In this paper the author discusses three works of video art featured in the Technologies of Romance symposium held at the Science Museum, London, in 2018. The author searches within video art, as a ...genre or medium, within its technical apparatuses and within the three particular works, for contributions to the particular notion of ‘object love’ as drawn from a paper by Hilary Geoghegan and Alison Hess (2014). The author interprets the three video artists’ works with the aim of gleaning comparative examples that might illustrate or extend the ‘object love’ concept. Mathilde Roman’s book (2016) on the ‘staging’ of video art is an influence on the text, as are two short but profound statements by Walter Benjamin, one from his Theses on a Philosophy of History (1940), another from his essay on Surrealism (1929). History, ‘the past’, museology and ‘object love’ are all woven into the core of the article. As it moves towards its conclusion the author is inspired by the image of an empty, machine-made stocking (a classic symbol of Freudian fetishism) in Elizabeth Price’s video K, in such a way that the article ends by skewing both the idea of ‘object’, and that of ‘love’ in the direction of the fetish, while concluding that the past – just as much as any particular object from or of the past – tends to be subject to fetishisation. Meanwhile, video’s relative immateriality as an art medium, and its current use by artists, is seen as representative of an age of image-based archival practices that, assisted by digital technology, might now divert traditional, object-based processes of the museum – a shift that might be summed up in the phrase ‘screen becomes vitrine’. This shift, from vitrined objects to screened images might then, in turn, have implications for the ‘object love’ that initially interested Geoghegan and Hess and which began the author’s article and this dialogue with the Science Museum.
Blue all over. Montréal-based artist Laura Magnusson wanders-crawling, kneeling, lying down, walking-on the ocean floor in clear water. Dressed in a parka and winter boots, she walks on the sand, ...seventy feet beneath the surface near Cozumel, Mexico, carrying an oxygen tank. Later, we see her in dark, murky waters surrounded by shimmering, silver fish. Even though she is not alone, encircled as she is by those watery others, Magnusson's facial expression and body language seem to convey distress and pain.
Diffraktionsereignisse handeln im Kern von einem affektiv durchtränkten Zustande-Kommen eines komplexen, performativen Relationsmoments. Aus einer neo-materialistischen Perspektive spürt Alisa ...Kronberger dieses Phänomen in der feministischen Gegenwartskunst auf. Sie fragt erstmalig dezidiert nach der Aktualität der historischen Nähe zwischen Feminismus und Videokunst und bietet - an den Schnittstellen von Medien- und Kunstwissenschaft verortet - neue Einblicke in einen aktuellen Diskurs um einen Neuen Materialismus in der Medienkunst.
Zhang Peili, a prominent Chinese artist known for his video art, also created a series of paintings titled "X" in the late 1980s. These paintings feature latex gloves as their subject matter and ...explore themes of health, contagion, and the relationship between artwork and audience. The gloves in the paintings are depicted in a hyperrealistic style, appearing almost lifelike yet isolated and perturbing. Zhang's use of latex gloves stems from his personal experiences with illness and his upbringing in a medical family. The gloves symbolize protection and contamination, blurring the boundaries between the animate and inanimate. The X series also intersects with Zhang's involvement in the art collective Pond Society, which sought to challenge traditional notions of healthy art and engage in disruptive artistic practices. Zhang's exploration of the latex glove as a symbol of health, illness, and transformation reflects his broader concerns with the role of art in society and its potential to effect change.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
U radu se analiziraju tragovi estetike videospota u poeziji Branka Čegeca kao istaknutog autora hrvatskog pjesništva iskustva jezika, kako je naraštaj ranije nazvao Zvonimir Mrkonjić i metajezičnog ...pjesništva, kako je Čegeca s pjesnicima spomenutih koncepata iskustva jezika skupno nazvao Goran Rem. Cilj je uputiti na elemente književnog kontakta s videospotovskim jezikom, odnosno pristupiti poeziji koja se konkretno i konkretistički, svojim jezičnim materijalom smješta u estetike video spota, kakvi su glavni rani projekti umjetnosti video spota Nam June Paika i Laurie Andersson. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična kodiranost odnosno metajezičnost te se rad bavi i sviješću o primanju tragova druge umjetnosti, prije svega videospotovskih. Polazi se od definicija intermedijalnosti, medija, postmodernizma i videospota. Analize predložaka u radu izdvajaju audiospotovske elemente vizualnosti i auditivnosti te donose nove interpretacije Čegecovih poetskih tekstova.
The article analyses the traces of video art aesthetics in the poetry of Branko Čegec, one of the “Croatian poets of the language experience,” as Zvonimir Mrkonjić termed that generation of poets, and of metalanguage poetry, as Goran Rem collectively called Čegec and the poets thematizing the aforementioned language experience. The aim is to address the elements of literary contact with the language of video art, that is, to approach the poetry recognizable as video art (of Nam June Paika and Laurie Andersson) due to its concrete, linguistic, material. The very term “language experience poetry” denotes that its main feature is the linguistic coding or meta-linguistics, thus the article also deals with the awareness of traces from other arts, primarily video art. The article is based on the definitions of intermediality, media, postmodernism, and video art. The analysis of selected works of art in this article emphasises the video elements of visual and auditory imagery, as well as provides new interpretations of Čegec’s poetry.
If the 1990s saw what Outi Remes has identified as 'the confessional turn' in contemporary art, more recent practices have sought to further deconstruct coercive mechanisms of ritual and shame. ...Michel Foucault's late examination of the confessional and its potentiality to form 'the technologies of the self' that break the bonds of confessor and confessant marks out confessional practices as the establishment of power structures that lends itself to its own subversion. More recently the ubiquity of confessional forms in culture and its structural relation to institutions of power have taken on different sets of values than earlier art examined. As Boris Groys has attested in a set of essays (2009-2019), there exists an anxiety of self-image and the consumption of that image that marks out a different set of conditions from that explored by Foucault. The shift - from the 'zero-design' confessional of Rousseau to the 'self-design' confessional of Shia LaBeouf - has been widely embraced by a new generation of video artist. This paper suggests that the previous oppositions - zero-design = truth, sincerity, shame vs. self-design = mistrust, insincerity, power - demand a deconstruction. This paper argues for the capacity of contemporary confessional video art practices to occupy these slippages.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
"Semio-pragmatics, an approach to the study of film and audiovisual media first proposed by Roger Odin in the early 1980s, shifted the focus from textual analysis to the interaction of text and ...context and to the institutional modes of framing and reading which shape the viewer’s engagement with the film. A response to an impasse in post-1968 film semiotics and psychoanalytical approaches to film spectatorship, semio-pragmatics contributed significantly to the further development of film studies alongside Cultural Studies, neo-formalism, historical reception studies and the phenomenology of film. Spaces of Communication offers a concise introduction to semio-pragmatics and condenses the intellectual trajectory of one of the foundational figures of film studies into a relatively short and accessible volume. It is a book which testifies to the author’s deep and rich intellectual engagement with a vast array of objects ranging from the classics of"
Artists and filmmakers frequently problematize drone warfare through their creative practices, contesting military surveillance and violence by appropriating, parodying, and turning the drone’s gaze ...back at itself. Challenging and subverting the myth of ‘precision targeting’ – the military’s claim to perfect accuracy in aiming their weapons only at ‘bad guys’ – is central to artists’ engagement with drone warfare. By looking at recent work by Nicolas Brynolfson, George Barber, and eteam, the author argues that these artists pose drone vision – how and what drones see and look at – as a site of compromised looking, where the indexical and objective is rarely just that, but always layered by and interpreted through discourse, ideology, compression, and noise. By performing ‘drone witnessing’, these artists tease out the connective tissue between state surveillance and remote warfare, raising key questions about sovereignty and autonomy in the age of operational images.
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