Equally important, because it was the next step, was the coverage of the art fair FIAC in Paris because it was the first location outside Basel. The second one, Christoph Büchel’s show at the Kunsthalle Basel added to this because it was such fun to film this labyrinth he installed there – one had to climb a ladder, creep through holes. Without this video, VernissageTV would never have happened. The experience was such a good one that we thought it would be a great idea to do this more often. The most important one is definitively the very first one, when we filmed the Zaha Hadid exhibition at the Swiss Architecture Museum in Basel. Deichtorhallen Hamburg 2006 ( via)Ĭan you name us 5 videos which, for some reason, have played an important part in the history of Vernissage TV? Could you tell us why? I also saw that some museums actively encourage bloggers to cover their shows, so I think there is an evolution. But you are right, we get more attention now than when we started, but I assume this is partly due to the fact that more people know us now. ![]() Rewarding material for my novel I intend to write when I’m 95 years old. But I love such experiences, because they tell a lot about the art industry. ![]() And last year we weren’t allowed to cover the Murakami show in Frankfurt, because they only wanted national media. Two years ago we wanted to cover an exhibition at the Cooper-Hewitt which was declined because they said that they had an exclusive deal with another internet tv station. What do you think is your place in the contemporary art press? Have you ever found that you get less attention and regard from PR offices because you are ‘only’ an online media? Do you see an evolution in the credit and respect given to online media?Īpart from two funny experiences we are happy with the regard we get from PR offices. That’s why people love VernissageTV and we won’t deceive them. But one of the core concepts of VernissageTV is to stand back and let the audience build their own opinion. We are not seldom polemic (or enthusiastic) when we drive home after a show. Oh yes! Sometimes it’s really hard to resist taking a stand. Aren’t you tempted to be polemical, critical, take a stand? Isn’t it irresistible sometimes? If we cover a world-renowned artist, that doesn’t mean that we like his or her work – and vice versa.Īnd a somewhat related question: One of Vernissage TV’s main section is No Comment. Sometimes we are attracted by a big name, sometimes by an interesting exhibition concept, and sometimes we just run into an opening. ![]() We always say that chance is our best friend. Then we make a test run with an opening we agree upon to cover and if that was successful, the collaborators work more independently.ĭo you ‘curate’ the videos? For example would you consider bypassing a major exhibition of a world-renowed artist just because you do not like his or her work? Or do you give more space to young talents in the hope that the visibility you give them will boast their career? If someone is interested in collaborating, we send her or him information about the project and check whether we fit together. ![]() The three of us cover the most part of the work, but we also have collaborators in Berlin, Munich, and Paris. Karolina is mainly in charge of the financial side of the project and communications, Geoff takes care of the website programming and I’m doing the filming, editing, etc. Karolina, Geoff and I form the core of VernissageTV. Who forms the core of Vernissage TV? How much of the work do you cover yourself? Do you have collaborators all over the world? How does one collaborate with you? Vernissage TV is covering the cultural scene almost all over the world.
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