Tag Archives: videoarte

Exploraciones: Video


Soundings by Gary Hill


This video shows the relationship between motion and sound.

“In Soundings, conceived by Hill as a work for broadcast, the found object of a loud speaker becomes the source for a sequence of image/sound/text constructs. A series of what Hill terms “processual rituals” ends with a text “from” the speaker, in which it describes its electronic, changing state as a relationship with the viewer. As Hill speaks about touch and sound in an extrapolated monologue, he buries the speaker in sand, drives a spike through it, sets it on fire and pours waters onto it.” [2]

“Soundings is a meditation on the phenomenology of sound, the translation of image into sound and sound into image through a series of experiments on an audio speaker. The speaker delivers sound both audibly and visibly, with the camera revealing the minute vibrations of the speaker’s cone. Referring to the cloth covering of the speaker as a ‘skin’, Hill intones, ‘This is the skin of space where I voice from’. The materialized voice is clearly an extension of the artist’s intention. Hill proceeds to bury, puncture, burn, and drown the audio speaker in an effort to physically alter or overwhelm the sound coming out of it, the sound of his own voice. Each carefully constructed experiment explores the confluence of sound, image, and text, suggesting a kind of concretized poetry or ‘electronic linguistics’.”


Mediations by Gary Hill


Mediations, (toward a remake of Soundings) Gary Hill, 1979-86, 4:17, color, sound

The videos of Gary Hill have consistently utilized his own writings and others’ texts to explore our confidence in this extension of the still photograph. In Mediations (toward a remake of Soundings) 79/86 he takes this genre to another level with a video image of a speaker being filled with sand while it tries to speak. The muffled words we hear—Hill’s own writing—are recorded coming from the increasingly dysfunctional speaker. In this piece the hands of the artist himself manipulate and distort our access to words he presumably needs us to hear. The image we see extends the meaning of his text, but it also creates a visual analog for the value of indirection and distraction in art.—Rod Slemmons, Museum of Contemporay Photography, Chicago, Il.


Milch by Carsten Nicolai



“the basis of milch (milk) is a series of experiments, which examine the relationship between order and disorder by means of a surface of liquid that is under the influence of different frequency-oscillations. in the test series, milk was exposed to sinus waves ranging from 10 to 150 hz. sound, almost imperceptible to the ear, appears in this test series as a permanently moving visual structure. herein the direct interrelation between acoustic signals and visual patterns becomes visible. lower frequencies make liquids start to move. dependent on the frequency, different patterns of movement appear. this complex phenomenon causes an interaction of regular and chaotic patterns that can also be compared with acoustic signal interference in a three-dimensional space.”


Down burn: Mary Lucier


Lucier’s seven channels of landscape video imagery record seven consecutive sunrises over the East River in New York. Aligning the horizon with the bottom edge of the television frame, Lucier videotaped the sun’s gradual elevation. As its luminosity grew to exceed the video camera’s tolerance level, the sun burned a spot in the camera tube. This left the camera’s tube, and the videotapes made with it, indelibly scarred. Lucier embraced this “flaw” for its lyricism and documentary quality.

The seven tapes are shown on seven monitors, each slightly larger than the one before, presented in an obelisk-like structure, emphasizing the efflorescence of light and suggesting a relationship between the video medium and environmental resources.


Lectura:Inventar el futuro: Arte electricidad nuevos medios

Inventar el futuro: Arte electricidad nuevos medios
Edward A. Shanken


Referente: Ann Hamilton


<p><a href=”https://vimeo.com/83698717″>MFA VS Lecture: Ann Hamilton</a> from <a href=”https://vimeo.com/pnca”>Pacific Northwest College of Art</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>


<p><a href=”https://vimeo.com/57463725″>the event of a thread</a> from <a href=”https://vimeo.com/pauloctavious”>Paul Octavious</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Referente: Marcel Odenbach

Marcel Odenbach: movimientos quietos
5 de Febrero de 2015. 5:30 pm – 27 de Abril de 2015. 6:00 pm
BOGOTÁ, Museo de Arte del Banco de la República, Piso 3
Marcel Odenbach: movimientos quietos

Curaduría: Matthias Mühling

El artista Marcel Odenbach: movimientos quietos incluye una selección de catorce obras que despliega un panorama de la obra entera del artista y dibuja un retrato analítico y emocional del ser humano en la sociedad globalizada. Marcel Odenbach (Colonia, Alemania, 1953) trabaja con video en instalaciones y acciones performáticas. Estudió Arquitectura, Historia del Arte y Semiótica en la Universidad Técnica de Renania Westfalia de Aachen, Alemania. Es un artista pionero del videoarte y, junto a Ulrike Rosenbach y Klaus von Bruch, uno de los videoartistas alemanes más reconocidos mundialmente. Desde la década de los años setenta ha ejercido una influencia decisiva en el desarrollo del video y en su potencial para el impulso de una visión crítica de la sociedad y del pasado alemán. Esta perspectiva —que en sus inicios fue nacional— se amplía a principios de los años noventa hacia un enfoque internacional.

Entrada gratuita.

Referente: Nam June Paik

SATELLITE ART: AN INTERVEW WITH NAM JUNE PAIK Fuente: http://ekac.org/paik.interview.html
by Eduardo Kac

Kac – The relationship between art and new technology is as old as art itself. How do you see this relationship?

– This is, in fact, a very old relationship. The Egyptian pyramids are the first example of a combination of high art and high tech, because they used many of the cutting edge technologies of the time. Their culture was very well developed. They had chemical industries (which produced colored pigments for painting), advanced building techniques, sophisticated security systems (to prevent invasion of the sacred spaces), and efficient mummification processes for the preservation of the human body, among other things. Today, new technologies can be used in art in two basic ways: in the fine arts and in the applied arts. Fine art is art for art’s sake, in which I identify a kind of extension of conceptual art, according to which the concept is the context and the context is the concept. The context is the content; the content is the context. This means that the fine arts have always been interested in the new horizons of possibilities. When Picasso created Cubism, he did so because he was tired of Impressionism. Monet created Impressionism because he was tired of Academicism ÜÜ artists have always been interested in the new sensibility, in exploring new possibilities. Since today we have satellites, we want to use them, discover what we, artists, can do with them. We want to try something new, in the tradition of Monet and Picasso. These same instruments (satellites) are used in the applied arts, which are essential to humankind because they are useful in everyday life. But there is also the military use of satellites. We want to use satellites for pacifist purposes, such as the performance arts, rock’n roll, dance, etc.; and we can make simultaneous transmissions between Rio de Janeiro, New York, Seoul, Bonn, Tokyo, Moscow and many other cities. It is clear that the applied arts are directly related to people’s activities, but the fine arts are more meaningful than the applied arts.

Kac – You have a strong musical background. In 1956 you studied music at the University of Munich and at the Music Conservatory of Freiburg, in Germany. In 1958 you worked in Cologne, in the Rundfunk Electronic Music Studios, where Stockhausen also worked. In your telecommunication events you often include performances of rock’n roll or pop music. How do you relate music and video?

– MTV’s videoclips have already shown that there is great intimacy between sound and image. People are used to these electronic collages. If you compare them to the underground films of the ’60s, you will find lots of common traits, such as abrupt cuts and unusual angles, among other characteristics. MTV is not the only approach to the issue of sound-and-image, but it is an interesting solution, which has contributed a lot to the development of a “visual music”, and to video art. I believe that Laurie Anderson’s work, for example, is very important, because she bridges the gap between “low culture” and “high culture”. The standards of “low art” are being raised dramatically. When Elvis Presley appeared in the ’50s, fine artists did not appreciate his work. But when the Beatles appeared, in the ’60s, fine artists admired and respected them. I see a major change under way. As opposed to Presley, who was a driver, musicians like David Bowie or David Byrne are educated, well-informed people, with solid backgrounds. They admire Marcel Duchamp and other important artists. A visual artist can talk to them at the same intellectual level because they were visual artists before turning professional musicians. But there is no reason for them to create high art, anyway. There are always artists focused on this kind of work, like Ray Johnson and the members of Fluxus, among so many others.

– One of the trends of high tech art is the integration of multiple media. Do you believe that video and holography will ever cross paths? What is the future of high tech art?

– Holography, which is very different from video, is the next horizon. I’ve seen excellent holograms in the Museum of Holography, and, in fact, new discoveries are made in this field every day. A single hologram contains a lot of information, which means that magnetic tape will not be used as storage medium. Most likely, optical recording systems, such as compact disks, will one day store holographic images. Artists creating high tech art must be careful not to fall into the decorative trap. They must prevent the high tech from overpowering the art. If we can avoid this danger, then it will be all right.

– Your first large-scale telecommunication art event was “Good Morning Mr. Orwell.” Then came “Bye Bye Mr. Kipling.” Now it is “Wrap Around the World.” How does this third piece complement the others?

– The first work was not about communications between East and West, it was a link between France and the United States. The second focused exactly on that; the link was between Korea, Japan, and the United States. Now I want to create a link that involves the whole world. This is the main difference. The second difference is that we are working now more with popular arts than with high art performances. It is a big risk to create a live television show in such a large scale with high art only, because television is an entertainment medium and we have to be careful. We have to be a little conservative to minimize the risks of a transmission between several continents. I am not saying that we are not creating high art, but that we are creating a new high art with new materials. We are using these new materials to work with the temporal element of the popular arts, the rhythm, which is so important in video art. This is my last satellite show, but it is also the beginning of a larger satellite movement of the future.