1,721,003 research outputs found
KARLA
No full textKARLA (HD video, 34:45 min, Omer Fast 2020) Followed by a discussion with the artist Omer Fast moderated by Cristina Baldacci and Claudia Peppel KARLA is based on a conversation with a content moderator for the world’s largest online video sharing platform. The content moderator wished to remain anonymous and so his/her words were memorized by an actress, whose performance was then recorded using facial-capture technology. As the actress speaks, both her face and voice gradually shift into different characters, refusing to coalesce into a single identity, while delving deeper and deeper into one person’s nightmare of working with images in the gig economy. There are two parts to this work: A holographic projection and a small flatscreen monitor. In this preview file, the two parts of the work have been edited onto the same screen. KARLA was commissioned by the Staatliche Graphische Sammlung / Freunde der Pinakothek der Moderne for an exhibition in 2020. Credits: Based on an interview with a person who wishes to remain anonymous Idea and edit: Omer Fast Performer: Genia Maria Karasek HD Camera and sound: Frieder Schlaich Sound Post-Production: Jochen Jezussek Production/Translation: Anna Bitter Full 3D Production: Mimic Productions, Berlin Hermione Mitford, David Bennett Production Coordinator: Alexandria Frances Petrus Motion Capture Director: Alexandre Donciu-Julin Render Artist and Technician: Johannes Mittig Animator: Yeji Min Animator: Matilde Hansen-Walmsness Animator: Angus McDonald Holographic Technician: Robert Gabriel AV Technician: Radek Pate
Formen des Reenactment bei Omer Fast
No full textSeit den 90er Jahren des 20. Jahrhunders gibt es ein vermehrtes Interesse von Künstlern am Reenactment. Diese Arbeit legt ihren Fokus auf die Videoinstallationen des Künstlers Omer Fast und untersucht deren Bezüge zu dieser historischen Praxis. Historische Formen des Reenactment sind, kurz zusammengefasst, authentische Reinszenierungen von Ereignissen aus der Vergangenheit, im Idealfall am Originalschauplatz. Die Popularität der historischen oder populärkulturellen Reenactments, beginnt mit den Hundertjahrfeiern des Amerikanischen Bürgerkrieges zu florieren. Diese Arbeit sucht nach Formen des Reenactment in sechs ausgewählten Werken von Omer Fast. Spielberg’s List (2003) und Godville (2005) haben einen direkten Zusammenhang, da sie sich auf vorgefundene Formen des Reenactments beziehen. Diese Werke bilden den ersten Teil dieser Arbeit, wo sie in Bezug zu ihren Vorbildern analysiert werden. Der zweite Teil behandelt die Werke, bei denen der Künstler mit Reenactment-ähnlichen Formen gearbeitet hat. In der Arbeit werden verschiedene Formen des künstlerischen Reenactments besprochen, welche auf unterschiedlichen Ebenen operieren. Angeregt von Sabeth Buchmanns Aufsatz Geschichte auf Probe (2015), indem sie konstatiert, dass es seit den 60er Jahren ein Bewusstsein um das Nichtlineare und Nicht-Kausale und Diskontinuierliche historischer Prozesse gäbe, habe ich auf die zeitlichen Brüche und Sprünge in den Darstellungen und im narrativen Aufbau konzentriert
Amblyopia. Omer Fast und Felix Laubscher im Gespräch
No full textDer Filmemacher und Videokünstler Omer Fast spürt im Gespräch mit Felix
Laubscher dem ästhetisch-spekulativen Gehalt seiner Arbeiten nach.
Durchaus kontrovers wird diskutiert, was eine künstlerische Praxis, die
sich der Fiktion bedient, um Bezüge zur Realität herzustellen, mit
Spekulation zu tun hat und inwieweit eine Ausrichtung auf das, was sich
unserer Erfahrung entzieht und verweigert, auch in der Kunst spekulativ zu nennen ist
Omer Fast : 5,000 Feet is the Best
No full text"This publication focuses on a single work of art : 5,000 Feet is the Best (2011) by Omer Fast. With this cinematic video work, Fast has entered into a discussion about one of the most pressing issues today, namely drone surveillance and warfare - the use of unmanned planes operated by pilots on the ground. Organized to accompany exhibitions of Fast's work at Henie Onstad Kunstsenter (HOK) in Oslo (February 9 - May 6, 2012) and at the Power Plant Contemporary Art Gallery in Toronto (September 15 - November 25, 2012), this publication aims to bridge the gap between a critical reader and an artist book" -- p. 43
Der dokumentarische Blick. Bild- und Geschichtsproduktion bei Omer Fast, Walid Raad und Sven Johne
No full textDer dokumentarische Blick. Bild- und Geschichtsproduktion bei Omer Fast, Walid Raad und Sven Johne Eine staubige Straße in einer kargen Landschaft irgendwo im nirgendwo. Zwei Fahrzeuge. Ein blutüberströmter junger Mann auf der Rückbank in den Armen einer Frau. Die Frontscheibe ist zersplittert. Eine Szenerie, die sich in Gedanken leicht ausmalen lässt. Es spielt noch keine Rolle ob sie wahr ist oder Fiktion. Das Bild taucht vor dem inneren Auge auf, konstruiert aus ein paar Schlagworten. Die beschriebene Szene stammt aus der Videoarbeit The Casting von Omer Fast
Futures Beyond Trauma
No full textIn the last decades, the vexed intersections between trauma and representation have proved to be among the most fruitful grounds for contemporary visual culture around the globe. Artists constantly develop new strategies to explore the expectations, experiences, and effects of grievous events, thereby challenging conventional configurations between truth and reality, fact and fiction, history and memory. In light of these critical concerns, this session brings together four prominent visual artists to present their own works and to discuss them with the audience. Damir Arsenijević is a literary theorist and psychoanalyst in training, working and practicing in Bosnia and Herzegovina. He is a founder of the art-theory group ‘Jokes, War, and Genocide’ and his artistic and theoretical interventions are located at the intersection of art, academia, and activism. Omer Fast is a video artist based in Berlin. He holds an MFA from Hunter College, City University of New York. Much of his work delves into the psychology of contemporary trauma, often relying on the blurring of memory, retelling actual events deploying cinematic conventions. Kasia Fudakowski studied at the Ruskin School of Drawing and Fine Art, Oxford University. Since moving to Berlin in 2006, her work has developed in a multidisciplinary way that incorporates sculpture, film, writing, and performance. Abdessamad el Montassir is artist-researcher affiliated with the advanced research institute IMéRA in Marseilles, France. Born in Boujdour, Sahara (southwestern Morocco), he uses the places of his childhood as a starting point for rethinking histories with reference to collective memories, fictions, and non-material archives. Moderated by Stéphanie Benzaquen-Gautier and Afonso Dias Ramo
The art of Omer Fast: the art of Omer Fast
No full textThis thesis is the first scholarly monographic study of the work of contemporary artist Omer Fast (born 1972), covering his entire artistic output. Fast’s practice astutely reads and taps into many pressing and confronting social and political issues of twenty-first century Western culture. Through close analysis of his earliest mature artworks through to his most ambitious installations, I argue that Fast’s practice is characterised by various strategies of repetition that amplify the internal instabilities, tensions and controversies within his topics of enquiry. This thesis is ordered around a structure of ‘variations upon a theme’. The introduction and first chapter establish the theme of repetition and each subsequent chapter develops its own variation. Chapter Two establishes the crucial figure of ‘the witness’ and Chapter Three explores the centrality of ‘translation’ in Fast’s creative approach. These initial chapters all argue for a number of core conceptual devices and techniques that characterise Fast’s practice: the paradoxical interplays between repetition of sameness and difference; imitation and mimicry as enabling an immanent rather than distanced critique; a continual dissonance between visual and linguistic systems; Fast’s various modes of re-tellings and re-imaginings that counter a singular notion of an ‘origin’; and his use of looped and circular narrative structures that introduce overlapping and multiple layers of temporality. Repetition defines many formal elements of Fast’s practice, and it also enables him to extend his topics of enquiry into broader social and political contexts. The second half of this thesis explores this as I position Fast’s practice against a widespread trend in contemporary art practice and theory, the ‘historiographic turn’. Fast’s strong interest in re-enactment displays counter- archaeological tendencies, in which his works actively add as many layers of meaning as they uncover. Furthermore, by doubling and repeating himself into various pieces, Fast perpetuates a parafictional persona, refusing to draw concrete distinctions between documentary and fiction. This parafictional quality is connected to a broader cultural and media phenomenon where the realms of fantasy and reality become conceptually and practically entangled. The final chapter explores tangible examples in Fast’s practice where the artist’s creative interventions have become implicated within contested political situations. Instability and multiplicity of meaning are always embodied in the topics that Fast approaches. Yet just as his works resolutely resist closure and conclusions, the paradoxical nature of repetition cannot be resolved, for it is the tension between familiarity and difference that brings about its productive potential. This thesis reinscribes and reiterates a renewed understanding of repetition as a constructive force within contemporary artist practice, and it also makes an important contribution to debates around the use of the moving image in contemporary art practice
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
(Mis)translation in the work of Omer Fast
Get PDFFor the majority of people, video art does not have a major impact on their daily lives. Between ubiquitous television monitors and incessant internet pop-ups, attention paid to a video in an art gallery is passing at best. How can one\u27s video creations make an impression on such an already visually-immersed culture? Video artist Omer Fast, uses editorial effects such as dubbing, mistranslations, and splicing in his documentary-style works to attract the attention of, and later alienate, his audience. This essay analyzes Fast\u27s oeuvre and deconstructs the ways in which he attracts audience interest and subsequently encourages his audiences, through alienation, to become more critical viewers for both his artwork and their daily lives. The application of critical theory, such as Bertolt Brecht\u27s Verfremdungseffekt and Jean Baudrillard\u27s concept of simulacra, add to Fast\u27s editorial effects in order to set him apart from the standard contemporary video artist. Notably, Fast addresses aspects of artist ethics in his work, which ultimately distinguishes him as a unique leader in contemporary art
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