Video Installation

2020 ◽  
Author(s):  
Johanna Gosse
Keyword(s):  
Installation Art ◽  
Relevant Literature ◽  
Interactive Media ◽  
Video Art ◽  
Video Installation ◽  
Moving Image ◽  
Moving Images ◽  
Expanded Cinema ◽  
Video Projection ◽  
Selection Of

While at first, “video installation” would seem to refer to a particular medium and mode of display, in practice, the term is applied to a range of intersecting media, histories and genres, including but not limited to experimental and expanded cinema, video art, installation art, digital and new media art, and the emergent category of artists’ moving image. In short, “video installation” encompasses an expansive field of moving image practices, formats, and configurations, from multichannel film projection to video sculpture to immersive and interactive media environments. The term can apply to moving images that emanate from or are projected onto screens, monitors, or mobile devices, and are displayed in spaces outside of a conventional cinematic context. In terms of historical periodization, the rise of video installation coincided with the emergence of analog video technology in the mid- to late 1960s and the concomitant emergence of installation art during this same period. Up until the 1980s, video installation took shape predominantly as gallery-based displays of CRT monitors. Often configured into sculptural arrangements that self-reflexively acknowledge their physical support, “video sculptures” invoke and comment upon video’s genetic ties to broadcast television. Yet, other, more feedback-driven modes of installation, such as Nam June Paik’s TV-Buddha (1974) or Bruce Nauman’s Live-Taped Video Corridor (1970), emphasize the instantaneity of real-time closed circuit video over the sculptural presence of the monitor, and thus privilege surveillant over the televisual optics. By the 1990s, as video projectors improved in quality and decreased in cost, the bulky CRT gave way to the projected moving image, which in turn has emerged as a dominant mode within contemporary artistic production. Since it can adapt to a variety of spaces and surfaces—wall, ceiling, floor, screen, objects, even viewers’ bodies—projection opens up a multitude of experiential possibilities. Projection can also be sculptural, as in the work of Tony Oursler and Krystof Wodizcko, who generate uncannily embodied video portraits by projecting moving images onto free-standing objects, buildings, and monuments. Video projection can also be immersive or environmental, such as in Anthony McCall’s Solid Light Works (2005–2010), a suite of monumental, linear beams of white light projected into darkened gallery spaces, which act as updated, digital variations of his influential expanded cinema work, Line Describing a Cone (1973). In response to its dominant position within contemporary artistic practice, scholarship and criticism devoted to moving image installation, curation, and distribution have spiked since the 1990s. This bibliography offers a selection of relevant literature on this topic. Beginning with an overview of key scholarship on the history of video art and contemporary artists’ moving image, the bibliography transitions to more focused, thematic investigations of and significant prehistories, including topics like expanded cinema, video aesthetics and ecologies, and installation art. Finally, it includes a selection of key exhibition catalogues, including specialized sections on video projection and video sculpture. In tracing the entwined emergence of video and installation art since the 1960s, this bibliography also limns another historical intersection, that of video art and experimental film. While typically, these practices have been framed as historically distinctive, aesthetically autonomous and driven by medium-specific concerns, this bibliography takes inspiration from and highlights more recent scholarly, critical, and curatorial perspectives that align and cross-reference these traditions, and in doing so, situate themselves at the disciplinary intersection of art history and film and media studies.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

scholarly journals Installation of the Exotic

2015 ◽  
Author(s):  
Rod Stoneman
Keyword(s):  
Public Service ◽  
Experimental Work ◽  
Video Art ◽  
Fine Art ◽  
Specific Work ◽  
Art World ◽  
Site Specific ◽  
Moving Image ◽  
Expanded Cinema ◽  
Public Museums

INSTALLATION OF THE EXOTIC Film and audiovisual installations have increasingly taken place in the art world in recent years extending and renewing the range of activities in the fine art domain. Tracing its origins to expanded cinema and video art in the 1970s, moving image installation is now ubiquitous in public museums and private galleries. This is at a time when access to experimental work via public service versions of television has now all but disappeared.(1) In the two decades since, as television channels have proliferated, choice has actually narrowed. Moving image installations are visible in a diversity of art environments from gallery spaces to site-specific work in urban or industrial pop-ups. Multi-screen configurations are not easily arranged in cinemas or easily watched on television sets, let alone computers. The small portable digital screens may issue a blizzard of information and imagery everyday, but their size and scale...

Casting

2020 ◽  
pp. 193-210
Author(s):  
Yiyun Kang
Keyword(s):  
Digital Media ◽  
Three Dimensional ◽  
Experimental Film ◽  
Video Installation ◽  
Moving Image ◽  
Projection Mapping ◽  
Moving Images ◽  
Outdoor Spaces ◽  
Augmented Space ◽  
Volumetric Objects

This chapter investigates how projection mapping reconfigures the relationship between projection surface, moving image, and space in the field of artists’ projected moving-image works. Projection mapping is a relatively new method that can be used to transform irregularly shaped objects and indoor/outdoor spaces into display surfaces. This mode of projection envelops three-dimensional surfaces with digital moving images, using complicated projection technologies. In examining this process, the author analyses various contextual reviews as well as her own piece Casting to discover projection mapping’s distinctive properties. Casting (2016) is Kang’s projection-mapping installation at the Victoria and Albert Museum (V&A) in London, which was created as the culmination of Kang’s six-month artist-in-residency program at the V&A, and acquired by the institution in 2017 as its first purchase of a projection-mapping installation piece. This chapter examines how, by integrating volumetric objects and space, projection mapping dismantles the conventional notion of screen and frame that are accepted in experimental film and video installation works. The chapter introduces the concept of augmented space to understand how the spatial employment of projected moving images generates a novel type of narrative and experiences in comparison with the previous projected moving-image artworks. Accordingly, the chapter identifies how projection mapping practices can develop a distinguished type of aura in the realm of digital media art works.

The Digital Challenge: From the Theater to the Gallery

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Installation Art ◽  
Video Art ◽  
Important Influence ◽  
Moving Image ◽  
The Spectator

This chapter demonstrates how Bellour’s work on video art (or what was later termed moving-image installation art), while a product of his own preoccupations, is situated firmly within more general speculations about spectatorship. Confronting this new medium, or media, as it turned out, Bellour introduced the notion of “le spectateur pensif,” the pensive spectator, or the spectator engaged in thought – who is not an entirely rational spectator, nor one who is completely sutured into the narrative as some scholars felt was the case with the spectator of classical cinema. He also sees the emergence of new relations between images which he calls “l’entre-images,” the between-images, complicating his initial ideas about the “défilement,” a concept, at least initially, referred to the movement of the celluloid print through the projector’s mechanism and the filing past of the cinema images in front of the spectator. In this same period, Bellour, along with film critics such as Serge Daney and filmmakers like Jean-Luc Godard, began to speculate about the death of cinema due to the changing situations (or dispositifs) in which the spectator encounters the moving image. An important influence on his thinking as this time was the film theorist turned video artist Thierry Kuntzel.

Raymond Bellour

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
Digital Media ◽  
Installation Art ◽  
Video Art ◽  
The Body ◽  
Biographical Sketch ◽  
Art Theory ◽  
Film Analysis ◽  
Moving Image ◽  
Cinema Studies

This volume offers a succinct and clear account of the evolution of the work of noted French scholar Raymond Bellour (b. 1939) as expressed in his most important publications in the areas of cinema studies and art theory, published over the last four decades of the twentieth century and the first decades of the twenty-first. A film scholar and theorist, his interests ranged across film, literature, art and philosophy The book’s first four chapters (Part 1 of the volume) provide a synthetic account of Bellour’s thought on cinema and its relations to the development of moving-image installation art. Chapter one covers his perspectives on film analysis; chapter two continues with his views on the advent of digital media, including video; chapter three follows with his ideas about new forms of spectatorship, the body and classical cinema; chapter four concludes with his contribution to the debates about the end of cinema and the evolving dispositifs (situations or set-ups and their consequent viewing conventions) that have produced contemporary moving-image installation art. A recent interview with Raymond Bellour forms Part 2 of the book’s three sections. Divided into six chapters, it covers the following topics: his formative influences; film analysis and the symbolic; Thierry Kuntzel and the rise of video art; arrested images and “the between-images”; spectators, dispositifs, and the cinematic body; hypnosis, emotions and animality. Part 3 concludes the volume with a short biographical sketch and a select annotated bibliography of Bellour’s most important publications.

Sobre Educação, Arte e Vídeoarte: rupturas, resiliência e práticas de ensino/aprendizagem na sala de aula

2020 ◽  
Author(s):  
Nélia Lúcia Fonseca
Keyword(s):  
High School ◽  
High School Students ◽  
Video Art ◽  
Theory And Practice ◽  
First Year ◽  
School Students ◽  
Forest School ◽  
Moving Images ◽  
History Of ◽  
Teaching Learning

This study first approaches the history of the observer’s gaze, that is, as observers, we are forming or constructing our way of visualizing moving images. Secondly, it reaffirms the importance and need of resistance of the teaching / learning of Art as a compulsory curricular component for high school. Finally, the third part reports an experience with video art production in a class of first year high school students, establishing an interrelationship between theory and practice, that is, we study video art content to reach the production of videos, aiming as a final result, the art videos created by the students of the Reference Center in Environmental Education Forest School Prof. Eidorfe Moreira High School. The first and second stages of this research share a theoretical part of the Master ‘s thesis, Making films on the Island: audiovisual production as an escape line in Cotijuba, periphery of Belem, completed in 2013.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

On the authorship and publication dates of Theraphosa and Theraphosidae (Araneae, Mygalomorphae): a clarification

Bionomina ◽  
2021 ◽  
Vol 24 (1) ◽  
Author(s):  
RAINER BREITLING
Keyword(s):  
19Th Century ◽  
Relevant Literature ◽  
Historical Context ◽  
Publication Date ◽  
Diverse Group ◽  
Early 19Th Century ◽  
The Family ◽  
Minority View ◽  
Case Based ◽  
Selection Of

The genus Theraphosa was established by Thorell (1870) as the type genus of the simultaneously published family Theraphosidae, the most diverse group of mygalomorph spiders. This authorship and publication date have long been accepted by the majority of authors. However, there has been a long-standing minority view that the genus name should be attributed to Walckenaer (1805), and the publication date of the family name changed to 1869.             A thought-provoking recent publication has examined this case. Based on a limited selection of the relevant literature, the authors struggled to make sense of their sources and prematurely concluded that the minority opinion might indeed be correct. They overlooked the potentially destabilising implications of this reattribution.             This paper revisits the evidence in the light of a much wider range of relevant publications, places it in its important historical context and, on the basis of the current rules of nomenclature, concludes that the traditional consensus has indeed been correct.                 Thus, Theraphosa Thorell, 1870 is the type genus of Theraphosidae Thorell, 1870 and a nomen protectum, while Theraphosa Schinz, 1823 is a nomen oblitum, mostly limited to the German textbook literature of the early 19th century. Teraphosa Eichwald, 1830 and Teraphosa Gistel, 1848 are junior synonyms of Avicularia Lamarck, 1818 (syn. nov.). Theraphosa Walckenaer, 1805 is a suprageneric name of the class-series (synonymous to Mygalomorphae) and not available at the genus level.

scholarly journals Surface and light

2019 ◽  
pp. 169-178
Author(s):  
Melanie Wilmink
Keyword(s):  
Case Studies ◽  
Installation Art ◽  
Single Channel ◽  
Embodied Experience ◽  
Moving Image ◽  
Space And Time ◽  
Short Films ◽  
Curatorial Practice ◽  
The Spectator

Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

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