| Present Continuous Past(s) |
Video Art, Strategies of Presentation and Mediation |
Organizer
International symposium from 14-15 January 2004, organized by iMediathek, Hochschule für Künste (Academy of Fine Arts), Bremen.
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Context
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.
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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?
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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?
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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?
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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?
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For information about the organizer click » here.
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Tele-Lectures
2007/05/14
