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September 16,17 and 18 Stedelijk Museum, auditorium
The 1999 World Wide Video Festival will take place for the seventeenth time. To stimulate reflection on contemporary artistic developments in media art and the presentation of media art, the festival started to organize a seminar in 1998.
The topics this year have been selected on the basis of critical urgency and current artistic practice. The three subjects are: media art related to traditional art institutions, the popular autobiography in media art, and the fragile status of single-screen works. Every topic will be discussed by two guests and will conclude with a public debate.
The organization has deliberately chosen to integrate the seminar with other festival events. Thus participants and lecturers will be able to connect with works on exhibition.
SEMINAR TOPICS
Day one 'Media art related to traditional art institutions
Media art, artist's film and video art all seem embedded in the exhibition policy of many visual art museums, while multimedia art and internet art just flourish outside the traditional museum. How should the museum adopt an attitude towards digital art, and within what framework?
Corinne Diserens will argue from her position as director of a traditional art museum, Sabine Breitwieser on the other hand will explain the particular attitude of the EA-Generali Foundation.
Day Two 'Fascination with the autobiographical in media art'
Autobiography inextricably bound up with avant-garde film and video art. In 1976 Rosalind Krauss wrote her famous article: The Aesthetics of Narcissism. Availability of video cameras and even webcams have only enhanced – it seems – autobiographical tendencies. Sandra Lischi will encounter the subject from the history of video art, Michael Renov examines the popularity of autobiography on the internet. Artists have often given their homepages and other net projects an autobiograpical character.
Day Three 'The fragile status of single-screen works'
Artists and curators are struggling with the presentation of single-screen videos and films. Sometimes one work will show as an installation and later as a short video. What characteristics define a loop, and what to do with long films and videos within an exhibition concept? How to create the most appropriate space for audio-visual works?
Catherine David presented various media productions at her Documenta X, Bill Horrigan has been a curator for film and video projects as well as media art exhibitions at the Wexner Center.
PARTICIPANTS
Sabine Breitwieser
Director of the EA-Generali Foundation in Vienna; an art foundation established in 1988 and funded by EA-General companies as a form of corporate art institution. This foundation concentrates on collecting and presenting sculpture and international media art. Exhibitions have shown work by Dan Graham, Gordon Matta Clark, Valie Export and recently Martha Rosler. The activities of the foundation have been documented in White Cube / Black Box, published in 1996.
Corinne Diserens
Director of the Musées de Marseille since 1996. She worked for IVAM in Valencia where she organized the comprehensive Gordon Matta Clark retrospective exhibition. As a curator she also worked with artists like Raul Ruiz and Gary Hill. Diserens put together the video project of the Hearts of Darkness exhibition at the Kröller-Müller Museum.
Michael Renov
Professor of Critical Studies, School of Cinema & Television at University of Southern California in Los Angeles. Renov has many publications on documentary, ethnographic film and film theory. He edited together with Erika Suderberg the study 'Resolutions: Contemporary Video Practices' (1996). His latest publications on avant-garde cinema and video art discuss the autobiography and the film essay.
Sandra Lischi
Lischi lectures on Audio-visual Communication Theory and Technique for the art history department at the University of Pisa. She has many publications on video art, e.g. Il respiro del tempo (1991) on the work of Robert Cahen. She has also founded Ondavideo in Pisa, a production studio for video art. Her last production has been Amber City by Jem Cohen (1999).
Bill Horrigan
Horrigan is media curator at the Wexner Center for the Arts in Colombus, a museum presenting film and video projects and equipped with a digital video editing studio. Horrigan has produced the Silent Movie installation by Chris Marker (1995) and the Domestic Violence project by Todd Hayes and Christine Vachon.
Cathérine David
Former curator at the Museum Jeu de Paume in Paris. Co-curator of the Passage de l'image exhibition (1990). She directed the Documenta X in Kassel (1997) where she co-produced a number of films and made many internet projects possible.
INFORMATION
General information
The seminar will be in the auditorium of the Stedelijk Museum.
The official language will be English.
Every day a limited number of day-tickets will be available. These day-tickets cannot be booked in advance.
200 seats available.
Seminar costs:
f 50,- for the three-day seminar including festival passe-partout.
f 9,- for a day-ticket only including the seminar.
Registration
Registration for the seminar can only be accepted by entry form.
Entry forms can be ordered by fax or e-mail.
Please enclose two marked passport photographs for the passe-partout.
World Wide Video Festival
Marnixstraat 411
1017 PJ Amsterdam
The Netherlands
telephone: + 31 20 420 77 29
fax: + 31 20 421 38 28
e-mail: wwvf@wwvf.demon.nl
For more information please contact our office.
PROGRAMME SEMINAR
Thursday 16 September, 10.30 - 13.30
'Media art related to traditional art institutions'
Sabine Breitwieser (A) & Corinne Diserens (F)
Friday 17 September, 10.30 - 13.30
'Fascination with the autobiographical in media art'
Michael Renov (USA) & Sandra Lischi (I)
Saturday 18 September, 10.30 - 13.30
'The fragile status of single-screen works'
Bill Horrigan (USA) & Catherine David (F)
Format seminar
Every morning two lectures take place and conclude with a public debate led by a moderator.
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