Content Description
I. State of the Art: Original – Concept – Format - Reproduction
The principle reproducibility of video material raises questions concerning the status of the “original”, authorship, and conceptual authenticity. Which are the transformations that the notion of the artwork is subjected to and how can useful models of reception be developed, allowing for an inclusion of visual material concerning historical positions into the discourse?
II. New Media Conditions: Intention – Reception
Video art is often presented in immersive accessible projection spaces. In which way does the relation between the artist’s intention and the viewers’ reception change when a multiple-channel video installation is made retrievable accessible as surrogate version on the computer?
III. Closed Circuit: Distribution – Dissemination - Documentation
Internet-presentations are currently booming as public platforms for artists’ works. Such decentralized forms of publication counteract in principle the closed-circuit of the monopolizing art system. Which forms of appropriate distributions for video art could be developed, that would fulfil the demands of scholarly research without neglecting artistic claims and economic interests?
IV. Open Source: Perspectives of Mediation
It is essential for the reception of video art to have access to the works without major constraints. Other visual art genres, painting or photography, are retrievable accessible via reproductions in the print media. Still images or installation photographs however, cannot give an appropriate idea of works, which are usually based on moving images and variable projection levels. Which presentational forms can be thought of to make video works accessible to scholarly analysis in the long term?
Program
Present, Continous, Past(s)
International Symposium
14.-15. Mai 2004
Videoart, Strategy of Presentations and Mediation
Hochschule für Künste, Bremen
10.30 Registration
11.00 Welcome,
Prof. Dr. Peter Rautmann, Director, University of the Arts Bremen
11.15 Introduction, Mona Schieren, University of the Arts Bremen
I. State of the Art: Original – Concept – Format - Reproduction
11.30 Re-viewing / Re-framing: Historicity and Context in Video Art.
Prof. Dr. Ursula Frohne, International University Bremen
12.15 Thirty Years of Media Art by Ulrike Rosenbach – Experience in Mediation and Reproduction. Prof. Ulrike Rosenbach, Hochschule der Künste Saarbrücken
13.00 Lunch break
II. New Media Conditions: Intention – Reception
14.00 Television – Art or Anti-Art? Questions of the 1960s / 70s with an Outlook to Net.Art since the 1990s. Prof. Dr. Dieter Daniels, Hochschule für Grafik und Buchkunst, Leipzig
14.45 Withdrawal as an Artform. Between Withdrawal and Representation – The Body in Media Art. Dr. Sabine Flach, Geisteswissenschaftliche Zentren, Berlin
15.30 Coffee Break
16.00 Cut / Collage / Montage. Connections between Text and Video.
Prof. Dr. Elke Bippus, University of the Arts Bremen; Dirck Möllmann, art historian, Hamburg
15. May 1004
9.30 Welcome
III. Closed Circuit: Distribution – Dissemination – Documentation
9.45 Form Follows Format – Tensions between Museum, Media Technology
and Media Art. Rudolf Frieling, ZKM, Karlsruhe
10.30 How to deliver what is asked. Bart Rutten, Montevideo / TBA, Amsterdam
11.15 Break
11.30 Preservation of “unstable media” – Open Systems? Rens Frommé, V2_, Rotterdam
12.15 The Digital Mystique: Video Art, Aura and Access. Lori Zippay, Electronic Arts Intermix, New York
13.00 Lunch break
IV. Open Source: Perspectives of Mediation
14.0 Between Event and Structure: The Database as Crystallization.
Prof. Dr. Gregor Stemmrich, Hochschule für bildende Künste, Dresden
14.45 T_Visionarium; die ästhetische Transkription von televisuellen Datenbanken
Dennis del Favero, iCinema, Sydney
15.30 Break
15.45 En construction. iMediathek.
Mona Schieren, Jean-François Guiton, University of the Arts Bremen
Thierry Destriez, Heure Exquise, Lille
17.00 End of Conference