Video Art. Strategies of Presentation and Mediation     

May 14 - 15, 2004

University of the Arts, Bremen

imediathek Bremen

PROGRAM

Friday, May 14, 2004

10.30 - Registration

11.00 - Welcome, Prof. Dr. Peter Rautmann, Director, University of the

Arts Bremen

11.15 - Introduction, Mona Schieren, University of the Arts Bremen

I. State of the Art: Original - Concept - Format - Reproduction

11.30 - Re-viewing / Re-framing: Historicity and Context in Video Art.

Prof. Dr. Ursula Frohne, International University Bremen

12.15 - Thirty Years of Media Art by Ulrike Rosenbach  Experience in

Mediation and Reproduction.

Prof. Ulrike Rosenbach, Hochschule der Künste Saarbrücken

13.00 - Lunch break

II. New Media Conditions: Intention - Reception

14.00 - Television - Art or Anti-Art? Questions of the 1960s / 70s with an

Outlook to Net.Art since the 1990s.

Prof. Dr. Dieter Daniels, Hochschule für Grafik und Buchkunst, Leipzig

14.45 - Withdrawal as an Artform. Between Withdrawal and Representation -

The Body in Media Art.

Dr. Sabine Flach, Geisteswissenschaftliche Zentren, Berlin

15.30 - Coffee Break

16.00 - Cut / Collage / Montage. Connections between Text and Video.Prof.

Dr. Elke Bippus, University of the Arts Bremen, Dirck Möllmann, art

historian, Hamburg

16.45 - Approaches to a Curatorial Practice in the Age of the

Non-Reproducible Work of Art. On 'Re-Presentation' of Video Installations.

Iris Dressler and Hans D. Christ, hartware medien kunst verein, Dortmund

19.00 - Welcome at the exhibition »Keep the Faith!« Diana Thater - Video

Installations 1993 - 2003.

Prof. Dr. Wulf Herzogenrath, Director Kunsthalle Bremen. Parallel

exhibition at the Kunsthalle Bremen and the Museum for Contemporary Art in

Siegen, March 19 / 21, June 20, 2004

Saturday, May 15, 2004

9.30 - Welcome

III. Closed Circuit: Distribution - Dissemination - Documentation

9.45 - Form Follows Format - Tensions between Museum, Media Technology and

Media Art.

Rudolf Frieling, ZKM, Karlsruhe

10.30 - How to deliver what is asked.

Bart Rutten, Montevideo / TBA, Amsterdam

11.15 - Break

11.30 - Preservation of 'unstable media' - Open Systems?

Rens Frommé, V2_, Rotterdam

12.15 - The Digital Mystique: Video Art, Aura and Access.

Lori Zippay, Electronic Arts Intermix, New York

13.00 - Lunch break

IV. Open Source: Perspectives of Mediation

14.00 - Between Event and Structure: The Database as Crystallization.

Prof. Dr. Gregor Stemmrich, Hochschule für bildende Künste, Dresden

14.45 - En construction. iMediathek.

Mona Schieren, Jean-François Guiton, University of the Arts Bremen,

Thierry Destriez, Heure Exquise, Lille

15.30 - Break

15.45 - T_Visionarium; the aesthetic transcription of televisual databases

Dennis del Favero, iCinema Centre for Interactive Cinema Research at the

University of New South Wales, Paddington

16.30 - Outlook, Prof. Jean-François Guiton

17.00 - End of the symposium

As an art medium, video has transformed the perception of artistic practices since the late 1960s. Under the influence of new image technologies not only the formal aspects of presentation have changed, but

also the conditions of reception have also been affected by this radical transformation of representational modes. Video art has played a central role in international museums and survey exhibitions since the 1960s.

Beyond their temporary visibility in changing contexts of presentation however, video works are often insufficiently documented.

Which perspectives can be developed to make the time-based, acoustic and often also installative characteristics of video art accessible for the scholarly discourse and within the Academy? Are models of decentralized mediation conceivable besides commercial distribution systems of video art that do not play off artists' justified claim for gratification against growing research interest? Which methods are emerging in order to open up the closed-circuit of the art system for discursive approaches?

As programmatically reflected in the borrowed title from Dan Graham's video installation »Present Continuous Past(s)«, the symposium is dedicated to central questions of the presentation and reception of video art, particularly its spatial and temporal dimensions. The conference offers a forum for international scholars, curators, artists, experts and distributors a forum to develop joint future-perspectives and to open up new ways of communication.

I. State of the Art: Original - Concept - Format - Reproduction

The principle reproducibility of video material raises questions concerning the status of the 'original', authorship, and conceptual authenticity. Which are the transformations that the notion of the artwork

is subjected to and how can useful models of reception be developed, allowing for an inclusion of visual material concerning historical positions into the discourse?

II. New Media Conditions: Intention - Reception

Video art is often presented in immersive accessible projection spaces. In which way does the relation between the artist's intention and the viewers' reception change when a multiple-channel video installation is made retrievable accessible as surrogate version on the computer?

III. Closed Circuit: Distribution - Dissemination - Documentation

Internet-presentations are currently booming as public platforms for artists' works. Such decentralized forms of publication counteract in principle the closed-circuit of the monopolizing art system. Which forms

of appropriate distributions for video art could be developed, that would fulfil the demands of scholarly research without neglecting artistic claims and economic interests?

IV. Open Source: Perspectives of Mediation

It is essential for the reception of video art to have access to the works without major constraints. Other visual art genres, painting or photography, are retrievable accessible via reproductions in the print

media. Still images or installation photographs however, cannot give an appropriate idea of works, which are usually based on moving images and variable projection levels. Which presentational forms can be thought of to make video works accessible to scholarly analysis in the long term?

iMediathek

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