10,622 research outputs found
Interventions, Productions and Collaborations:the relationship between RAI and visual artists
Full text linkOn the 17th May 1952, before RAI Radiotelevisione Italiana Studios began their regular broadcast from Milan, the Spatialist painter and sculptor Lucio Fontana broadcast his own experimental ‘artwork’ on Italian television, beginning a fruitful relationship between RAI and visual artists. For some, it provided careers as designers and art directors, such as the painter Mario Sasso and the Arte Povera artist Pino Pascali, while for others, who were given unique access to RAI’s television apparatus, it was an opportunity to explore their own artistic experimentations with an expensive and exclusive medium, such as Carlo Quartucci and Gianni Toti. RAI also hosted seminal artists’ performances on screen including John Cage and Fabio Mauri. This article, based on documents and interviews collected during the Arts and Humanities Research Council funded project REWINDItalia, discusses these and other seminal cases as well as tracing and assessing the history of this fruitful and complex exchange between RAI and visual artists
In dialogue: for an approach to activist curating.
Full text linkThis chapter - a short essay - forms Laura Leuzzi's chapter contribution to the collaborative artists' book, "INCITE: Digital Art and Activism", edited by Joseph DeLappe and Laura Leuzzi. The book sought to collate responses from artists, scholars and activists connected through the Digital Art and Activism Network
Introduction to Re@ct:social change art technology
Full text linkThis is the Introduction to the special issue Re@ct: Social Change Art Technology, co-edited by Sarah Cook, Joseph DeLappe, and Laura Leuzzi. The issue gathers essays, artists' statements, and experimental writing projects from selected participants in a three-day symposium held in Dundee, Scotland in 2019, in partnership with the NEoN Digital Arts Festival
Alcune note sui videotape di Luca Maria Patella.
Full text linkIn this chapter Leuzzi retraces Luca Maria Patella's seminal video experimentation in the 1970s, including three videotapes recovered during REWINDItalia in 2011
Re@ct: Social Change Art Technology
No full textThis special issue of Media-N, co-edited by Sarah Cook, Joseph DeLappe, and Laura Leuzzi, gathers essays, artists' statements, and experimental writing projects about digital art and activism from selected participants in Re@ct: Social Change Art Technology, a three-day symposium held in Dundee, Scotland in 2019, in partnership with the NEoN Digital Arts Festival
Maps, lists and classifications: the work of Luca Vitone between image and word on the traces of Joseph Cornell and Georges Perec.
Full text linkThis article examines the fundamental relationship between word and image in Luca Vitone's artistic research and practice. In particular, it analyses and tries to assess the relationship between images (including photographs and maps) with specific verbal forms as lists, classifications and categories and suggests that these verbal forms in contemporary artworks are employed as artistic techniques that engage with traditional artistic genres (portrait, landscape and genre-painting). Leuzzi traces two fundamental sources of inspiration in Vitone's use of the list and classification: the American artist Joseph Cornell and the Oulipo writer Georges Perec. The author focuses on the role and nature of the relationship between verbal lists and images in some of Vitone's most renown artworks including Wide City (1998), Wider City (2006), Liberi tutti! (1996, 1997, 2008), Nulla da dire solo da essere (2004) and Nel nome del padre (with Cesare Viel, 2001). The full text of this article is in Italian
Some notes on Luca Maria Patella’s videotapes
No full textIn this chapter Leuzzi retraces Luca Maria Patella's seminal video experimentation in the 70s, including three videotapes recovered during REWINDItalia in 2011.<br/
European Women’s Video Art: European Women’s Video Art in the 70s and 80s
No full textThe EWVA book is the main output of the Arts and Humanities Research Council funded research project 'EWVA European Women's Video Art in the 70s and 80s' which focused on the under-researched area of women artists' early video experimentation in the 1970s and 1980s within Europe. The research project consisted of the Principal Investigator, Professor Elaine Shemilt (DJCAD, University of Dundee), the Co-investigator Professor Stephen Partridge and Dr Laura Leuzzi, as Post-Doctoral Researcher.
The project was developed through a mixed methodology by collecting archival and bibliographical materials and oral testimonies from artists, curators, cultural entrepreneurs, conservators and producers. The documents, images and papers collected were made available through our website (www.ewva.ac.uk) in the spirit of sharing knowledge, but also promoting women artists' profiles, supporting their careers and advocating for equality in the video art canon.
The book retraces some of the stories of early women artists' video experimentation in Europe, and their achievements, and features chapters on some fundamental case studies of European women artists' early video artworks to the benefit of academia and the general public. The volume includes chapters on themes and trends in early women artists' video in Europe including self-portraiture (Leuzzi), traces and the apparatus (Partridge), closed-circuit video (Kacunko), Nature/Urban (Lockhart), romance and eroticism (Cremona) and motherhood (Elwes). Some chapters focus on selected under-researched case studies from specific European regions including the Balkans (Blackwood), Northern Europe (Lorella Scacco), Poland (Kuzmicz) and Ireland (Connolly)
Self/portraits:the Mirror, the Self and the Other. Identity and Representation in Early Women’s Video Art in Europe
Full text linkIn this chapter, the author discusses how the category of the self-portrait is significant to critically interpret and contextualise many relevant women artists and early video artworks, which engaged in and tried to defy some tropes and topoi of this genre from various perspectives. In this respect, video art became a tool to de-territorialise the genre of self-portraiture, as a means for female artists to actively position themselves in art history and to further challenge the art historical canon in general.
Drawing from theoretical approaches by video, film and feminist authors and art historians as Rosalind Krauss, Laura Mulvey, Catherine Elwes and Marsha Meskimmon, this chapter includes the analysis of case studies by some of the most relevant European women video pioneers including Nan Hoover, Ziva Kraus, Marianne Heske, Elaine Shemilt, Tamara Krikorian, Klara Kuchta, Anna Valeria Borsari and Federica Marangoni
Making Politics
Full text linkIn this interview, Joseph DeLappe describes a lineage of works and circumstances that led to a series of community-based and crowdsourced projects to encourage participation and creative critical action with participants, volunteers, and collaborators. This chapter describes DeLappe’s transformation from solo practitioner to socially engaged artist, illustrated by explicating upon works developed since 2008 that involved people in various modes of participation. Throughout, Laura Leuzzi and DeLappe uncover an engagement of the digital as a fulcrum for action, as process or platform. Woven through all of the works described is a keen sensibility of engaging issues surrounding memory, violence, peace, and social justice. Such projects have involved either the creation of temporary, large-scale low-polygon sculptures and installations created on site with local communities/collaborators; internet-based engagements, including an early experimental global sing-a-long; and a series of crowdsourced rubber-stamping projects to intervene with political symbols on cash
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