VideoTrip Francesco Luciani
(Konsequenz magazine publishing contemporary music -June 2008 - directed by Jerome de Simone)
We live day fleeting and extremely fast. The daily life touches very high levels of immediacy, speed is not always reach, but has a form of hoarding recognizable face to face civil-socialized and progressed. A frantic race towards consumption, styles, and symbolic boundaries, a cocktail that Triune is not entirely negative, but still retains an aesthetic that does not strip the only fault creep, but that other less tolerable to be decided in advance and massively tax. This abruptness can be simultaneously recorded, captured and subject to interpretive manipulation, film, visual and video-recorded. The TV is a magic box colossal tired though, remains a powerful medium, clean without smearing or content or color. All mediated, anything considered, there are no pixels out of place in our home videos, domesticated and tame. The video art can be reviewed, under different lights and found gauze and barring bodies and figures as if they had never been recorded. I do not want to make way for a useless and endless re-reading of all reality, just another way of seeing. I see the chance to win small spaces, the visual and artistic conceptions of those who have fed retina and its culture of those who have no means of large techno-organic body. So to all of its portion of the video, about one inch every thirty video at home. How? A video!
same location as the cinema, photography and visual arts for the whole family, but until a break point, a breaking point and warned not overt: the video is not dependent on the media system . When discussing video art, is certainly advantageous in the first place away from the concept of medium, even if you do not adhere to one of those forms of media revisionism "deplored by those who are devoted to the spread of so-called "Media art". Moreover, it is misleading to use the term "media art" as a definition of art that takes advantage in the broadest sense of the technological possibilities and the production of electronic images, as even a "simple" image on canvas, painted in oil on wood, is media art. In addition, it can be said that a large part of the 'media art "electronic (or mostly so) legitimacy, in the outer-image and not so much the actual quality of content -, its aesthetics, meaning the video medium as a special , which in itself suggests the concepts of current avant-garde. In fact, as Ralph Melcher says, it is naive to believe that a technical or artistic medium by advanced features are sufficient to formulate a position characterized by the content edge or a position facing the future. Technical mastery in those working in the media is much higher than that of any artist, but without expressing any intention of a transformation of society, or at least the dismantling of its visual clichés.
territorial incursion of video art #
Woven from the dimension of space and time, electronic art requires special attention and sensitivity, where the perception comes to constitute itself as participation, emotional, mental, physical, to enter the viewer into the work and do also take the responsibility of the event, to link up local areas and indigenous cultures in a common language but not of the same plot.
Video installations and offer insights, suggestions, stories, myths and anxieties of today, old and new archetypes of an imaginary identity that competes in the presence of the profound transformations of the forms of communicate and think of tying the acceleration of life and technology of the modern world. The multiplicity of electronic pathways outlines a system of steps in the consideration of being and perceiving, a plot of transmigration that continually meets and beyond.
In the early Italians (or territory visual Italy), Lucio Fontana projecting bright moving through the "holes" in his first spatial concepts. Episode that takes place in an experimental transmission of the RAI in Milan in 1952, isolated, but connected to the idea of \u200b\u200bthe bottom of a vital relationship with the achievements of the new art and science of change models of cognitive and unconscious of modern man. For this artist is a television transmitter, a vehicle, a technique to use to extend their research: "Television is a medium that waited for us as our concepts of fundamentalism."
His ideas foreshadow the possibility of a television made and managed by artists: a dream that will result in the seventies utopia of cable transmission paths marked by the ideology of the counter and aimed to find a connection between art "alternative" communication and "alternative".
A few years of the pioneers of video art of the seventies take a totally different attitude: they turn to analyze the television as an object, instrument, communication structure and emission and images, sound and light, studying the potential, it reverses the particular characteristics and already standardized. The video art is constituted as a creation in continuous motion, transverse and mestizo art, deviant, innervated in linguistic processes of change and replacement: the object to immaterial, from the task to be changed, from silence to sound, the physical data the fluidity, contemplation to participation, from one country to a no-place.
For Wolf Vostell television is a tool to communicate, the emblem of the ideology of a system to combat; the artist denounces the hypocrisy embedded with its transmissions between alienating the signs of the Nazi death camps (Schwarzes Zimmer, Berlin 1958-59), it burns and destroys it when the actions of its de-coll \\ ages, it switches off, the cements, as in many versions of endogenous depression, since 1975.
For Nam June Paik TV is a mechanism for the production of luminous matter in motion, and "natural music". As such it analyzes, and modifies it supports him, draws from his internal images, sounds and effects not provided, other than those for which it was built, with a creative process that starts from the music (essential for the formation of Paik, as well as other Steina Vasulka, Bill Viola, Robert Cahen).
Before Lucio Fontana with his idea of \u200b\u200bvideo as an extension of artistic research and then the precursor Paik and Wolf Vostell, exemplify the branching of video art in mental and geographical territories that will give life, not a traditional currents, but at a Flow and indistinct images of art installations before they are creative reworking of the current reality. Indeed assimilate multimedia materials for art in this sense destructuring and restructuring mean to discuss, together, both the audio-visual equipment and rules and the traditional notion of art and the dialogue with the machine constitutes a denial of the traditional divide, bound hand and eye, which for centuries had set as a condition authenticity and value of artistic product. It radicalized path operating and mental health (and debate), with photography began in the nineteenth century, long relegated to an ancillary role of art, and then intensified by the events of experimental cinema.
neoavanguardia But if the avant-garde and had refused to know how to paint traditional art electronics recovers in a completely different practice and factuality by forcing the intelligence to set up a know-how relating to machines and devices continuously update: videos, cameras and so on all the resources of information technology, analog and digital images synthesis, virtual reality simulations, globalizing the fabric of the network.
# VideoItalia
On the occasion of the Third International Biennial of young painting: January 1970. Behaviors, Projects, mediation, held in Bologna from Barilli, Calvesi and Trini, were video recorded in a series of performances including a De Dominicis, intent on copulating with the earth on the banks of the Tiber.
Also in 1970 Louis Alders made the first color video, probably at the European level, the story incorrectly.
In the first half of the '70s, in addition, beginning in other fundamental experiences of our local video art: the Florence atelier of Art \\ Tapes \\ 22, wanted by Maria Gloria Bicocchi, which takes as its model of production Castelli-Sonnabend Collection, Centro Video art of Ferrara, d Lola Bonora founded in 1972, thanks to which Fabrizio Plessi emerge, perhaps the first Italian artist who links his name almost exclusively to the electronic medium, the Venetian gallery of Paul Cardazzo Il Cavallino, author nel1970 already a first job in video.
Art \\ Tapes \\ 22 closes its doors in 1976, Ferrara activity continues in the following decade, while the last tape of the Horse dates back to 1981.
With these four laboratories have the ability to deal with the video artists such as Chiari, Agnew, Merz, Boettger, Paolini, Calzolari, Chia, De Dominicis, Wells and La Rocca. For almost all of it is a Incidentally, for some it is only the beginning of a true path.
On the political work, also in these years, the group Videobase consisting Guido Lombardi, Anna Lajolo and Alfred Leonardi, all from the experience of experimental cinema. Among the first results under the tents, the tent (1972), prison in Italy (1973) and popular neighborhoods of Rome (1973). The videotape is considered a revolutionary tool for the ability not only to document the struggles of workers and peasants, but also to create a class consciousness. The videotape itself as a valuable weapon for counter, free eye and alternative institution than television. These appearances have been those in the current production of videos from independent and totally underground. Another figure at that time was Alberto Grifi - also in the roman character. The operation that left more the sign is Anna, made by Grifi together with Massimo Sarchielli. A video film "political" in the broadest sense of the term, and his being the document that organizes itself in narrative form under the eyes of the authors and even against their will. Anna is recording almost "live" in the daily life of a sixteen year old drug addict and pregnant, with a tragic past behind. Eleven hours are reduced to 3 hours and 45 minutes. Anna passes, background, the concept of "cinema-verite."
degli'80 The first decade. Four areas: documentary, video theater, video dance and experimentation with the computer. From Piscicelli to Segre, from Bigot to Baresi, from August to Calopresti. It broadens the base-start of video art, he outlined new areas, new ways to tell the truth: the news is constructed from the Muses with the video, with the pixel art.
from the lives of Segre gallery of the fragments of lives underground in August. Then there is the reflection on terrorism, or in a historical period just ended and too confusing and painful to enact.
Some people try the way of the story. Numerous videos of Tonino De Bernardi routes are primarily poetic initiation and intimate (like the impressive journey to Sodom), made with people who are part of everyday life of the director.
The Festival of Salsomaggiore (along with Ghezzi for Raitre) produces a series of short films in electronics that have a hint of future films: Investigation of the mess of a movie that does not exist yet Soldini is the core of which will develop The air Serena West.
For theater and dance video proves tool that can multiply and change the space-time dimension. And not just on stage but in the form of evocative scenery, but as a structuring element of the show itself (the most famous example is abstract in the room, collaboration between Barberio Corsetti and Studio Azzurro).
not appear to heresy. The video theater and the music video almost overlap. The years of greatest diffusion of both are, not surprisingly, the 1984 to 1986. From the various Raffanini, Curi Giagni, authors at the turn of the '80s - '90 As Amrogio Lo Giudice-bound to the Filmmaster clip Marco Balich, the most important music production house to see - until the new recruits: Fei, Trigari, Infascelli, Sandwiches, Capotondi, the Manetti Brothers, to name a few . In the mid-eighties the exploding phenomenon of high definition, but the historical path widens and deserves thorough discussion properly. So far the video proves revealing in many artistic hybrids that have come to create, so the video art is difficult to substantiate, but easy to grasp in its efforts to catalizzazzione perpetrated in the art world. Video art that combines visual imagery vast territories, which transforms decomposes and returns a montage of images or image-art deprived of its original structure.
# underground? What?
Within the centers of social and cultural cooperation The video is a side by side for Musa value to that of Music. What distinguishes the production video from "underground" is the autonomy and independence from any type of home production (although Recently, the self is changing the model to video-record). The video art that is born is the decline of revolutionary video purely political it has become more and more pseudo-voluntary search of new aesthetic, creating and manipulating filming the movie is a real need for those living below the crust society. The cathode ray tube along the wires of the speakers is the only recognized link artistic underground. The facilities, as a concept, have been made "practice" in urban places of socialization and social centers as far-assembly multimaterials with self-produced videos are a connubbio explosive, but definitely remains uncatalogued and is the sudden realization that exposure. You know the great potential of those people who spin everything that does not tolerate because the result is a mixture to be rejected but a "cluster" to think about.
