Hammertime!

This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work, Evidentiary Bodies (2018), from single-channel video to multichannel video installation. The author describes working with Hammer during the last year of her life and explains the process of organizing the 2019 exhibition Barbara Hammer: In This Body at the Wexner Center for the Arts, which premiered the installation of Evidentiary Bodies and included additional works in other mediums and made throughout Hammer's career around themes of illness, aging, and death.

The Effects of Digital Technologies on Expanded Cinema in the Age of Liquid Modernity: Drowning and Surfacing in the Expanded Seas of the Digital Cinema

<p>This thesis is submitted as one part of a three-part Masters program: it is accompanied by two creative praxis: a short film and video installation. The thesis itself mirrors the creative elements of the praxis and should be read in that light. It consists of writing and formatting style not usually found in academic writing. The font and formatting changes are designed to facilitate the reader’s experience and recognition of various points of view personified within. ...</p>

The Effects of Digital Technologies on Expanded Cinema in the Age of Liquid Modernity: Drowning and Surfacing in the Expanded Seas of the Digital Cinema

<p>This thesis is submitted as one part of a three-part Masters program: it is accompanied by two creative praxis: a short film and video installation. The thesis itself mirrors the creative elements of the praxis and should be read in that light. It consists of writing and formatting style not usually found in academic writing. The font and formatting changes are designed to facilitate the reader’s experience and recognition of various points of view personified within. ...</p>

Gender, action and expression in Pipilotti rist’s ever is over all video art

In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature. Keywords: video art, Pipilotti Rist, Gender-Action-Expression

Mimicry

The authors have collaborated on a machine learning multiscreen video installation powered by computer algorithms and inspired by mimicry in the natural world. The artwork explores a pseudo-environment loop system in nature and artificial mechanical organisms combining living flowers with projectors, webcams, and computer monitors. Technically, the software adopts a genetic algorithm to simulate the process of mimicry; conceptually, this real-time art installation is in conversation with Nam June Paik's piece TV Garden. The project explores the possibilities of integrating artificial intelligence and nature in the landscape of the future.

Image in the Making

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.

El banano, signo de la duración. Patrón, variación y extensión de un fruto

In this paper we propose to study the banana by problematizing the exoticism, mythification, fetishization and scientism of the colonial view. To do this, we approach the work Musa paradisiaca, a video installation by the artist José Alejandro Restrepo, and the dialogue that it holds with the text “Volver a comer del árbol de la ciencia” by Juan Cárdenas. Our main hypothesis is that in the articulation of these works the image of the banana becomes a sign of duration. As an expression of multiplicities, contradictions and heterogeneities of times, the duration is expressed in the modes of presence of a pattern (which in the case of our study is the banana) that is detached from the merely common and static and expresses a multiple, contradictory and heterogeneous presence that configures variations displayed in the extension of time. The inscription of banana as a pattern entails a departure from context, a search for the gaps where the disorder of the dominant and the norm occurs, that is, a variation.

Making (shelf) space for VHS: AGFA and the preservation of genre film access copies

This masters research project, All Kinds of People, All Kinds of Ways, proposes that gender is a constructed concept produced by colonial, capitalist, and patriarchal structures. This is illustrated through a three-channel video installation of the same name that utilizes conversations with two-spirit, Anishinaabe participants whose traditions express the fluidity of gender identity. The research done in this paper further supports these discussions through an analysis of feminist and queer theory, as well as a look at various cultures around the world that have similar understandings of non-fixed gender.

Making (shelf) space for VHS: AGFA and the preservation of genre film access copies

This masters research project, All Kinds of People, All Kinds of Ways, proposes that gender is a constructed concept produced by colonial, capitalist, and patriarchal structures. This is illustrated through a three-channel video installation of the same name that utilizes conversations with two-spirit, Anishinaabe participants whose traditions express the fluidity of gender identity. The research done in this paper further supports these discussions through an analysis of feminist and queer theory, as well as a look at various cultures around the world that have similar understandings of non-fixed gender.

Trajectory and exhibition of a time-based media work. ‘The drawing of the girl running away from her support’ (2014), by Ana Vieira (1940-2016)

Ana Vieira (1940-2016) left a set of installations without systematised documentation or set guidelines. In an attempt to preserve her legacy, heirs have promoted exhibitions as a way to document the tangible and intangible characteristics of these complex works. In 2017, there was an attempt to reinstall the video installation The drawing of the girl running away from her support at the Graça Morais Contemporary Art Centre, but without success. However, in 2019, the necessary conditions were met for its reinstallation at the Museum of Art, Architecture and Technology. Through this case study and based on Latour's Actor-Network-Theory, it was demonstrated that the exhibition is a crucial moment in the trajectory of the work and in the analysis of a network of agents, human and non-human, giving rise to documentation that is essential to inform future decision-making.