Re-Viewing / Re-Framing: Historicity and Context in Video Art
Usually, the visibility of video art is bound to the concrete museum or exhibition context. Due to restricted accessibility many, particularly historical works of video art, are often - even to art experts - only known as iconic film stills from the central sequences, since neither the temporal dimension, nor the per formative structure or their installative frame can be deduced from common forms of reproduction in books or catalogues.
Against this background my contribution will be dedicated to a discussion of the artistically tenable possibilities to "re-produce" the aesthetic characteristics of video artworks in their changing specifics. Which forms and formats of medial presentation supply the conditions to make central works of video art accessible to a broader field of reception in the form of documentary surrogate versions, particularly for scholarly research and within the context of teaching? How could self-referential artistic practices be applied fruitfully in the sense of a pragmatic "re-viewing" as a means of "re-framing" video art's contemporaneity?
Artists / Authors
- Ursula Frohne, International University Bremen › Biography
- May 14, 2004-May 15, 2004
iMediathek, Hochschule für Künste Bremen
Hochschule für Künste Bremen, Germany
Partners / Sponsors
In cooperation with the International University Bremen and Filmbüro Bremen
Redaktion netzspannung.org, Sep 20, 2004
Additions to Keyword List
- Videokunst |
- Dan Graham |
- mediale Präsentationsformen