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Present Continuous Past(s)

Video Art, Strategies of Presentation and Mediation


International symposium from 14-15 January 2004, organized by iMediathek, Hochschule für Künste (Academy of Fine Arts), Bremen.


In the late 1960s video as an art medium expanded artistic practices. But it was not just the presentation of works that changed under the influence of the new video technologies. Their reception conditions were also affected by this radical innovation in the vehicles of artistic presentation. Video works may have played a central part in international museums and exhibitions since the early 1990s, and yet they have often been only inadequately documented beyond their temporary visibility or viewability in changing presentational circumstances. As the conference's title - borrowed from Dan Graham's video installation "Present Continuous Past(s)" (1974) - programmatically suggests, the symposium addressed the key questions of the forms in which video art can be mediated and received, in particular the temporal and spatial dimension. The event provided international scholars, scientists, curators, artists and experts with a forum for developing joint future perspectives. With the exception of the contributions by Bart Rutten, Lori Zippay and Dennis del Favero, all the presentations were conducted in German.


› Welcome and Introduction  
› I. State of the Art: Original - Concept - Format - Reproduction  
› II. New Media Conditions: Intention - Reception  
› III. Closed Circuit: Distribution - Dissemination - Documentation  
› IV. Open Source: Perspectives of Mediation  


› Elke Bippus and Dirck Möllmann | › Dieter Daniels | › Thierry Destriez | › Dennis del Favero | › Sabine Flach | › Rudolf Frieling | › Ursula Frohne | › Rens Frommé | › Jean-François Guiton | › Peter Rautmann | › Arne Jacobs | › Christian Katti | › Ulrike Rosenbach | › Bart Rutten | › Mona Schieren 1 | › 2 | › Gregor Stemmrich | › Lori Zippay
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Welcome and Introduction

Peter Rautmann

Director, University of the Arts, Bremen, Germany
Welcome (in German)

› Video [RealMedia | 9 Min.]  
› Video [Windows Media | 9 Min.]  
› Database Entry  
› About Peter Rautmann  

Mona Schieren

University of the Arts, Bremen, Germany
Introduction (in German)

› Video [RealMedia | 10 Min.]  
› Video [Windows Media | 10 Min.]  
› Database Entry  
› About Mona Schieren  

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?

Ursula Frohne

International University Bremen, Germany
"Re-Viewing / Re-Framing: Historicity and Context in Video Art" (in German)

› Video [RealMedia | 46 Min.]  
› Video [Windows Media | 45 Min.]  
› Database Entry  
› About Ursula Frohne  

Ulrike Rosenbach

Hochschule der Künste, Saarbrücken
"Thirty Years of Media Art by Ulrike Rosenbach - Experience in Mediation and Reproduction." (in German)

› Video [RealMedia | 40 Min.]  
› Video [Windows Media | 40 Min.]  
› Database Entry  
› About Ulrike Rosenbach  

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?

Dieter Daniels

Professor of Art History and Media Theory, Academy of Visual Arts, Leipzig, Germany
"Television - Art or Anti-Art? Questions of the 1960s / 70s with an Outlook to Net.Art since the 1990s" (in German)

› Video [RealMedia | 50 Min.]  
› Video [Windows Media | 50 Min.]  
› Database Entry  
› About Dieter Daniels  

Sabine Flach

Geisteswissenschaftliche Zentren Berlin, Germany
"Withdrawal as an Artform. Between Withdrawal and Representation - The Body in Media Art" (in German)

› Video [RealMedia | 46 Min.]  
› Video [Windows Media | 46 Min.]  
› Database Entry  
› About Sabine Flach  

Elke Bippus and Dirck Möllmann

University of the Arts, Bremen; Art historian, Hamburg, Germany
"Cut / Collage / Montage. Connections between Text and Video" (in German)

› Video [RealMedia | 43 Min.]  
› Video [Windows Media | 44 Min.]  
› Database Entry  
› About Elke Bippus  
› About Dirck Möllmann  

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?

Rudolf Frieling

Art Historian and Curator, Center for Art and Media, Karlsruhe, Germany
"Form Follows Format - Tensions between Museum, Media Technology and Media Art" (in German)

› Video [RealMedia | 48 Min.]  
› Video [Windows Media | 48 Min.]  
› Database Entry  
› About Rudolf Frieling  

Bart Rutten

Media Art Institute, Montevideo / TBA, Amsterdam
"How to deliver what is asked" (in English)

› Video [RealMedia | 48 Min.]  
› Video [Windows Media | 48 Min.]  
› Database Entry  
› About Bart Rutten  

Rens Frommé

V2_, Rotterdam
"Preservation of "unstable media" - Open Systems?"

› Video [RealMedia | 47 Min.]  
› Video [Windows Media | 47 Min.]  
› Database Entry  
› About Rens Frommé  

Lori Zippay

Electronic Arts Intermix, New York
"The Digital Mystique: Video Art, Aura and Access" (in English)

› Video [RealMedia | 42 Min.]  
› Video [Windows Media | 42 Min.]  
› Database Entry  
› About Lori Zippay  

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?

Gregor Stemmrich

Dresden Academy of Fine Arts, Germany
"Between Event and Structure: The Database as Crystallization" (in German)

› Video [RealMedia | 44 Min.]  
› Video [Windows Media | 44 Min.]  
› Database Entry  
› About Gregor Stemmrich  

Dennis del Favero

iCinema, Sydney
"T_Visionarium; the aesthetic transcription of televisual databases" (in English)

› Video [RealMedia | 38 Min.]  
› Video [Windows Media | 38 Min.]  
› Database Entry  
› About Dennis del Favero  
Mona Schieren and Jean-François Guiton (Hochschule für Künste Bremen), Thierry Destriez (Heure Exquise, Lille), Arne Jacobs (Technologie Zentrum Informatik, Universität Bremen), Christian Katti (Humanities and Social Sciences, University Bremen)
"En construction", iMediathek

› Video [RealMedia | 93 Min.]  
› Video [Windows Media | 93 Min.]  
› Database Entry  
› About Mona Schieren  
› About Jean-François Guiton  
› About Christian Katti  
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For information about the organizer click » here.
The lectures given at the symposium were recorded by the organizer, iMediathek, Hochschule für Künste, Bremen. To view the videos, you will need RealPlayer or Windows Media Player, which can be downloaded free of charge from » http://www.real.com or » http://www.microsoft.com/windows/windowsmedia/
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