Stanya Harry Dodge & Kahn. Masters of None (2006) Courtesy Electronic Arts Intermix (EAI), New York
thinker Paul Virilio metaphorically described the video-screen television as a window-the third-, open in our home environment. A window that, unlike the door and the window itself, not connected with the real reality, but the real and virtual through the electronic image. What for him and for many other apocalyptic era, since the rise of television, a symptom of the collapse of our civilization, for the more adventurous artists are transformed from the marketing of portable video cameras in a new tool. One tool that almost instantly created a new kind of art, and whose first task was to become critically against what we ran massively from the third window : their content, their ideology, their codes, even his technique.
Almost half a century after the first marketing portapack Sony, Labor reviews: learning some of the landscapes that video artists have been opening the third window : ten beaches in five decades rather than an anthology of authors, it is the ways in which video art has been articulating their concepts, objectives and procedures to the same thread in the evolution of the mass media and technologies. Stories kinetic curated by Lori Zippay and including works from the collection of Electronic Art Intermix , is above all a good introduction to half still quite distant from the public in Spain, and does so in the context of a program that, under the title Universe Video , has called on several international curators under the Multimedia Center Expanded Art: One of the most flexible and attractive bet for Labour, whose approach is being left to notice the hand of his chief curator, Benjamin Weil .
However, kinetic Stories also has a lot of great little anthology itself. Simply check that among the selected authors, all based in America or Americans, "there are absolute references as the pioneers of video art Nam June Paik, Bruce Nauman, Dara Birnbaum or Pipilotti Rist. Each embodies a different approach, different procedures and, above all, the orientation of the third window into a completely different view of the changing landscape of mass culture in every historical moment. Always with one common denominator: the desire to use as a critical tool, experimental, reflective and exploratory means that same, ideologically, has served in large numbers to the contrary.
Takeshi Murata. Monster Movie (2005) Courtesy Electronic Arts Intermix (EAI), New York
collection Concert Video-film (1966-72) of Paik and Jud Yalkut represents a first stage joyful discovery, play with the technologies, collage, playful improvisation and research. Nauman turns the camera on himself, to his own body, and becomes a kind of performative prosthesis, foreshadowing the excellent relationship that has had the video with the performance, sculpture, installation, dance ... Lip Sync (1969) is a good example of this, and how Nauman uses repetition and small misalignments image-sound to make us become aware of the environment (a bit like when we repeat a word or daily action and become something strange, alien), witnessing our claustrophobia media.
The spirit of the underground American political radicalism and fueled the collective experiences Raindance in Media Primers (1971) uses video as experimental and adventurous record to pick up a Rolling Stones concert , a TV images of Nixon or a few words of activist Abbie Hoffman . the same year, but with a completely different spirit, is the wonderful Songdelay, of Joan Jonas: a ballet between childhood play and the choreography of the absurd that develops in the impoverished suburbs of New York seventies.
The self-conscious and ironic distancing themselves from the next decade, and feminist and anti-capitalist discourse, cross Pop Pop Video (1980), of Dora Birnbaum, that appropriates and distorts the talk TV: the soap opera the sports broadcasting, the police telefilm, ads. For its part, Pipilotti Rist (which Labor also displays these days a wonderful video installation in the group flights), directs his attention I'm Not A Girl Who Misses Much to a specific genre eighties -the video-and to pop music (Happiness is a warm gun, of The Beatles) to build one of his strange and wacky videopersonajes female.
Dara Birnbaum. Pop-Pop Video (1980) . The political, medical, the technological aspect of intimate and live in the two parts of the nineties: Strange space (1992), by Leslie Thornton AIDS takes as a starting point, mixing the voice of actor Ron Vawter reciting First chose the duinesa of Rilke, images inside the body and the lunar surface. For its part, Host (1997), Kristin Lukas creates a confusing overlay of images related to social networks, video games and our emotional dependence, and perhaps pathological Internet.
Finally, the third windows open at present are those of Takeshi Murata and tandem-Stanya Dodge Harry Kahn, showing a generation for whom the distinction between real and virtual no longer means just nothing. The first shredded into Monster movie (2005) Images a monster movie series B in the process of destruction of codes which, curiously, refers to Paik's experiments and, more back-to abstract painting. And Masters of None (2006), Dodge and Kahn's worth video as transparent medium with which fables between grotesque and sinister stories of family life in suburban single-family was Bush. impossible not to see, despite the apparent absurdity, the horror of Abu Ghraib and other contemporary terrors behind his Grand Guignol images.
(New Spain, supplement Culture, 2/10/1911)
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