Video-Drawing and Media Archaeology

In fact, so that there are ‘messages’ at all,
[…] there must be noise.

Michel Foucault Message or Noise?

In ZOOO, stylised deer and ostriches come down from the walls to ride the underground; the contours of the dancer LOÏE FULLER (c. 1900) liberate themselves into an electrifying dance of coloured lines. Moving hatching shapes a FLOWER STUDY, and straight horizontal and vertical lines quickly reach top speed in ROADMOVIE.

As an artist, Betina Kuntzsch explores the phenomenon of movement and the processual character of lines; as a multi-award-winning filmmaker, she focuses on the stories of historical figures. Kuntzsch transposes their work – often that of outsiders – into the present day using her own visual language.

Applying the genre of video-drawing that she herself developed, the artist creates animated, meandering lines as hand drawings in real time on the one hand, while transforming historical film, photo and archive material into animated, documentary short films on the other. In this process, visual art and film art stimulate and permeate each other.

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The central starting point of the video-drawings as well as the animated short films is material resistance. The friction of the material in the immaterial is Betina Kuntzsch’s artistic motivation as well as the stylistic object of her work. She does not use the medium like a pencil for drawing, but re-applies high-end compositing programs to animations of lines or particles, or collages and animates material she has found as well as her own. Scratched laterna magica slides (from the turn of the 20th century), photographs and films marked by time to reveal processes of wear and dissolution etched into them as texture; losses of colour and other features, digital artefacts, field structures, video pixels or film dirt – the rattle in the works emerges as an illuminatingly aesthetic glitch to sharpen our perceptions.

The thought (idea) materialises in the drawing; video art is immaterial – especially in view of digitalisation. Seen in this light, Kuntzsch’s art is a paradox. In the field of tension between the very oldest form of artistic expression and a still young cultural technique, the artist explores new paths between media archaeology and digital contemporaneity.

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Video-Drawing, Animation, 2:30 min. Loop

Per Minute

Video-Drawing, Animation, 30 min. Loop

Loïe Fuller – The Electric Sprite

Short film Animadok, 16 min., 2022

Thinking from the pedestal

Five plinth benches made of red concrete, 10 short films, perspectives on the Thälmann Monument, 2021

Stadtstranden- Urban Beaches

Urban Morphologies
Series of 14 video-drawings, 2021
C-Prints 40 x 60 cm

Urban Morphologies

Conzert installation, 2021
Composition: Katharina Rosenberger
Video: Betina Kuntzsch



An evening for and with… Betina Kuntzsch , ACUDkino Berlin, 07.09.2022

Loïe Fuller. The Electric Sprite – celebrates the German premiere!


Worin unsere Stärke besteht – Fünfzig Künstlerinnen aus der DDR, Kunstraum Kreuzberg /Bethanien

The exhibition features the Animadok film WEGZAUBERN from 2015.

Filmstill VomSockeldenken

KOPF FAUST FAHNE at Linoleum Contemporary Animation and Media Art Festival in Kiev

For the past 8 years, LINOLEUM has tried to build and develop the animation industry in Ukraine, showcasing the world’s best animation and gathering foreign and Ukrainian professionals in Kyiv.
In these horrific times, we believe that culture can still serve as a minor distraction and therapy for those in need.