For Non Commercial Use

2019→22, Hanny Oldendorf

total 6:34 min. (Like a boss, 1:36 min / Al Minns male shake blues, 1:25 min / Gottalotta (Sandy Palmer), 1:28 min / Kween of everything, 1:22 min / Son Goku no school, 0:42 min)

The video series consists of found footage from YouTube that is combined with trap beats marked with "For non commercial use". Although the video and audio tracks are randomly stacked, a harmonious rhythm develops between movements and music. The work attempts to dig up the aesthetic possibilities that arise when various appropriated media forms collide. Berlin-based artist Hanny Oldendorf, for whom the digital collage and montage is kind of essential for expression nowadays, points out: »Due to the complicated copyrights of some footage, artists have to spend a great deal of time or financial resources on their use and publication permissions. Even if the copyright has expired or the actual producer can no longer be identified - and the work should therefore be part of general cultural property - the copyright still could been taken over by heirs, testamentary executors or media companies. The transformative property of combining in this video significantly reduces the primordially visibility and audibility and at the same time creates an alternative that is literally 'neuwertig' (en.: has new values). This may show us how the new status of aesthetic value undocks from its original form, blurs all legal origins and elevates it to an independent work of art. It seems as if the Collage of images und sound collected from YouTube would like to provide proof of Benjamin's dictum that 'technical reproduction' "[can] bring the image of the original into situations that the original itself cannot reach" (Benjamin, 1936). Perhaps a situation will be reached through which we will not only think about how contemporary artistic production has to deal with regulations of copyright protection, but also how it becomes a co-author alongside the pre-sorting algorithms of video platforms. Or it even manages to show to what extent the appropriation of a single creative act ultimately represents the constant practice of the large digital media corporations of circumventing personal rights or even appropriating cultural commons.«

Gefördert im Rahmen des NEUSTART KULTUR-Stipendium (2. Auflage) 2022