1,721,112 research outputs found
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
On the re-installation and exposition of artists' films and videos from the 1970s and 1980s: some insights on a critical debate opened between practice and theory.
Full text linkIn the last decade, there have been numerous projects and studies focused on researching, recovering, cataloging and restoring the film and artist videos of the 1960s, 1970s and 1980s, both in Europe and the USA. These projects are symptomatic of growing national and international interest in these materials, with examples including: the study, recovery and archiving of the video works of the ZKM in Germany; the "Rewind" research project in Great Britain, which has digitized and cataloged over 500 British video works since 2004; the project to recover and archive the video collection of art/tapes/22 held by the Historical Archive of Contemporary Arts (ASAC) of the Venice Biennale, and the project to recover the collection of the Videoarte Center of the Palazzo dei Diamanti in Ferrara - both of which were carried out with the technical support of "La Camera Ottica" and "CREA" (University of Udine), under the scientific coordination of Cosetta G. Saba; the research project "Narrative Exploration in Expanded Cinema"; the publication of the catalogue of the US Video Data Bank; the conservation project undertaken by the Bibliothèque nationale de France (BNF), which involved some of the pioneers of French video including Lea Lublin and Nil Yalter, and which was presented at some recent study days organised by the BNF, the Institut national d'histoire de art (INHA) and the École cantonale d'art de Lausanne - "L'émergence de dell'arte vidéo en Europe: historiographie, théorie, sources et archives", 25-26 May 2016. This conference, in which the author participated as a speaker, was an opportunity to discuss conservation practices and formats, and to compare in an open and fruitful way experiences from different sectors, such as universities, museums and archives. It should be noted that the case of the BNF opens the interesting (and previously unpublished) precedent of conservation and restoration of video works being undertaken by an institution that is not strictly devoted to the visual arts and cinema. This brings the possibility of exploring new protocols, best practices and methodologies. The full text of this article is in Italian
Representation and identity in contemporary women artists' video.
Full text linkThis essay is an initial study that examines selected contemporary video artworks addressing identity and representation by contemporary Italian women artists. The author shows how these women artists seek to avoid the objectification and sanitisation of the traditional iconographies involving women in patriarchal Catholic systems. Selected works by Elisabetta Di Sopra, Francesca Fini, and Mariateresa Sartori are discussed by comparing elements from works by earlier generations of feminist video artists, such as Pipilotti Rist, Elaine Shemilt, and Catherine Elwes. Drawing on theories of both video and feminist art, this article examines how the development of a new aesthetic in early women's video art practice in the 1970s and 1980s is still relevant to the task of critically examining and assessing aesthetics in video today, and how video remains a key tool used to experiment with the remediation of women's representation and identity
Embracing the ephemeral:lost and recovered video artworks by Elaine Shemilt from the 70s and 80s
Full text linkAbstract in EnglishThis article explores Elaine Shemilt’s video artworks from the Seventies and early Eighties. Generally known as a printmaker, Shemilt started to use video in 1974 as part of her installation and performance work. Shemilt aimed to use video - a relatively new medium at the time - as a performative element within her installations.Since that time, her artistic practice has conveyed feminist themes as well as the re-elaboration of intimate and personal experiences.She destroyed her Seventies videotapes in 1984, considering those tapes as part of ephemeral installations. Photographs taken during the shootings and series of prints are the final artwork from those projects and act today as the remaining existing documentation of those videos.Only two of Shemilt’s videotapes from the early Eighties, Doppelgänger and Women Soldiers, are today available. They were both remastered during the Arts and Humanities Research Council funded project Rewind in 2011.This article, based on documents, existing videos and interviews collected during the Arts and Humanities Research Council funded project EWVA ‘European Women’s Video Art from the 70s and 80s’, discusses and retraces Shemilt’s early video artworks.Abstract in italianoQuesto articolo indaga le opere video degli anni Settanta e dei primi anni Ottanta di Elaine Shemilt. Più generalmente conosciuta nell’ambito della stampa, Shemilt ha iniziato a utilizzare il video nel 1974 come parte delle sue opere di installazione e di performance. L’artista intendeva utilizzare il video – un medium relativamente nuovo in quel periodo – come elemento performativo nelle sue installazioni.A partire da quel periodo, la sua pratica artistica ha veicolato temi femministi e rielaborazioni di esperienze intime e personali.Nel 1984 l’artista ha poi distrutto i suoi videotape degli anni Settanta, considerandoli parte di installazioni effimere. Le fotografie scattate durante le riprese e alcune serie di stampe costituiscono l’unica documentazione esistente di quelle opere. Solamente due dei videotape della Shemilt datati ai primi anni Ottanta sono oggi disponibili: Doppelgänger e Women Soldiers, entrambi rimasterizzati nel 2011 nell’ambito del progetto di ricerca Rewind, finanziato dall’ Arts and Humanities Research Council.Questo articolo, basato su documenti, i video ancora esistenti e le interviste raccolte durante il progetto di ricerca EWVA ‘European Women’s Video Art from the 70s and 80s’, anch’esso finanziato dall’AHRC, discute e ricostruisce le opere video degli anni Settanta della Shemilt
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
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
Edimburgo – Roma 1967, connessioni italo-scozzesi sulle tracce della mostra Contemporary Italian Art alla Richard Demarco Gallery
Full text linkSince the 60s, the Italo-Scottish artist and cultura entrepreneur Richard Demarco (Edinburgh, 1930), has played a fundamental role in the production and promotion of European – and in particular Italian – visual and performing arts in Scotland. Demarco is still a little known figure in Italy, though renowned internationally. This article aims to shed light on the exhibition Contemporary Italian Art, shown in 1967 at the Richard Demarco Gallery in Edinburgh (RDG), in collaboration with the Galleria Nazionale d’Arte Moderna di Roma. This featured big names such as Fontana, Burri and Capogrossi ad well as younger generation artists, Festa, Pascali, Rotella and Schifano among them. The presence of both an older and a younger generation reflected the argument advanced in the seminal volume by Maurizio Calvesi, Le due avanguardie (1966).This article scrutinises the relationship with the Galleria Nazionale’s director Palma Bucarelli, revisits the exhibition’s organisational vicissitudes and examines its critical and popular reception, while at the same time situating it in the broader context of Demarco’s promotion of Italian art in Scotland. Particular attention is paid to the relationship between the Scottish gallerist and artist Mimmo Rotella, to whom RDG dedicated an exhibition in 1990
I, Kusama, am the modern Alice in Wonderland: Alice and Kusama, reflected through infinite mirrors.
Full text link"How about taking a trip with me out to Central Park [...] under the magic mushroom of the Alice in Wonderland statue. Alice was the grandmother of the Hippies. When she was low, Alice was the first to take pills to make her high. I, Kusama, am the modern Alice in Wonderland. Like Alice who went through the looking grass, I, Kusama (I haved lived for years in my famous, specially built room entirely covered by mirrors) have opened up a world of fantasy and freedom. You too can join my adventurous dance of life" (Kusama, 2011, 42). With these words, the Japanese artist Yayoi Kusama invited the public to join her - "mad as the hatter" and her "troupe of naked dancers" (Kusama 2011, 42) - on the occasion of her happening in Central Park New York. The happening, part of the eventually famous series called "The Anatomic Explosion", took place between July and November 1968. At the time, Kusama - now a global cult phenomenon and celebrated in 2018 by a film, "Kusama-Infinity" - was still little known to the general public and international critics, despite an appearance at the 1966 Biennale. It was in those years (1957-1973) in New York that she developed her experimental practice, conducted among happenings, installations and performances. The event press release for this happening underlined the profound influence of the Carrollian character of Alice in Kusama's work and a sort of identification with it. This article examines the importance of many Carrollian conceptual elements and topics (mirror, non-sense, puns) in the artist's body of work, including a Lacanian interpretation, and briefly explores the new interest of artists and illustrators of the 60s/70 in Carroll and Alice in Wonderland. The article ends with an overview of the Kusama-illustrated Penguin edition of Alice in Wonderland (2012), which adds the artist to a long list of artists who have been inspired by the Carrollian characters and stories. The article explores the themes, motifs and stylistic features used by Kusama to accompany and complement the text
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
The Fourth Encounter in Motovun (1976):A Platform for Experimentation for Early Video Art
No full textIn Summer 1976 the Fourth Susret u Motovun (Encounter in Motovun) took place. As part of the festival, it was organised a video encounter - dedicated to the theme of ‘Identity’ (Identitet=identità) - that turned out to be a key event for the experimentation of the medium that at the time was relatively new and not still widely available in many regions in Europe. The encounter was organised by the Ethnographic Museum of Istria, Pisino, the Contemporary Art Gallery in Zagreb, the Likovna Gallery in Motovun and by Galleria del Cavallino (Cavallino Gallery) - directed at the time by Paolo and Gabriella Cardazzo - from Venice. In that occasion, they were produced more than twenty video artworks with Italian and Yugoslav artists including Sanja Iveković, Živa Kraus, Zdravko Milić, Dalibor Martinis, Goran Trbuljak, Michele Sambin, Luigi Viola and Claudio Ambrosini. This chapter gives an overview of the fruitful relationships developed between Italy and Yugoslavia in the field of video and analyses the importance of the Motovun encounter in the development of the medium in Europe. <br/
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