Ursula Frohne

Re-Viewing / Re-Framing

Symposium "Present Continuous Past(s)"

Ursula Frohne

Ursula Frohne


Media Files


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



iMediathek, Hochschule für Künste Bremen


Hochschule für Künste Bremen, Germany

Partners / Sponsors

In cooperation with the International University Bremen and Filmbüro Bremen


» http://www.imediathek.org


, Sep 20, 2004



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