By Ursula Frohne, Mona Schieren, Jean-Francois Guiton, B. Abraham, J. Gaines, L.-A. Geese, I. Pfitzner, S. Kovats, M. Robinson, R. Watts
With a historical past of greater than 30 years, media artwork performs an more and more very important function within the foreign discourse on modern artwork. The reception of canonical video works and digital media installations is besides the fact that limited to transitority and in the neighborhood outlined screens in museum exhibitions or limited to incomplete catalogue documentations. This quantity presents a distinct blend of theoretical reflections at the reproducibility, upkeep of authenticity and juridical implications of emulation thoughts with useful techniques to archiving equipment and advertisement facets of media paintings s accessibility. it's an indispensible advisor to the professional s and con s for brand new sorts of de-centralized platforms of mediation and the transforming into calls for for liberal ideas and straightforward entry to online-presentations of media paintings. Uncomparable to different present courses, the publication deals a realistic handbook with checklists for correct web content and content material profiles of significant distribution businesses.
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Additional info for »Present Continuous Past(s)«: Media Art. Strategies of Presentation, Mediation and Dissemination
Sample text
Withdrawl as an Artform. — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — It is obvious then that the presence of the body does not invariably find its expression in its materiality, but rather as the paradox of the withdrawn/denied and at the same time aggressively flaunted body. In this ambivalence of presence and absence the work of art may be viewed as a form of behavior. According to this concept the body is then regarded more in terms of the physical trace it leaves behind or as the constantly oscillating meaning it evokes.
By physically concentrating on the Minimal structure of the happening as an artifi cial action, different spatial qualities may be unfolded and may thereby be experienced in a performative artistic action. This is where the similarity of the goals of videographic performances of the time, and explicitly of Nauman’s work, with those of experimental dance becomes evident. « (p. 264) For Rainer this results in new concepts of dance: »The display of technical virtuosity and the display of the dancer’s specialized body no longer makes any sense.
03 Sabine Flach. Withdrawl as an Artform. 10 The self-referential questions that define modernist art have been replaced by works implying a new materiality, and whose questions aim at the structural and symbolic positioning of a subject body. 11 In Minimal and Conceptual Art in particular one finds the reduction of the aesthetic object as well as its replacement by a host of activities, notations, and actions, which both expanded the concept of the artistic work once more after it had been radicalized in classical modernity, and, particularly starting in the mid-sixties, reshaped the traditioned canon of art action and art reception.