Video Spaces : Eight Installations (2024)

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There has been always an interest from artists in the study of optical phenomena beyond the framework of classical media, such as film and video, considering the aesthetic possibilities of filmmaking. The expanded concept of media art makes the boundaries of the transmission of the image itself obsolete and provides another means of expression and interpretation in the artistic process, for example, in media installation art. The invention and search by the viewer of spatial and temporal contexts within an organism undergoing transformation acquires the status of the creative process, and is configured as the exhibition itself. This shift completely reconfigures the role of the spectator, developing his own spectacle in his wandering throughout the installations of the works of art. Therefore, and due to the transfiguration of the spectator, we find immanence where the audience now becomes the spectacle and produces spatial and temporal context. This paper will address issues of time and place in the representation and presentation of time-based media works of art. We focus on case studies of artists who explore filmic languages in their work, like Doug Aitken, Stan Douglas and Gregory Chatonsky.

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Contemporary art more and more frequently takes the form of a visual or audiovisual event rather than a permanent, stable object – an artefact. Today we increasingly encounter alongside film, the first artistic medium based on moving images, and its continuation – video, various forms of interactive media. As a result of the coexistence of these media, the temporal dimension of the work-event assumes one of two forms. In the first form, the work is linear in structure. Its time span poses a challenge to the traditional relationship between the addressee and the work of art. The addressee should in this case be aware of and accept the fact that it is not he or she who determines the time frame needed to experience a work of art, but rather the work itself. That failure in respect to this principle robs him or her of the possibility of truly experiencing the work. This challenge is one of acceptance and adaptation. In the second form, the work is nonlinear in structure. Here the temporal relationship between viewers and the work is determined by their mutual relations – that is, through a process of interaction. It is this interaction – with the event replacing the objective artefact – that in fact constitutes the experience of the work. In this case, the addressee's attitude cannot be reduced to a simple reaction to the temporal form of the work. But it is also not solely dependent on his or her decisions. It is the result of mutual cooperation between the two sides – the addressee and the work. This challenge is one of participation and cooperation. While the first type of work has found a home in the museum world thanks to the process of videofication the art world has been undergoing since the mid-1990s, pioneers of which include Nam June Paik, Bill Viola and Matthew Barney. The second type has only just begun to make its way into museums. In this chapter, I intend to propose a typology of interactive film and consider how the fates of these different varieties are tied to the institution of the museum, as well as what other environments could serve as a space for presenting it.

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Publication presented on the occasion of the Contemporary Art Conservation Student Projects 2020-2021 presentation: <i>Ciprian Muresan: Installation Art Research Exhibition</i> celebrating the results of the Contemporary Art students of the Conservation and Restoration of Cultural Heritage programme at the University of Amsterdam (UvA). In addition to case study details in the research exhibition, this publication contains student papers and thesis abstracts written as part of the second year of the master programme in the academic year 2020-2021.<br>

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Video Spaces : Eight Installations (2024)
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