Video Art

Monika Weiss employs her own body or choreographs other subjects, particularly women, to navigate the aftermath of violence and sites of trauma. The gendered body does not only become a vehicle of expression, but forms a key site from which an affective politics may emerge, through touch, vulnerability and the visceral. Weiss composes the sound that constitutes many of her works, considering the vocal-musical-poetic form of lament as a modality of collective remembrance that allows to articulate traumas without enacting further violence. By attending to events and histories that she has not personally witnessed, the artist unveils the multidirectional character of memory and seeks to forge new feminist solidarities that exceed national boundaries.

Ecocritique accepts, as it must, that humans and environments have been ripped apart historically, sociologically, and aesthetically. But it also recognizes that because we have become strangers, dialogue between humans and environments is possible as it could not be if we were all one universal flux. Because of our mutual alienation, there are endless opportunities for misunderstanding when we capture, store, and process what we confront as Nature. Contemporary economic and political conditions driving ever more terrifying inequalities of wealth and power create the crisis implicit in ecocritique. The critical functions of art, which in these circumstances implies technical and creative aesthetic and political practice, concern the construction of a “we” that embraces the human and non- human victims of ecocide. The master’s tools might dismantle the master’s house, but can they build a different dwelling? Where are the practices that can produce more-than- human social change?

Collection of essays and video archive on contemporary video essayist practices and theories.
Nora M. Alter, Christa Blümlinger, Steve Fagin, Hito Steyerl, Walid Ra’ad, Jan Verwoert, Maurizio Lazzarato / Angela Melitopoulos, Tran T. Kim-Trang, Rinaldo Walcott and others.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.

Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Un recorrido histórico por los movimientos y vertientes del audiovisual experimental en Argentina. Textos de Rodrigo Alonso, Adrián Cangi, Mariela Cantú, Gustavo Galuppo, Ana Claudia García, Anabel Márquez, Sofía Reynal, Graciela Taquini, Mariela Yeregui.

The cuteness of cats, and people’s devotion to appreciating that cuteness has established cat videos’ value in the digital marketplace. As such, cat videos are emblematic of the shifts and transformations brought to cinematic production, distribution, and exhibition in the Internet age. This paper unpacks the cat video phenomenon investigating the ways that the cat video formula reflects and revises forms and aesthetics that have been characteristic of amateur cinematic practice throughout film history and links that history to recent scholarship on the superflat. A close reading of two cat videos suggests the cat video’s adoption of the cinema of attractions model suggests that online video spectators are oriented toward affective connections with commercial interfaces.

Communication dans le cadre de la journée d'études : « Les formes audiovisuelles connectées : pratiques de création et expérience spectatorielle », organisée à l’Université de Toulouse 2 Jean-Jaurès par les laboratoires RIRRA21 et LERASS du 5 au 7 avril 2016.

Résumé : A partir de trois exemples concrets de cinéastes contemporains (Peter Snowdon, Silvia Maglioni et Graeme Thomson et Danielle Vallet Kleiner), examen de l’idée selon laquelle les médias Internet ont produit une situation nouvelle où les images existent avant même que les artistes aient besoin de les produire eux-mêmes, déplaçant le lieu de l’écriture filmique dans le régime de la post-production. La pratique des images devient dès lors une manière, non plus de réaliser des images possibles, mais de révéler des potentialités multiples (du point de vue plastique mais aussi du sens) dans des images déjà réalisées.

Matt Haffner's cut and pasted paper wall murals and videos present film noir inspired narrative fragments, and mine art history, popular culture and contemporary life, in the Museum of Contemporary Art of Georgia's 2008-2009 Working Artists Project Series.

"The goal of Feminist art was to influence cultural attitudes and transform stereotypes " Suzanne Lacy As a conceptual approach; Female body is one of our cultural barriers over history, also it was always a source of inspiration through art history. Using female body as an art theme was practiced in different movements, with different concepts, and approaches. Women have struggled historically against certain paradigms of inferiority till nowadays, women in different societies have their own cultural identity, which differs according to their own believes and their own customs. Many of this culture and its customs, are based on a patriarchal past where men wield more power than women. As a result Women worldwide experience subjugation in the fields of jobs, education, sexuality and reproductive choice. Female body in middle east societies, is red line, that artist are not allowed to surpass, although many of middle east civilizations was dealing freely with female body, as we see in paintings and statues of ancient Egyptian, but many social, religious factors made female body a taboo. Looking closely to modern art history in Middle East and Islamic countries, we found brilliant wild female artists really succeeded to break the rules, they chose to express their own art in a freedom way, they chose to use their own body as an art medium which make them a pioneer in their own countries, who had been followed by many female artist after them. Media art had been flourished in Arab countries, especially in Egypt in the nineties of 20 th century. Many female artist had prove themselves as pioneers, trying to identify themselves by new form, and challenging the regular stereotype about female artists in that time. This way for expressing and identifying themselves had developed over time, and takes more advanced approaches in 21 st century This paper as a general approach discusses; how Middle Eastern female media artists struggled to transform stereotypes of women, by using their own body as an element, and how they express freedom concept through self body image.

The monographic essay on Bertille Bak (Arras, 1983), "The Fairy Tale of the Real" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing her in the historical artistic context referable to the definition of Hal Foster of “the artist as ethnographer”, and comparing her with other national and international artists.
Bak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak's methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.

“Divinazioni/Divinations” the artist in residence program born in 2012 in Sicily and curated by Giusi Diana, arises from the need to combine contemporary art, archeology, visual and aural landscape, aesthetic and technological innovation.
The italian and international artists of the three editions have been invited, according to a dynamic view of history, to give life to a contemporary view of the extraordinary archeological sites of the Temples Valley of Agrigento. An interdisciplinary model of residences, innovative and experimental, has had the dual purpose of expanding the fields of interest of two types of audience, that of contemporary art and that of archeology, providing artists the chance to live un unconventional experience far from the usual circuits of contemporary art, and encouraging a process of reflection on the past to actualize the History. The artists of “Divinazioni/Divinations” Domenico Sciajno and Sergio Zavattieri in the first edition, Laboratorio Saccardi in the second and Alterazioni Video in the firth, in the suspended time wich has been the residency, they have been worked to a freely creative site-specific project, emerged from a truly extraordinary suggestion of the place. The result of this process is shown in the three final exhibitions in Villa Aurea.

New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology, with contributions by Marina Isgro, Johanna Gosse and Gregory Zinman. Response by Hanna Hölling.

Thursday, February 13, 2020, 4:00 PM - 5:30 PM Hilton Chicago - 8th Floor - Lake Ontario

CHAIR Gregory Zinman, Georgia Institute of Technology

DISCUSSANT Hanna Barbara Hölling, University College London

PRESENTATIONS

This Is Participation TV: Nam June Paik at WGBH, Boston: Marina Isgro

Ray Johnson and Nam June Paik, Incommunicado: Johanna Gosse, University of Colorado, Boulder

Video Art’s Past and Present ‘Future Tense’: The Case of Nam June Paik’s Satellite Works: Gregory Zinman, Georgia Institute of Technology

This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video projection artworks: LoopLoop (2008) by Patrick Bergeron which was shown at DIAS Art Space in Vallensbæk, Denmark in 2014 and Elsewhere / Annorstädes / Ailleurs (2010) by Tania Ruiz Gutiérrez which is a permanently inte-grated commission piece for the Malmö Central Station in Southern Sweden.
The main assumption of the thesis is that video projection artworks have important artistic potentials when placed in transit spaces. By analysing the two artworks I will make visi-ble how they permit a specific type of gaze, perception, and sense of time due to their location in the train station transit spaces. As such, the artworks function as catalysts for what I term "time travel spaces", which as an artistic strategy responds to the contemporary accelerated and com-pressed temporality and spatiality by enlarging the human experience of space and time. The "time travel space" takes its departure from the time-space compression initiated by the Industri-alisation and evolves in relation to historically and technologically conditioned sight perceptions including train travel, the panorama, and the diorama.
By focusing on the human experience of the artworks I wish to insist on the em-bodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding contemporary urban space. The viewers’ experiences do matter and we need to take affective and perceptive experiences seriously as co-creative forc-es sculpturing our shared urban space.
LoopLoop and Elsewhere / Annorstädes / Ailleurs establish travel perceptions to  "no-where" and "every-where" but by further coupling the "time travel space" with affectivity and a resulting time consciousness, the possibility for a travel in time itself emerges. This is not only an expansion of space but of time as space. The "time travel space" thereby not only condi-tions a specific gaze, perception, and sense of time, but also a specific time consciousness which comments on our contemporary world of time-space compression.

A feminist posthuman essay on the figurations in three ecological videos by Ursula Biemann: Deep Weather, Subatlantic, and Acoustic Ocean, published by Centre Cultural Suisse in Paris and Museum of Modern and Contemporary Art MAMAC, Nice, in French and English.

Those familiar with artist Doug Rickard’s A New American Picture and his recreated images from Google Street View representing America’s underbelly and its disenfranchised American Dream through deserted landscapes, ominous backroads and bleak cityscapes. Rickard is also behind photography sites American Suburb X and These Americans. His new work “N.A.” is on show at Little Big Man Gallery in downtown Los Angeles and YouTube is his focus.

Discovered during a media-archaeological investigation into optical illusions, trick photography and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph.

It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also—due to the unforeseen spread of a recently mutated virus—the prevailing circumstances under which the work was to be completed.

In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves—shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence.

Depuis les années quatre-vingt-dix, des artistes plasticiens choisissent de faire œuvre à partir d’un témoignage filmé. Ils partent ainsi à la rencontre de personnes qu’ils invitent à se raconter face caméra, investissent la réalité pour en prélever images et paroles, et en explorent les modalités de représentation. Les vidéos qui résultent de ce processus de création singulier se situent d'emblée dans une tradition artistique du portrait, portrait auquel une voix vient s'adosser. Sur le plan formel, les esthétiques de la parole filmée en art contemporain portent l’empreinte de leurs représentations audiovisuelles communes. Dans un contexte médiatique caractérisé par la surreprésentation du récit parlé et incarné, nous sommes devenus familiers de l’association d’un visage et d’une voix composant l’image sonore d’un sujet se racontant. Si le rapport qu’entretiennent ces deux éléments peut sembler prédéterminé par l’enregistrement, et fixement établi au regard des conventions audiovisuelles, nous analyserons ici la manière dont les artistes contemporains expérimentent les relations possibles entre voix et corps, et conçoivent des stratégies plastiques susceptibles de déconstruire ces conventions. Certains artistes brisent le paradigme du synchronisme (Gillian Wearing), composent des montages associant ou confrontant un récit sonore à des images silencieuses de sources différentes (Justine Pluvinage), tendent vers une perte radicale de la physicalité du narrateur, ou encore proposent l’expérience limite de la monstration d’un corps silencieux (Esther Shalev-Gerz). A travers ces exemples, nous examinerons comment, à travers la disjonction, la cassure et l’absence, les portraits parlants des plasticiens explorent les possibles d’une dialectique voix-silence et texte-corps, tout en participant à une reconsidération des postures de réception d’une parole filmée.

This chapter analyses VJing as a kind of performance that develops between the fields of art, new media and club cultures. The author sketches a map of the changing relationship between art and VJing throughout three historical phases, from the early 1990s to now.

The chapter as a whole illustrates some of the possibilities and problems currently haunting the area of Jewish participation in the making and the history of feminist art in the United States.The signficance that gender, class, Jewishness, Marxism, and nationalism have for Martha Rosler is evident throughout her work, though her artistic practice has only recently been written about from such an intersectional perspective.

Faire un reportage vidéo semble beaucoup plus facile que ça ne l’est en fait : je pars avec ma caméra, je filme et on verra au montage… Mais qui sera là, quelles questions se poser, n’y a-t-il pas trop de bruit, qu’est-ce que je vais révéler que l’on ne sait déjà, me suis-je bien documenté, et puis, comment rendre mon histoire intéressante, et le cadrage, comment cadrer ? Il paraît que poser la caméra suivant tel ou tel angle, c’est déjà dire quelque chose… Et finalement, je n’y connais rien en montage…

"Reportage vidéo SANS matériel de pro" s'adresse aux amateurs dotés d’un simple appareil photo ou encore d’un smartphone...

Criticaldías is arts-research duo Anyely Marín Cisneros and Rebecca Close, who have worked together since 2013. This article considers Criticaldías' projects that critically situate the discourses of development and progress in relation to histories of science and medicine. How do previous modes of managing the body in the city through medical technologies and surveillance continue to prefigure belonging and citizenship in the present? The chapter theorizes 'networks of care and critique' as a historically specific response –led by the feminist, queer and antiracist movements– to the commodification of care and the increasingly complex frontiers of exclusion and inclusion that marks the neoliberal project since the 1980s. Criticaldías' projects often combine elements of archival research, the collective writing of poetic-political texts, street action and performance-readings.

This essay focuses on the Filipino American filmmaker Miko Revereza, who is “out” about his undocumented status, in order to document the possibilities of counter-assimilationist expression by migrants who are undocumented. In his awardwinning autobiographical film Disintegration 93-96, Revereza uses footage from the glitchy VHS “video letters” that his family recorded and sent from California to relatives in the Philippines in the 1990s. In contrast with the model of the ideal DREAMer, who integrates into the state, Revereza creates an aesthetic of imperfection and a space of “disintegration,” widening the possibility for counter-assimilationist expression by migrants who are undocumented.

My aim in this paper was to bring together a theoretical, historical enquiry and an empirical, contemporary project. At the time I was preoccupied, on the one hand, with Walter Benjamin’s writing on images and cities, and on the other hand, with the exhibition project Video as Urban Condition.[1]

The paper locates the crossing point where Benjamin’s thought — in particular, his conception of urban experience — intersects with the technology of television — that is to say, seeing at a distance.

I did not attempt to reconcile Benjamin’s suggestions with the post-war television phenomena that he neither saw nor foresaw. The question I posed myself was whether some observations of Benjamin’s, or rather, some observations on Benjamin’s thought, might furnish the distance necessary for observing the present.

I found, in the interior of the nineteenth century, the pre-vision of television — television almost without technology — and I traced its philosophical heritage. I entered that interior with Benjamin and exited with the flâneur, to whom the city opened up like a landscape even as it enclosed him like a room, as a private domain.

Hence the screen, the façade, the shop window and the television set revealed themselves as the sites where one could interrogate the intersections between exterior and interior, between media and architecture, the city and its phantasmagoria.

[1]: On the one hand, see ‘Imagine no Metaphors: the dialectical image of Walter Benjamin’ in Image & Narrative, special issue edited by Hanneke Grootenboer, no. 18, September 2007. On the other hand, see ‘Who is Big Brother? or The Politics of Looking’, in Dérive Zeitschrift für Stadtforschung, no. 42, January 2011.

With an appendix: Video as Urban Condition