Lapse will be screened at Fonland festival at the House of the Arts, Coimbra, Portugal.
The programme titled “Daily routine / Hyperform” was curated by Margarita Stavraki. This programme was also presented earlier this year at Festival Miden in Athens.
Festival Miden will present a special screening program dedicated to performance art in the context of FONLAD festival, on April 20, 2012, at the House of the Arts, Coimbra, Portugal. The program, entitled “Daily routine / Hyperform”, is curated by Margarita Stavraki.
“Daily routine / Hyperform” is a selection of videos that deals with common gestures, routine movements and ordinary elements of everyday life, transforming them into sophisticated performances that criticize several aspects of human life. The videos were initially presented in Festival Miden’s theme program “Hyperform” in 2011.
The videos were initially presented in Festival Miden’s theme program “Hyperform”, in 2011. The program focuses on the penetration of performing art elements in video art, especially referring to actions, performances and dance. In any case, the diverse elements coming from performing arts give a special character to the content and the form of the videos.
1. Uncut productions & Vanessa Spinassa, Housewife, Greece 2010, 6.36
2. Martin Messier, Autoportraits: Con Amore, Canada 2009, 3.34
3. Anton Hecht, Market Dance, UK 2010, 5.00
4. Rechter Yael, Sunny Side Up, USA 2009, 1.07
5. The ManosBuckius Cooperative (The MBC), The MBC @ the office, USA 2007, 3.07
6. Micheline Durocher, Lapse, Canada 2006, 1.32
Duration: 23 min
More info on FONLAD’s program at http://www.fonlad.net/english/fonlad12/events.html
The FONLAD Festival, in its 8th edition aims to celebrate Nam June Paik, Vito Acconci and Bruce Numan, proposing as global theme “Performing Acts”. It seeks to present a body of work that has at its core the record of performances (artistic or not), the body in its many cultural meanings and poses, the registration of events / actions, works that have as a theme or center, the body , their move(s), desire(s), anxietie(s), either in the form of video art, video performances, photography or web art.
Concept / Theme
Video art emerged as an artistic medium in the late 60’s. Nam June Paik, composer by formation, installed in March 63 twelve television monitors, four pianos, mechanical sound objects and tape recorders at the Parnass Galerie in Wupertal. The first exhibition in connection with this artistic genre, “Television as a creative medium” took place in 1969 at Howard Wise Gallery in New York.
Video art, itself, comes with a portable video camera, and like any other artistic medium, its form of expression changes with the changing of technology. Although during the early days of video art, the images were presented on a monitor directly, quickly and accurately artists projected video art in the form of installations, using a large number of monitors.
Technological innovations continuously transform the hardware, and if in the beginnig, it needed a portable camera and a tape recorder, nowadays it’s possible to create and modify recordings entirely by computer. The amount of data available in the network provides an inexhaustible source of material for use and processing. Their visualization possibilities are enormous and almost indeterminable, ranging from Times Square monitors to mobile phones. The video is like a mixture that can take many forms.
The body as an artistic concept suffers from the late 50’s a release in various directions. While some works the idea of ??unification of art and life (John Cage, Joseph Beuyes, Fluxus), other performance artists develop a design regardless of causality, consider the human body as an aesthetic material, a projection surface and indicator of mental states. The video as a technician medium becomes a constructive element of the action: the recording, such as the transmission of data on a monitor, enable dematerialization of the real body and its radiance in new images (Vito Acconci, Bruce Nauman).
(References: Sylvia Martin, Video Art, Taschen, 2006; Christianne Paul, Digital Art, Thames & Hudson, 2008, Frank Popper, Art of the Electronic Age, Thames & Hudson, 1997).