Academic literature on the topic 'Festival for Contemporary Video Art'
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Journal articles on the topic "Festival for Contemporary Video Art"
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.
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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the intermedia works in order to reach either aesthetic value or financial value. There is a myth that intermedia art isn't a profitable collectible item, so when an artist uses the medium it was considered an artwork made for fun.
In this research, the writer will analyze small screen exhibition on one of the largest contemporary art exhibition in Yogyakarta, ARTJOG. The research method used was qualitative with literature, archive, and interview approach. Hopefully, this research will be a good discourse between moving image and fine art.
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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (March 1, 2022): 38. http://dx.doi.org/10.3390/arts11020038.
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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
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Bakirov, Vil, and Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space." Perspektywy Kultury 41, no. 2/2 (June 29, 2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.
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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.
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Couret, Nilo. "Under Fyre: Debt Culture in the Streaming Era." Film Quarterly 74, no. 1 (2020): 57–63. http://dx.doi.org/10.1525/fq.2020.74.1.57.
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FQ contributing editor Nilo Couret uses the Fyre app, the Fyre Festival, and the dueling documentaries about Fyre—Fyre Fraud and Fyre: The Greatest Party that Never Happened—to map the landscape of contemporary debt as it intersects with new media (i.e., mobile app development, social media advertising, and streaming platforms) and account for the theoretical and political implications of indebtedness. He concludes that streaming platforms are akin to social networks, video-sharing platforms, and online publishers both because of the relentless pursuit and monetization of our attention as well as an economic viability sustained by debt.
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Barghouti, Dia. "Exploring Ibn ‘Arabi’s Metaphysics of Time and Space in Sufi Ritual: the ‘Issawiya Dhikr of Sidi Bou-Sa‘id." New Theatre Quarterly 36, no. 3 (August 2020): 237–48. http://dx.doi.org/10.1017/s0266464x20000445.
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This article examines the relationship between medieval Islamic philosophy and contemporary Tunisian Sufi ritual. Focusing on the metaphysics of time and space in the writings of the twelfth-century Andalusian saint Muhyiddin Ibn ‘Arabi, the author explores the dhikr ritual within the framework of Sufi ontology in order to highlight the relevance of Islamic intellectual history to the religious practices of the ‘Issawiya Sufi community. The dhikr is one example of many indigenous performance traditions that are part of the rich cultural life of Tunisia. These are spaces where adepts engage with complex philosophical ideas through embodied performances. Thus, Sufi rituals raise important questions about the relationship between theory and embodied practice, which, although grounded in a particular cultural context, could be of relevance to the broader range of theatre. Dia Barghouti is a playwright and PhD candidate in the Department of Theatre and Performance at Goldsmiths, University of London. Her plays have been performed at the Ashtar Theatre, the SIN festival of video and performance art, and the Khalil Sakakini Cultural Centre, all in Ramallah, Palestine.
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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.
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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Beltran, Myra, Angela Conquet, Christo Dougherty, Athena Mazarakis, and Roselle Pineda. "New Research." TURBA 1, no. 2 (September 1, 2022): 39–79. http://dx.doi.org/10.3167/turba.2022.010205.
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The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreography and the Moving Image, proposed the term filmic performance as a “comprehensive term incorporating all aspects of cinematic production, so that the choreographic quality of the dancefilm can be considered in relation to both the profilmic and filmic elements” (2011: viii). The profilmic here refers to that aspect of the initiative that coincides with the live event, the writing on the dancing body. The filmic elements are those that considered how the responsibility for this was assigned to both artist and video mentors and editors. A third level of performance discussed here is that at which these works were rolled out online, and in particular on social media platforms. The performative aspect of this eff ort will be fleshed out and will touch on the curator’s responsibility as they navigate the terrain of social media.The Gates of Discomfort: Making Contemporary Dance PresentThis article critically examines the state of dance-specific curatorial practices and, more specifically, the underlying politics of choosing what bodies are seen on stage. I argue that dance presenters directly perpetuate Eurocentric bodily imaginaries by anchoring their curatorial choices in flawed interpretations of the “contemporary.” By favoring the conceptual over the representational, and by dismissing referentiality and signification, dance presenters relegate differences of technique, temporality, and bodily situatedness to the realm of tradition, thus actively contributing to deterritorializing the corporealities of contemporary dance and to excluding a whole range of embodied subjectivities from the stage. This article invites presenters to consider self-reflexively unchecked programming behaviors and their curatorial praxes more broadly.A Rural Dance Festival in the Palm of Your Hand: My Body My Space Translated onto WhatsApp during COVID-19In 2021, aft er a year’s hiatus due to the COVID-19 pandemic, the annual My Body My Space Public Arts Festival in South Africa, was relaunched in a radically different online form. Under the lockdown conditions of 2021, the festival was presented exclusively through the WhatsApp messaging application, running on a “behavioral chat platform” originally developed for public health text messaging. The experience of launching the festival into this new medium led to several unexpected insights, notably the specific affordances and limitations of the chosen online platform, an expanded understanding of the “interactivity” possible with online communications, and the digital empowerment that the process offered to practitioners who were mentored through the process of online translation. At a theoretical level, the experience of My Body My Space as an online festival also challenges the dichotomy between the relative status of performance and documentation in live arts.Merging Asynchronous Sounds into Synchronous Voices: Reimagining Gatherings through the Process of Making the Adow ne Domaget 2020 KKK Radio Program-Festival in the Time of Physical DistancingWhen COVID-19 was officially declared a pandemic by the World Health Organization, the world as we know it came to a halt—and along with it, many communities, especially among the remote Indigenous peoples, were isolated. This article outlines my process of creative collaboration with the Dumagat Indigenous peoples’ community in Dingalan, Aurora in making and presenting the Adow ne Domaget 2020 KKK (Kuwento, Kultura at Kalusugan sa Katutubong Komunidad) radio program-festival during the COVID-19 lockdown in the Philippines. Highlighting the method of saluhan—a Filipino term meaning “to catch each other,” “to share,” and “to gather”—in collaborative making, I will provide insights on the role of an immersive and fluid curatorial practice in reimagining places, moments, and acts of gathering and collective action, in bringing out the stories and the voice of the community, in the time of lockdown, distance, and forced isolation.
Dissertations / Theses on the topic "Festival for Contemporary Video Art"
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Bernardi, Donatella. "Arts festival as a global cultural product." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.
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In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control the reach and impact of an event, which is also the case with an artwork and its interpretation. In this thesis, I am creating a confrontation between what is usually described as abstract thought (a work of philosophy for example) and the production of contemporary art, which is so often culturally and economically dependent on the art market and hegemonic power structures such as institutions, as well as the apparatus of historians and experts to evaluate and legitimise it. Furthermore, it is also necessary to state my understanding of art. This latter has strong propinquities with that defined by Kant when he coined the term 'fine art', namely a cultivated, context-aware and sensitive art, one's reflection on which provides pleasure exceeding the pure enjoyment or satisfaction produced by erudition or technical virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a collective, group or organisation of which I am part. Consequently, what unfolds is an organisational discourse originating in my praxis of art. Finally, the very fact that I am a member of the group of people whose activities are discussed leads logically to autoethnography, a field of inquiry that I am also contributing to.
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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.
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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.
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Bennie, Christopher. "Video Art, Authenticity and the Spectacle of Contemporary Existence: an exegesis." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365684.
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Edmond Husserl’s notion of ‘first sense’ experience is a phenomenological and
experiential interpretation of the world based on immediate pre-theoretical and precognitive
reflection. For Husserl, the apperception of the world using ‘first sense’
presupposes any scientific or theoretical understanding of it and presents a more
meaningful and truthful experience because it is based on the fact of being. Authentic
experience, in this exegesis, is considered a form of immediate and intuitive
experience in which the certainty of the ‘first sense’ world contrasts to the obedience
and homogenising effects of the spectacle and consumer society. For Guy Debord
(1967) and Jean Baudrillard (1970) consumption and production combined with the
omnipresence of mass media and advertising in contemporary existence is the
source of debilitating and homogenising behaviour. The monotony and regularity of
the work place, the separation of individuals through the comfort of television and the
focus on the accumulation of goods that is commonplace counteracts immediate and
intuitive experience and desecrates authentic living.
This exegesis examines how the video works of two international artists, Anri Sala
(2002) and Francis Alÿs (1999), and a selection of my own videos communicate the
concept of authentic experience by exploring familiar and unremarkable subjects.
The research hypothesises that although contemporary patterns of existence
subsume individual behaviour for economic gain (as theorised by Debord and
Baudrillard), authentic experience, in terms of immediate and ʻfirst senseʼ experience
is a primary source of meaning. The work of Bill Viola is used in this research to
contrast the use of video by Alys, Sala, and myself. Viola’s work demonstrates,
through its theatricality, high production values and grandiose themes, concerns that
are otherworldly and metaphysical as opposed to the immediate and of essentially
human character of the works that are central to this discussion.
By using the visual language of television and other time-based entertainment, video
has the ability to focus on individual and specific circumstances and spontaneous
behaviour in ways that viewers can easily recognise. Video art, paradoxically,
highlights the affect that technology, consumerism and homogeneity has on
individual experience through technology itself. In the videos of Sala and Alÿs,
natural, or actual, time, evidenced by the passing of the sun over billboards (Sala)
and Mexico’s City’s square (Alÿs), reveals social and political circumstances as well
as our relationship to a much larger cosmological system. My videos aim to
demonstrate authentic experience in the form of an immediate and intuitive response
to banal events, whereby the familiar is dislodged from its role as an apathetic
misnomer to the Spectacle through the combinatory use of video, audio and
performance.
The majesty of ordinary experience is revealed in my videos through expressions of
bashfulness, giggling, and waving in The Quick Step (2005), the rupturing of a cyclic
and repetitious sequence in When The Rain Comes (2007), highlighting consumer
behaviour and disrupting its rhythm through the use of play in Name That Tune
(2006), the use of audio to induce a sense of self-awareness in the viewer in Our
Communication Recorded (2006) and by displacing recognition with a mesmerising,
non-distinct form in The Alien’s Back (2007).Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Nogueira, Julia C. "Film and Video Festivals in South America:A Contemporary Analysis of Flourishing Cultural Phenomena." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1230612139.
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Macindoe, Annie C. "Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119695/1/Annie_Macindoe_Thesis.pdf.
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Melancholy and the Memorial: Representing Loss, Grief and Affect in Contemporary Visual Art is a practice-led project that explores how contemporary art can respond to the limitations of traditional forms of language in the representation of trauma, loss and grief. The project reflects on the work of theorists and artists who also explore the ineffability of these memories and experiences. The creative outcomes have investigated how text, moving image, sound and space can be combined to reframe the dialogue around public and private expressions of trauma and open up discussion of the potential for shared, affectual experiences through art.
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Pinaka, Anna-Maria. "Porno-graphing : 'dirty' subjectivities & self-objectification in contemporary lens-based art." Thesis, University of Roehampton, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.749383.
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Through my PhD thesis, ‘Porno-graphing: ‘dirty’ subjectivities & self-objectification in contemporary lens-based art’, I use the term ‘porno-graphing’ to group together and examine lens-based artworks where artists use as art-material sexual situations or sets of sexual dynamics present in their life independently of their art practice. I consider how artists act upon these sexual situations in order to make art out of them, the art-results they produce and their means of sharing them with audiences. I argue that the artists whose work I examine, use sexual situations that can potentially be perceived as ‘taboo’; for example Leigh Ledare involves incest-related dynamics in Pretend You Are Actually Alive and Kathy Acker with Alan Sondheim implicate child-sexual subjectivities in the Blue Tape. I argue that they choose and use these situations to self-submit into the ‘dirtiness’ of their sexual and artistic subjectivities and in doing so to negotiate how subjectivity is produced. To do so, they use visual vocabularies of autobiography to self-objectify into roles as both artists, e.g. assuming positions such as the white male pornographer-exploiter (the work of Ledare) and as sexual subjects, e.g. ‘perverted’ or hyper-sexual objects of desire (the work of Lo Liddell). In embracing these roles they create ‘intensified encounters’ (Edelman & Berlant, 2014) between the artist, the art-object and the viewer, to interrogate ‘normative’ and ‘antinormative’ patterns of meaning-making and value-attribution regarding subjectivity and art.
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Zhang, Ruiqi. "Parallel Narrative: Short-Video Social Media Platforms’ Influences on Contemporary Narrative." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5935.
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Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.
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Andersdotter, Sara. "Choking on the madeleine : encounters and alternative approaches to memory in a contemporary art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7841/.
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This practice-based thesis proposes radical, critical, creative reconsiderations of memory and how the mnemic may be expressed in art practice. The research took place through developing a series of works within contemporary installation art practice, which considers the experience of memory an abstract, affective event. The thesis confronts the typical assumptions and ocularcentric misconceptions that the mnemic is a visual phenomenon. It challenges presumed relationships between photographs and memory then asks: How may notions of memory be re-examined through art practice so as to allow alternative expressions of memory to emerge? After the critique, the thesis offers an alternative concept of memory that may be incorporated into art practice: the memory-event. The concept emerged through my art practice alongside engagement with the writings of philosophers Henri Bergson, Gilles Deleuze and Felix Guattari, and contemporary theorists such as Simon O’Sullivan and Brian Massumi. The inquiry utilises O’Sullivan’s framework as a method towards parallel critique and creation in contemporary art practices; these counter existing forms of thought. The framework includes seven Deleuzean concepts applied in rethinking memory: the encounter, affect, the production of subjectivity, the minor, the virtual, the event, and mythopoesis. The thesis adopts this approach, and demonstrates how the memory-event developed through phases of research. Firstly, the thesis establishes and critiques prevailing ideas and expressions of memory. It then defines the methods and theories to disrupt existing assumptions of the mnemic, showing how the defined methods and theories were applied in reconsidering and posing alternatives to established assumptions. Included is a visual and textual portfolio of work exploring the ideas of memory produced in my art practice. The implications of this research for art practice constitute, through the mobilisation of the memory-event, potentials for liberation from the constraints of representation and common assumptions of memory. This produces innovative expressions of the mnemic experience, and continues to challenge ways in which memory is considered.
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Charlesworth, Amy. "The 'video-essay' in contemporary art : documenting capital and gender for the 21st century." Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6338/.
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This thesis examines how the term ‘video-essay’ or ‘film essay’ has gained particular momentum in contemporary art practice and theoretical debates throughout the past twenty years. Speficially, I examine the work of Ursula Biemann and María Ruido. The thesis plots how the ‘genre’ is considered to have emerged through a post-structuralist framework. Feminist and post-colonial praxis initiated an important critique of the documentary project from the late 1960s to the early 1980s. Much of this criticism sought to re-ignite the active qualities latent in the technologies of lens-based mediums: qualities considered to be hidden, or dealt with uncritically in the documentary paradigm. A focus on construction, and a distrust of the ‘reflective’ capacities of the camera to record the real gave way to the mode of the ‘fictive’ and an interest in ‘discursive formations’. Fictive devices were implemented in order to give attention to maligned, purposefully obscured, or not-yet written histories, operating in place of absent ‘official’ documentation. This thesis argues that the term video or film essay is better conceptualised through a broader, yet nuanced enquiry of the documentary as it has unfolded throughout the twentieth and twenty-first centuries. The case studies in this thesis are part of a wider array of works that privilege, once more, the recording capacity of the camera (both analogue and digital), its social purpose and thus potential strategy to enforce change. I explore how these practices straddle, and re-kindle the familiar debates around utility and formal reflexivity in the ‘documentary turn’ of critical art production in the twenty-first century. The chosen themes of the works under analysis speak to the tension ever-present between form and content, text and context. Here the camera is used to render visible the concealed heterogeneous strands of labour. I evaluate how this practice is specifically apt for exploring the dialectic of waged/un-waged labour, undertaken historically by women. The works consider how female ‘migrant’ labourers are most ‘useful’ and ‘profitable’ to neoliberal capitalism. The manner in which bodies interact with the abstract flows of deregulated capital and electronic communication, has contributed to a need for re-cognition of the social world. Artists aiming to understand the power of the visual under these reordered circumstances have had to negotiate the vicissitudes of truth once more. I argue that the capacity of the document to provide knowledge and to track lived realities, has made it a dependable and useful form once more. Its contentious past is and must be acknowledged, as such debates have re-written our understandings of what the document is, should, and might be.
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Handran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.
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Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.
Books on the topic "Festival for Contemporary Video Art"
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Ander, Heike, Tasja Langenbach, Jennifer Gassmann, Olaf Stüber, and Judith Halberstam. Videonale.15. Berlin: Revolver Publishing, 2014.
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Fiorese, Silvana. Lo schermo dell'arte 10 years: Between contemporary art and cinema. Firenze - Italia: Giunti, 2019.
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Indonesia, Galeri Nasional, ed. Ok. video: Jakarta Video Art Festival 2003. [Jakarta]: Ruangrupa, 2003.
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Biri︠u︡kova, Dasha. Festivalʹ Videofocus: Videofocus Festival. Moskva: Gosudarstvennyĭ t︠s︡entr sovremennogo iskusstva, 2013.
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(Organization), Intothepill, and Synch Festival, eds. Intothepill: Greek contemporary video art. Athēna: Futura, 2009.
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Museum, Solomon R. Guggenheim, and Museo Guggenheim Bilbao, eds. Haunted: Contemporary photography, video, performance. New York, N.Y: Guggenheim Museum Publications, 2010.
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1957-, Rugoff Ralph, and CCA Wattis Institute for Contemporary Arts., eds. Irreducible: Contemporary short form video. San Francisco, Calif: California College of the Arts, 2005.
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Arellano, José Carlos Mariátegui. Perú/video/arte/electrónico: Memorias del Festival Internacional de Video/Arte/Electrónica. Peru]: Alta Tecnología Andina, 2003.
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Germany) Videonale (17th 2019 Bonn. Videonale. 17: Festival für Video und zeitbasierte Kunstformen = Videonale. 17 : festival for video and time-based arts. Köln: StrzeleckiBooks, 2018.
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Museum of Contemporary Art (Sydney, N.S.W.), ed. Video logic. Sydney: Museum of Contemporary Art, 2008.
Find full textBook chapters on the topic "Festival for Contemporary Video Art"
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Makhoul, Bashir. "Palestinian Video Art and the Fluxus of Globalization." In The Routledge Handbook of Contemporary Art in Global Asia, 115–26. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-12.
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Makhoul, Bashir. "Palestinian Video Art and the Fluxus of Globalization." In The Routledge Handbook of Contemporary Art in Global Asia, 127–39. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-13.
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Untiks, Inga. "Performing Identities and Convergent Aesthetics in Contemporary Estonian Video Art." In Göttinger Schriften zur Englischen Philologie, 65–76. Göttingen: Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2021-1700.
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Song-yong, Sing. "The Eyes of Archives: How Contemporary Taiwanese Video Art Set Off a Revolt Regarding Japanese Colonial History." In The (Im)possibility of Art Archives, 165–80. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_10.
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Piekut, Benjamin. "Black Music’s Institutional Critique." In New Music and Institutional Critique, 101–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_6.
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AbstractTo consider institutional critique within the music field requires some alteration of its fundamental terms, because music had developed a second aesthetic system surrounding Black art and had institutionalised it much earlier than modern or contemporary art had. This de-universalisation of the European fine arts has consequences for the theory of critique. Black music’s governing institutions in the 1960s were the recording label, the night club, the summer festival, and the mass periodical, and artists such as Charles Mingus, Bill Dixon, Rahsaan Roland Kirk, Ornette Coleman, Don Cherry, and Alice Coltrane worked to confront, evade, and change them. Black musicians were more likely to build institutions than to destroy them, a mission shared by adventurous groups like the AACM and conservative ones like Jazz at Lincoln Center. The critique of traditionally racist cultural formations by historically oppressed people was often delivered through hard-won participation, not abandonment.
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Valenzuela, Sebastián Vidal. "Festival Franco-Chileno de Video Arte:." In Encounters in Video Art in Latin America, 163–80. J. Paul Getty Trust, The, 2023. http://dx.doi.org/10.2307/jj.4908220.11.
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"Video, the Other Newcomer." In How Photography Became Contemporary Art, 125–43. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1fx4hqk.12.
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"New Media in Transition: Photography, Video and the Performative." In Contemporary British Art, 195–253. Routledge, 2012. http://dx.doi.org/10.4324/9780203715468-10.
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"Salvatore Totino (Commercial/Music Video)." In Contemporary Cinematographers on Their Art, 225–36. Routledge, 1998. http://dx.doi.org/10.4324/9780080503004-17.
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"The apotheosis of video art." In Re-envisioning the Contemporary Art Canon, 141–53. New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315639772-15.
Full textConference papers on the topic "Festival for Contemporary Video Art"
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Abarca-Martínez, Inmaculada, and Elizabeth Ross. "La naturaleza del confinamiento: un espacio para la comunicación en red." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15483.
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Durante la pandemia Covid19, la humanidad ha estado sujeta a diferentes grados de confinamiento alterando para siempre nuestras expectativas de vida sobre el planeta. Estas circunstancias abrieron numerosas puertas a la reflexión, favoreciendo que observáramos nuestra propia existencia, tanto individual como colectiva, con otra mirada. El arte -como disciplina de conocimiento- ha permitido a un gran número de artistas abordar estas cuestiones desde un ámbito creativo, ofreciendo soluciones a la distancia interpuesta por el virus, y descubriendo en la red nuevos vínculos y espacios para la expresión. Con el objetivo de tejer redes de creación y abrir nuevas vías de comunicación, la comisaria y artista Elizabeth Ross convocó a artistas originarias de ocho países, para hacer visibles sus experiencias personales durante el estado de contingencia mediante la disciplina del video. En Contingencia (2020) artistas de varias partes del mundo comparten su experiencia. Entre ellas las mexicanas Amanda Gutiérrez desde Abu Dhabi (Emiratos Árabes Unidos); Paola Paz Yee en Bahía de Banderas (Nayarit); Alejandra Ruvalcaba desde el Estado de México, las artistas Elizabeth Ross, María Campiglia (Argentina) y la portorriqueña Jeannette Betancourt desde Ciudad de México. Mercedes Fidenza desde Cerro Colorado (Córdoba, Argentina); las costarricenses Anna Matteucci y Lucía Madriz, esta última desde Alemania; Sandra Petrovich desde Montevideo (Uruguay); desde Montreal (Canadá) Christine Brault; desde España: Yolanda Relinque (Estepona, Málaga) e Inmaculada Abarca (Xàtiva, Valencia), y desde Columbus (Ohio, EEUU) la colombiana Aleha Solano. El proyecto ha sido expuesto y presentado en línea en las revistas mexicanas El rizo robado y Antidogma, comentado por Mónica Mayer, así como en el Museo de Mujeres de Costa Rica, en el NewMediaFest2020 Corona Shut Down (Colonia, Alemania); en el Waterpieces, International Contemporary and Video Art Festival en Riga, Latvia (Letonia) y se expondrá en breve en la ciudad de Kunming, en Yunnan (China).
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Galkin, D. V. "CULTURAL MEMORY AND CONTEMPORARY ART IN THE URBAN SPACE: THE PUBLIC ART FESTIVAL «MUKA. ART WAREHOUSES» IN TOMSK." In Razvitie kreativnih industriy v sovremennom mire. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2021. http://dx.doi.org/10.37909/978-5-89170-281-3-2021-1011.
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Zheng, Ying, and Peng Zhang. "Interactive Video Installation Art Under New Media Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.
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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.
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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.
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Urrutia, Hernando, Pilar Pérez, and Adérito Fernandes-Marcos. "Contemporary art as a factor for knowledge generation from video." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483684.
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Borevich, E. V. "Development of the Video Material Digital Processing Technology on the Basis of the Software Tools." In 32nd International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2022. http://dx.doi.org/10.20948/graphicon-2022-906-916.
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The article presents new effective methods of digital color correction for post-processing of film in order to improve viewer perception. The semi-automated algorithm for creating stimulus material is described. The methodology for conducting experiments using an eye-tracker is presented. The author proposes a new method for setting up an experiment to study the effect of a color solution on perception, using the developed software module posted in the internet. Practical recommendations for digital processing of film have been developed, based on the data obtained as a result of the experiments. The proposed methods have been implemented in the visualization and computer graphics laboratory of St. Petersburg Polytechnic University (SPbPU) and successfully tested in some low-cost video projects. The formulated practical recommendations on color grading are used by master and graduate students when creating short films and promotional videos for the annual international festival of short films Movie Art Fest and when creating commercials for SPbPU departments.
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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
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Субботина, О. С. "MONUMENTAL EMBROIDERY BY TATYANA AKHMETGALIEVA." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.25.
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Татьяна Ахметгалиева — петербургский художник-график, автор инсталляций и художник видео-арта. За десять лет творчества она вошла в авангард актуальной художественной жизни, создав себе имя, а своей стилистике — стойкую репутацию. Монументальные графические работы Татьяны Ахметгалиевой в авторской технике вышивки и шитья представляют уникальную линию в современном российском искусстве. Tatyana Akhmetgalieva is a modern graphic artist, author of installations and video art. Over ten years of creativity, she entered the vanguard of contemporary artistic life. She has created a name for herself and a lasting reputation for her style. Monumental graphic works by Tatyana Akhmetgalieva in the author's embroidery and sewing techniques represent a unique line in modern Russian art.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
Reports on the topic "Festival for Contemporary Video Art"
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.
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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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5me Biennale Interamericaine d'art video. Inter-American Development Bank, November 2009. http://dx.doi.org/10.18235/0008195.
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Le Centre culturel de la Banque interaméricaine de développement annonce que les candidatures sont ouvertes pour la Vème Biennale interaméricaine d¿art vidéo qui se tiendra en décembre 2010 à la Galerie d¿art du Centre culturel de la BID à Washington, D.C. L¿exposition sera présentée en 2011 à l¿Istituto Italo-Latino Americano à Rome, au Festival international du film à Santa Fé de Bogotá, au Festival Loop à Barcelone, au Centre Eduardo León Jimenes en République dominicaine, etc.
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4th Inter-American Biennial of Video Art. Inter-American Development Bank, December 2008. http://dx.doi.org/10.18235/0005923.
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The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of the International Film Festival, and Cartagena. It also has to do with the accessibility of technology, and the commercial possibilities of the creative technologies developed in that nation in recent years.
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IDB 2nd Inter-American Biennial of Video Art. Information Bulletin No. 78. Inter-American Development Bank, December 2004. http://dx.doi.org/10.18235/0008213.
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Presents the inauguration of the Inter-American Biennial? II video art? Exhibited at the Italian-Latin American Institute (IILA) in Rome, Italy, in June 2005, and the International Film Festival of Santa Fe de Bogota in October 2005. During the exhibition in Washington, D. C., distributed a color catalog with the list of the selected films. For display in Rome and Latin America also printed in Spanish and Italian a color catalog with other materials.
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2da Bienal Interamericana de Video Arte del Centro Cultural del BID. Inter-American Development Bank, October 2005. http://dx.doi.org/10.18235/0006115.
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Después de su presentación en Washington, D.C., la bienal comenzó el circuito itinerante en junio de 2005, en el Istituto Italo-Latino Americano (IILA) en Roma. Luego viajará a varios países que forman parte de un circuito de más de 13 países incluyendo Rusia, terminando en el XXII Festival de Cine de Santafé de Bogotá, Colombia www.bogocine.com/xxii/. Las instituciones del circuito incluyen: Espacio Fundación Telefónica, Buenos Aires, Argentina; Fundação Cultural de Curitiba, Curitiba, Brasil; 15 Videobrasil Internacional Electronic Art Festival, São Paulo, Brasil; Cine a la Calle, Cinemateca del Caribe, Barranquilla, Colombia; Museo de Arte Moderno, Cartagena, Colombia; Escuela Superior de Bellas Artes, Cartagena, Colombia; Fundación Museos del Banco Central de San José, Costa Rica; Fundación Octaedro, Quito, Ecuador; MECAD\Media Centre d'Art i Disseny de la Escola Superior de Disseny ESDi, Barcelona, España; Centro de Artes Visuales Contemporáneo de Mujeres en las Artes y Asociación de Mujeres en las Artes "Leticia de Oyuela," CAVC/ MUA, Tegucigalpa, Honduras; Museo de Arte Contemporáneo de Panamá, Panamá; Alta Tecnología Andina, Lima, Perú; Centro Cultural Eduardo León Jimenes, Santiago de los Caballeros, República Domnicana; y Do Vostrebovaniya, Volgograd, Russia.