c] · Mediale Hamburg, DE, 1993 [c] · NEXUS Contemporary Art Center, Atlanta/Georgia, USA, 1993 [c] · Kunsthalle zu Kiel, DE, 1993 [c] · Friedberger Filmtage, DE, 1993 · Video Art Plastique, Hérouville Saint-Clair, FR · 1993 [c] · AnnArt-5, Trench Art Festival, Sf. Gheorghe, RU, 1994


Who killed the sandman? · 1991
4:3 color video, 2-ch sound, 7:16 min, U-matic highband transferred to digital [➚]

Tage des unabhängigen Films, Siegen, DE, 1991 · collection: Museum Ludwig, Cologne, DE, 1991 · Tokyo Video Festival, JP, 1992 · (Award) · Niedersächsische Videotage Salzgitter 1992 (Award) · Middleton McMillan Gallery, Charlotte/North Carolina, USA, 1992 [c] · Mediale Hamburg, DE, 1993 [c] · Prix Futura Berlin, Nights of Fiktion, Sender Freies Berlin, DE, 1993, [c] · National Video Festival, Hollywood, The American Film Institut, Los Angeles, USA, 1993 [c] · The 2nd International Soureh Video Festival, Teheran, IR, 1994 · AnnArt-5, Trench Art Festival, Sf. Gheorghe, RU, 1994 · Bilder in Bewegung, Künstler & Video/Film 1958-2010, Museum Ludwig, Cologne, DE, 2010 [c]


Paranormaler Swing · 1990
6 monitors, 6 4:3 color videos, no sound, á 35 min, newspaper [crystalized salt]

... "Paranormal Swing" operates with the vehicle of human thought processes, and their autonomy. It features stacked newspapers in a saline solution, and an ever-changing display of vessel shapes on monitors: the shifting object of current interest becomes frozen, while what seemed firm dissolves; the timeless relatives the timebound.

Nexus Gallery, Atlanta, USA · 1993


Smoke Cigars · 1990
2 copiers [modified], 2 monitors

Kunsthalle zu Kiel, DE · 1993

Catalogue: Medium Photographie, Manipulation der Wirklichkeit als Erinnerungshilfe, Rosy Beyelschmidt - Kunsthalle zu Kiel, DE, 1993, ISBN: 3-923701-568-6


Flying Piranhas · 1990
4:3 color video, 2-ch sound, 7:44 min, U-matic highband transferred to digital [➚]

video art, XI Festival International de la Video et des Arts Electroniques, Locarno, CH, 1990 [c] · AVE, internationaal audio visueel experimenteel festival, Arnhem, NL, 1990 [c] · 12. Prix Futura Berlin, Day & Night, Sender Freies Berlin, DE, 1991 [c] · collection: Museum Ludwig, Cologne, DE, 1991 · Videoformes, International 'Rencontres', Clermont-Ferrand, FR, 1992 [c] · Middleton McMillan Gallery, Charlotte/North Carolina, USA, 1992 [c] · Mediale Hamburg, DE, 1993 [c] · NEXUS Contemporary Art Center, Atlanta/Georgia, USA, 1993 [c] · Kunsthalle zu Kiel, DE, 1993 [c] · AnnArt-5, Trench Art Festival, Sf. Gheorghe, RU, 1994 · Bilder in Bewegung, Künstler & Video/Film 1958-2010, Museum Ludwig, Cologne, DE, 2010 [c]


Amnesia · 1990
2 monitors, camera [modified], 4:3 b/w video, no sound, 4.12 min, U-matic highband transferred to digital

Galerie Jedermann-Harth, Frankfurt/Main, DE


Neptun's Landgang · 1990
(Neptun's shore leave)

4:3 color video, 2-ch sound, 4:27 min, U-matic highband transferred to digital

AVE, internationaal audio visueel experimenteel festival, Arnhem, NL, 1990 [c] · waschSalon Galerie, Frankfurt/Main, DE, 1990 · Middleton McMillan Gallery, Charlotte/North Carolina, USA, 1992 [c] · Cake Shop Gallery, Liverpool, GB, 1992 · NEXUS Contemporary Art Center, Atlanta/Georgia, USA, 1993 [c] · Mediale Hamburg, DE, 1993 [c] · Bandits, Mages, Bourges, FR, 1995


Papa Zulu · 1987
4:3 color video, 2-ch sound, 17:40 min, U-matic highband transferred to digital [➚]

Kaos Galerie, Cologne, DE, 1987 · Leipziger Dokumentar - und Kurzfilmwoche für Kino und Fernsehen, DDR, 1988 · Video-Wochen, Ulmer Museum, Ulm, DE, 1988 · Junge Kunst in Europa, Hallen der Deutschen Messe AG Hannover, DE, 1990 [c] · Middleton McMillan Gallery, Charlotte/North Carolina, USA, 1992 [c] · Mediale Hamburg, DE, 1993 [c] · Kunsthalle zu Kiel, DE, 1993 [c] · NEXUS Contemporary Art Center, Atlanta/Georgia, USA, 1993 [c] · HyperKult 13, Unschärfe jenseits der Berechenbarkeit, Universität Lüneburg, DE, 2004


Die Gedanken sind frei · 1987
(Thoughts are free)

2 monitors, copier [modified], 4:3 color video/still, no sound, brick-wire mesh, 4 lintels, 2 wooden beams, 4 window iron shutters guards

Thoughts are free, who can guess them?
They fly by like nocturnal shadows.
No man can know them, no hunter can shoot them
with powder and lead: Thoughts are free!

I think what I want, and what delights me,
still always reticent, and as it is suitable.
My wish and desire, no one can deny me
and so it will always be: Thoughts are free!

And if I am thrown into the darkest dungeon,
all these are futile works,
because my thoughts tear all gates
and walls apart: Thoughts are free!
- Armin and Brentano, ca. 1805 -

Kaos-Galerie, Cologne, DE · 1987


Double Dutch · 1987
4:3 color video, 2-ch sound, 5:22 min, U-matic highband transferred to digital

Kaos Galerie, Cologne, DE, 1987 · Leipziger Dokumentar- und Kurzfilmwoche für Kino und Fernsehen, DDR, 1987 · Fotoforum Bremen, DE, 1987 · Video-Wochen, Ulmer Museum, Ulm, DE, 1988 · Junge Kunst in Europa, Hallen der Deutschen Messe Hannover, DE, 1990 [c] · Middleton McMillan Gallery, Charlotte/North Carolina, USA, 1992 [c] · NEXUS Contemporary Art Center, Atlanta/Georgia, USA, 1993 [c] · Mediale Hamburg, DE, 1993 [c]