Artist Film and Video

Les oeuvres d'art vidéo sont présentes dans les institutions publiques et les collectionneurs privés sont de plus en plus nombreux à s'y intéresser. De telles oeuvres, dont la reconnaissance du point de vue de l'histoire de l'art ne fait plus de doute, soulèvent des interrogations juridiques concrètes dans la gestion quotidienne des collections tant publiques que privées auxquelles le droit n'apporte pas de réponses. Cette étude propose de dresser un état des lieux des pratiques en vigueur, tant sur le marché de l'art que dans les institutions publiques, concernant les oeuvres d'art vidéo. Il s'agit de tenter de dégager une qualification juridique de ces oeuvres en confrontant les aspects théoriques du droit d'auteur aux entretiens menés avec différents acteurs professionnels et collectionneurs.

El perro negro. Historias de la Guerra Civil española, se erige como una de las propuestas estéticas más fascinantes sobre nuestro conflicto bélico. A partir de los metrajes domésticos de un empresario textil catalán y un estudiante madrileño, Peter Forgács construye un film que se levanta sobre ciertas operaciones retóricas afines al discurso artístico: la yuxtaposición y el desplazamiento. Esta forma de trabajar el material fílmico, que implica la ruptura consciente del armazón narrativo y la inclusión de poderosas imágenes-emblema, introduce a El perro negro en los territorios de lo onírico a la vez que lo dota de una enorme densidad simbólica

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

Introductory overview of New Zealand artists who began working in film and video between 1970 and 1985, following their work up to 2010 and beyond.  This piece was originally titled A Place Near Here and  published in Illusions #35.  It has been significantly updated since then. Back issues of Illusions are available from PO Box 6476, Marion Square, Wellington, New Zealand.

Mobility and Migration in Film and Moving Image Art explores cinematic and artistic representations of migration and mobility in Europe from the 1990s to today. Drawing on theories of migrant and diasporic cinema, moving-image art, and mobility studies, Bayraktar provides historically situated close readings of films, videos, and cinematic installations that concern migratory networks and infrastructures across Europe, the Middle East, and Africa. Probing the notion of Europe as a coherent entity and a borderless space, this interdisciplinary study investigates the ways in which European ideals of mobility and fluidity are deeply enmeshed with forced migration, illegalization, and xenophobia. With a specific focus on distinct forms of mobility such as labor migration, postcolonial migration, tourism, and refugee mobilities, Bayraktar studies the new counter-hegemonic imaginations invoked by the work of filmmakers such as Ayşe Polat, Fatih Akin, Michael Haneke, and Tony Gatlif as well as video essays and installations of artists such as Kutluğ Ataman, Ursula Biemann, Ergin Çavuşoğlu, Maria Iorio and Raphaël Cuomo. Challenging aesthetic as well as national, cultural, and political boundaries, the works central to this book envision Europe as a diverse, inclusive, and unfixed continent that is reimagined from many elsewheres well beyond its borders.

The exhibition CINEMANIAC, established in 2002 as a sidebar program at the Pula Film Festival, is a long-term interdisciplinary research platform questioning the connection between film /moving images and contemporary art, realized in the form of an exhibition,  presenting the works of Croatian and international artists, aiming to bring them closer to a wide festival audience.
Book is published on the occasion of project's 10th anniversary.
A "retrospective in a book" explores works of art that question film as a system of representation, social technology, a complex apparatus of production and reproduction of moving images.

"In this chapter, I argue the case that film, and cinema more broadly, have produced metaphorical and literal shifts of focus and frame within the museum context. The chapter initially discusses the multi-layered ways in which film, as a representational medium and as an exhibited object, interacts with its political and socio-cultural counterpart: the institution of cinema. I then argue that these focal shifts in the treatment of film in the museum, and the treatment of museums on film, potentially eliminate some aspects of the museum from cinema’s perceptual field, while highlighting others, operating as a counter-discourse to the prime concerns of museums at a given moment in time. These aspects are also subject to, and affected by changes in the tangible materiality of cinema, as an object, an experience, an exhibition space, and a cultural institution. Rather than imagining film as a ‘medium’ in the technological or communicative sense, the chapter examines the politics of film as a mediator, negotiator, or indeed critic of museum spaces and museum politics. The ‘visible’ and ‘invisible’ institutions in the title of this chapter refer to these shifts in focus and frame that draw attention toward – or away from – the political and cultural contingency of film in the museum space.

Cinema’s historical and contemporary privileged position in French cultural heritage suggests that thinking about French museums specifically informs an understanding of the moving image’s conceptual and spatial shift away from ‘cinema’ as such, towards a broader conception of the medium. ‘Cinema’ as we like to think about it has long since left the auditorium and found itself transmitted across multiple screen media technologies, from the handheld mobile device, to digital streaming, to large-scale screening on tower blocks: such devices have inevitably been adopted by museums as modes of education, interpretation and outreach. Increasingly, ‘cinema’, as a mutable cultural institution that defies visible definition, has made a shift into the ‘museum’: a socio-cultural institution which often courts both physical presence and virtual existence, in add-on digital apps, screen-based interpretation and online exhibition spaces. Consequently, the case studies of this chapter are situated within a French cultural context that offers concrete examples of the complex relationships between cinema and the museum. In doing so, the chapter interrogates the complex political, curatorial and broader socio-cultural concerns of the institutionalized ‘housing’ of film within the museum, both as a public space and as a political institution.
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Petra Cortright is an award winning Los Angeles, California based artist. She is renowned for making self-portrait videos that use her computer’s webcam and default effects tools. Her core practice is the creation and distribution of digital files, whether they be videos, GIFs, or jpegs, using consumer or corporate software and platforms.

Tickets: £5 (£4 concs.) Natasha Demkina is known internationally as The Girl with X-ray Eyes. A Russian medical student, she is purported to have the ability to look directly inside bodies. Using a form of supplementary vision or second sight, she produces detailed medical diagnoses. Last summer, artist Phillip Warnell went to Moscow and offered up his own body as the subject for Natasha's scrutiny before a series of witnesses. The resulting 23 minute artist's film reveals his extraordinary encounter with The Girl with X-ray Eyes. It will be screened at Warwick Arts Centre this May then at London 's BFI Southbank in June.

Barbro Schulz-Lundestam et Rachel Stella présentent un visionnage de Pull My Daisy accompagné de documents d’archives. Il s’agit surtout d’entretiens vidéo que Barbro Schulz-Lundestam a enregistrés dans l’atelier d’Alfred Leslie, au gré de différentes enquêtes documentaires.

Видеокино — это совершенно отдельный, в общем-то еще не выясненный, весь располагающийся в будущем вид или область искусства.
В видеожурнале «Инферментал» или в тех отдельных фильмах, которые иногда доходят до нас, я вижу в основном игры с компьютером и сознание человека, передоверенное сознанию машины. Это как раз то, что наименее интересно. Может, благодаря тому, что мы лишены каких бы то ни было технических возможностей и в этом смысле находимся на первобытно-общинном уровне, мы движемся совершенно в другую сторону, мы развиваем самих себя.

Upon entrance to the screening space, the first thing one encounters after the bench and the large projection is a well-modulated,soothing voice relaying mild aggrievement that plays over a closely framed shot of a letter writer seated at a desk, somewhere in the act of penning the eponymous epistle. The writer and her or his setting are depicted in the style of an advertisement from the halcyon era for paper and ink correspondence, that is, sometime between the birth of mass advertising in the 1890s and the mid-20 th century domestication of the typewriter. Which is to say, from an era when letter-writing shifted status for the majority of people from an instrumental task to a leisure-time activity. Following the trend of an emerging consumer society, letter-writing went from being an aristrocratic hobby to a being an accessible, and accessorisable, luxury for the mainstream. That is, the letter-writer confronts us as modish, and thereby, perhaps, to follow Walter Benjamin, having the jarring potential of all that is outmoded.

Connected to our new exploratory research project " Rethinking Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness " funded by the UEFISCDI, and following up on the topics of our previous conferences, we would like to bring into focus the idea of " in-betweenness " set in a wider context of contemporary visual culture, and to re-evaluate its relevance regarding the state of the art in researches on intermediality. Digital media have not only prompted a reassessment of the relationship of the " old " and the " new " through their extraordinary capacity for absorption and remediation, but have literally flooded our life with their ubiquity and sheer excess. The technological convergences of devices producing and displaying media, the fusions, expansions, relocations taking place have effectively challenged our perception of media differences. If the idea of intermediality is based on the assumption of a productive interaction of media, then there should be no more pressing issue regarding intermediality studies today than fine-tuning its core concept of in-betweenness to the phenomena of the so called post-media age, in the spirit of Raymond Bellour's concept of l'entre-images (i.e. images-in-between/inter-images), in which novel forms are continuously " hollowed out from within surrounded by the new forces that irrigate it " (2012: 21). On the other hand, however, as recent theoretical approaches imply by viewing media products embedded in their palpable, real-life environment (i.e. in the dispositifs we experience them, in their phenomenology that links them to our bodies, or in their concrete, historical and socio-political context), the relevance of intermediality is not limited to what happens to media, but it extends, even more importantly, to what happens through the in-betweenness of media and what is the agency of in-betweenness in our contemporary multimedia environment. Besides the analysis of new configurations, we should also examine what is inscribed and communicated through various intermedia relations and what new types of passages are established in-between art and life, in-between the emotional, spiritual and the material, as well as the imaginary and the real, and so on. We invite proposals to unravel the complex new relationships that define our contemporary visual culture, and to map new, relevant areas of in-betweenness that may enrich our knowledge of intermediality today.

Revisiting the origins of the term "Postinternet," a decade on, I assess its contemporary relevance from a psychological, political, and architectural perspective, in the context of the E-Flux series on Postinternet Cities. While I initially conceived of it as a way to refer to "art after the internet," I've more recently called for a focus on the postinternet condition as reflective of "symptoms of network culture." In this text I identify some of those symptoms, particularly the emotional affects of living our lives primarily online. I also speculate about the physical and residential needs of future lonely internet users.

In this contribution to a book about artist-made tools, classic tenets of rhetorical theory are applied to contemporary examples of new media art to look at seemingly-ethereal software applications or "immaterial" video performance interventions as having another kind of activist or conceptual weight under the rubric of Soft Power.

Leaflet for Critical Home Video. Toured to  Artspace, Peterborough, Canada, Govett-Brewster Art Gallery, New Plymouth, New Zealand and Latitude 53, Edmonton, Canada with Don Bury, K R Buxey, Volker Eichelmann and Ruth Maclennan, Mark Harris and Peter Lloyd Lewis, Janet Hodgson, Yasu Ishige, Pil and Galia Kollectiv, David Mabb, Sheena Macrae, Johannes Maier, Kate Smith, Angus Wyatt.

Restitution des recherches menées dans le cadre de la bourse postdoctorale Terra / INHA (2019-2020)
Table-ronde avec Adrienne Boutang et Nelly Quemener
Projections de  Dressing-Up (1973), Take Off (1974), Big Tip, Back Up, Shut Out (1976) de Susan Mogul et de Where is God ? The Dive (1974) d’Ilene Segalove.
Responsabilité scientifique : Morgan Labar
Institut national d'histoire de l'art, Galerie Colbert, auditorium
Paris, 20 octobre 2020

This article discusses how we, a US poet and a UK visual artist, opened an enmeshed space of creative practice in collaborating on a site-specific film, ‘To Shining Clough’. The film’s ground is literally the Peak District’s Longdendale Valley, but it is also, by analogy, the shifting ground inherent in cross-disciplinary practice, particularly that predicated on ecology. As Tim Ingold argues, creative practice is synonymous with doing and making, with the thinking implicit in the doing. In doing together, even if asynchronously, we therefore thought together, even when transatlantically. Our collaboration involved dialogic improvisation and was informed by coincidence. It was also a form of correspondence, of co-responding to each other and to the texture and terrain of the Longdendale Valley. Taking as subject not just a location but the entangled fluxes present, ‘To Shining Clough’ embodies – as process and product – multiple ecopoetic contour lines.

T. S Eliot’s seminal poem, ‘The Waste Land’ (1922) was chosen as an explorative text to acquire an understanding of my interpretation methods for my practice-based PhD, which culminated in a collection of photographic and video installations (2005–2010). Examination of orthodox film adaptation theory established the key debates within this genre – its emphasis upon fidelity criticism, the latitude of translation and the range of methods available to the adaptor. Recognition of the subversive quality of European avant-garde films and its relationship to modernist literature allowed me to implement appropriate stylistic strategies that replicated ‘The Waste Land’s’ cinematic montage. This article considers the way in which my early video experiments were informed by this theoretical and contextual framework, testing out different modes of adaptation in order to reflect upon my process. I argue that undertaking such a methodical approach enabled a better understanding of my role as an editor, re-imagining the source text through extracting fragmentary elements that possess an autobiographical significance. By questioning how literature operated as a resource to represent the self within my practice and acknowledging biographical connections to Eliot, the ‘Waste Land’ project became an attempt to address the breakdown of my parent’s marriage.

Publication is shaped as a hybrid format and following a fragmented narrative of a collage structure. Includes visual, graphic and textual material, ranging from visual poetry, a scenario/ film script, collage, pages of an artist book, film stills, installation views and is fully illustrated. Along with the exhibition it unfolds various »Studies on Shivering« as a conceptual framework through which the artist questions his approach to the process of film-making. It unfolds the artistic process by which the artist seeks to establish a space where film, research, and poetry meet (B. B, editorial statement)

This chapter traces the artistic development of the video ‘Against’, taken from my ‘Translucence’ project, which interprets Donna McKevitt’s musical score, based on Derek Jarman’s writing. Serving as a reflection on the fragility of life and bereavement, this work investigates the loss of my grandmother, who passed away twenty-one years ago when I was nineteen years old. Through a long-term collaborative process with a choreographer, I created a series of ‘memory gestures’, or movements, made in response to McKevitt’s music, as well as the re-assessment of photographs I had taken of her, a few months before her death. By actively seeking out memory triggers relating to her physical characteristics, personality, rituals, habits, paraphernalia, family narratives and our shared activities, the project acknowledged Annette Kuhn’s ‘Memory Work’ (Radstone, 2000) by gathering materials for my own performative interpretation. Aiming to re-imagine past memories, in order to ‘re-build’ her in the present, the piece plays with the concept of remembering and forgetting through the shifting layers of my body, my shadow and the projected images of my Grandmother that are interwoven and repeated throughout the five-minute sequence. Referring to Mary Warnock’s (1987) observation of the interdependence of memory and imagination, this chapter considers a pivotal shift in the work, when I became fully absorbed in the performance in a trance–like state, indicative of Henri Bergson’s (1896) notion of spontaneous memory; a kind of receptive ‘becoming’. Whilst photography’s relationship to death and past-ness is well documented (Sontag 1979, Barthes 1980, Hirsch 1997), I would argue that the performed memory gestures, projected imagery and McKevitt’s music allowed for an instinctive memory sensation and re-connection to take place through the transformation of the still photograph into the present moment (Batchen, 2004). Film available to view: http://vimeo.com/91067350 Taken from the book edited by Silke Arnold- de Simine and Joanne Leal (see Bloomsbury link): "Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film."