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Video Art - 1980s
Transcript of Video Art - 1980s
in the 1980s
Video art started to become the sole expression of more artists (not just an experimental thing they do on the side).
Klaus vom Bruch
, «Coventry War Requiem», 1987
Two portraits on video are the point of departure for the installation. It shows
Klaus vom Bruch and his father listening to Benjamin Britten's ‘War Requiem', a composition lamenting the devastation by German bombs of the city of Coventry during WWII.
Because the music occasionally audible in the space is the basis of their visible reactions, it forges a link between either protagonist, clasping together historical events and the artist's personal genealogy.
Shot against a dark background, the men's faces are presented on separate monitors wedged under the ceiling
of the exhibition space on tall iron tablets tapering inward in periscope-like fashion. These slightly slanting steles also optically disrupt the statics of the space.
Conservative neo-liberalism was on the rise with British Prime Minister
and US President
Cartes postales vidéo
Robert Cahen, Stéphane Huter,
& Alain Longuet
63:57 min, color, sound
The still photograph is transformed and reframed in time in these collections of thirty-second "video postcards."
An image of a city appears to be captured as a traditional postcard, frozen in time. Suddenly the photograph is "released," electronically brought to life for one heightened, anecdotal moment — a single gesture, a punctuating sound — and then frozen again. Witty and often poignant, these revelatory documents of time, place and memory denote a fleeting, ephemeral reality. By puncturing the static freeze-frame with movement and sound, the artists open the pictorial illusion in space and time, revealing the "before" and "after" of the photographic moment.
The art market was booming.
Hill strapped five video cameras to his body so that the actions of each limb and of his head were recorded
as he embarked on a solitary journey through semi-wild terrain whose destination seemed at once to be, and to be blocked by,
the expanse of water which he entered as the piece ends
. This suspended gesture of immersion provides a provocatively ambiguous conclusion, marking as it does the onset of dissolution or decontruction and / or the beginnings of a process of renewal and restituition. In the actual installation, which
places five monitors in the form of a cross
, this image of the lone individual undergoing some kind of primary / primal experience becomes transformed into that of the martyr / pilgrim.
Video equipment became
- easier to use
- technically better
Niemand ist mehr dort wo er hinwollte
(No One is Where They Intended to Go), detail, 1989/90
1 DVD, player, monitor, pedestal, glasses, text
happened to be in Leipzig in the East when the Berlin wall came down. So he just did this video where he almost collages images of people going back and forth across the wall and just what was going on at the time. It counters the historical footage of the event.
Marie-Jo Lafontaine, Les Larmes d'acier [Steel Tears] (1987) video sculpture
Lafontaine is interested in looking closely at bodies, whether using the palette of skin or depicting aspects of movement.
Sculpture was used to expand video art.
Placement of monitors in series (as a wall, staggered, dispersed) became a trend.
video must be freed from the constraints of its manufactured housing
. ... It is well known that in the realm of the mind, scale is measured in ever distorting units. ... That's were I'm working, trying to
make machines that coax the viewer to engage with the transformation
." - Tony Oursler
We see more symbolic/metaphoric images involved.
(1985), Video-sculpture in Milan, room with three walls rusted, mechanical grid, shovels
Computer programmers became more involved in producing video art.
had several significant video works during the 1980s and continues to work.
The launch of MTV
- short clips
- mix of art/music/commerce
- visual patterns
- narrative becomes less important
, "Drastic Carpet" (1982)
Visual carpet. Projection of images on the floor
His aim is to detect and decode the control and power systems in our culture, and explore the role played by the mass media in this process.