livro

Collection New Media Installations, Éditions du Centre Pompidou, Paris, 2006.

transcriptions:
"The Term new media encompasses a reality that is forever evolving, since the techniques used by the artists involved in this movement go back some 40 years, in the case of the oldest ones. From the earliest video works to the latest digital developments, these practices now have a history, and at the same time their horizon is constantly either expanding or shrinking." Bruce Racine

Historical and Museological Aspects of the New Media Works
"New Media certainly covers digital media (videotapes and soundtracks, CD-ROMs, hard-disks, websites), and also "old media" such as cinema, which has been converted to digital format for purposes of display."

Installations in Collections, Françoise Parfait
"The form of presentation represented by the slide show turns out to be an ideal device for maintaining the dialectic between the pictorical and the photographic, between narrativity and stasis, between the performatory mode and the theatrical mode of language" Benjamin Buchloh

Installation is a construction in space of space
"By seeking a place in the art arena, video has questioned habits and posited as an artistic problem the relation between outside and in, public and private, light and dark, individual and group, restriction and freedom, attention and consumption."
"Space is not the environment (real or logical) in which things are arranged, but the means whereby the position of things becomes possible." Merleau-Ponty, definitions of Minimalist Space

"The spectator's physical and mental displacement is also brought on by typical form of video installations: the broadcasting of looped images. Over and above its technical convenience (...) the loop has effects on perception and the representations constructed by the spectator. The loop creates a temporal hiatus in the sense that it breaks the arrow of time and its inexorable advance by reiterating the same movement and the same period of time..."
"The video installation absorbs the time-frame of the photo, the film, and television, non forgetting painting and theatre, by getting them to play (...) on the limits of their specific qualities."

Towards a poly-ocular cinema-multi-projection and new narratives
"Multi-projection is not the only model to explore forms of narration: this can be condensed onto a single projection, and it is moreover this path which is being increasingly used by present-day artists. New forms of narration can involve the diversity of genres and media, the manipulation of projection speeds, filming procedures and the internal conduct of the narrative."
"From closed-circuit TV to the cinematographic narrative, the installation has represented a real arena for thought and representation. Occupation of spaces and uses of time have been reorganized in accordance with editing plans which are now presented in new forms of exhibitions.
The shared time of installations gives rise to an awareness of our schedules and timetables, as we construct them and as they are imposed upon as by current economic and social models: work time, leisure time, free time, public time and private time, physic time and time for thought."

Video an Publishing Economics, François Michaud
"The blank, white space of the museum has managed to incorporate the video installation, as one type of installation among others, and the monitors earmarked for the broad-casting of videotapes have been easily accommodated in the exhibition rooms."
"In the communication and publication system of animated images, the separation between visibility and invisibility should rather be perceived as a complex gradation, for which the adoption of one device to the detriment of another undoubtedly plays a decisive part, but one where the particular adaptability of video creates above all a state of constant mutation."

authors: Eija-Liisa Ahtila; Doug Aitken; Jananne Al-Ani; Geneviève Cadiuex; Peter Campus; Douglas Gordon; Dan Graham; Johan Grimonprez; Gary Hill; Mike Kelley e Tony Oursler; Thierry Kuntzel; Chris Marker; Bruce Nauman; Nam June Paik; Pierrick Sorin; Janaine Tschape; e Bill Viola.

Eija-Liisa Ahtila, by Michael Rush
"Ahtila's early work clearly emerged from the Conceptual practices dominant in the art in the mid to late 1980's. Her methods have evolved into elaborate re-examinations of cinema itself, re-forming the language of narrative and the space of film presentation. Her installations are as psychologically constructed as the abstract stories of her troubled female protagonists. In her multi-screen presentations she physicalizes the split mental states of her subjects while at the same time inviting viewers to experience a truly expanded, destabilized cinema, one that more accurately reflects the conscious and unconscious states that comprise everyday reality."

Doug Aitken, by Françoise Parfait
"As is more often than not the case in Doug Aitken's work, New Skin challenges the way of looking and vision based on the logical ordering of two factors: a filmed and edited narrative and a complex projection device. Image and perception are closely connected in a process of recollection which the onlooker experiences.
(...)
A narrative loops back about every ten minutes in a discreet dissolve to black. The continuity of this narrative is provided by the soft, calm voice of a female narrator which mingles with various acoustic chords."

Jananne Al-Ani, by Marianne Lanavère
"The video installation A Loving Man (1996) is based on a text by Jananne Al-Ani which draws on interviews she conducted with her mother and three sisters about their memories of their husband/father, who remained in Iraq when they left their homeland for England in 1980. Each of the women are filmed individually reciting the text which describes their relationship with describes the absent man, marked by the geographical, cultural and emotional separation."

Geneviève Cadiuex, by Jacinto Lageira
"In producing what is essentially photographic work, which may at times take the form of sculptural objects, whose subject is the human body (...) Geneviève Cadiuex has cleverly achieved certain shifts with regard to issues of the photographic and the filmic understood as trace, imprint and reinstatement of the body captured by cameras."

Peter Campus, by Fréderique Baumgartner
"(...)Campus defines video as a "function of reality", that is to say, a medium encouraging a questioning of the subject/object, interior/exterior, conscious/unconscious categories, which have concerned him ever since his studies in experimental psychology in the late 1950's. These research projects are, incidentally, inseparable from the technical possibilities offered by the video. From this point of view, Campus's work comes across as an investigation of the capacities of his bourgeoning art medium."

Douglas Gordon, by Michael Rush
"(...)There is no dialogue, no sequential narrative. Best known for appropriating other's films and manipulating them for his own conceptual purposes(...). Problematic mental states such as psychological splitting and anxiety (including hysteria) often become materials for his art."

Dan Graham, by Jacinto Lageira
"(...)Dan Graham does not offer us the chance to be the subject of our own experience; he pushes us in a way despite ourselves - whence a relative physical and psychic violence felt by some - towards the exploration of other ways of seeing ourselves and learning about ourselves as subjects. Dan Graham shows us that what we are or think we are is never closed and defined, but rather shifting and unfinished."

Johan Grimonprez, by Gaby Hartel
"(...)after the umpteenth repetition of shocking, in-your-face imagery, chance playing its part, emotion is no longer very far removed from the banality that we can "choose" on the screen. This is precisely what Grimonprez shows with what he calls his "poetics of zapping": sausages being barbecued right beside absolute horror. (...) And thus it is that from the artist's subjective way of looking at television images, and even by means of television, a critique of the media originates."

Gary Hill, by Jacinto Lageira
"(...)Gary Hill shows objects and actions which may refer either directly or metaphorically to what we see, while giving evident priority to writing and its symbolization. (...) Vision can only be conceived because it reads, and words only exist in so much as they are seen. (...) Through writing, we see meaning taking shape in characters, words, and sentences, whereas by voice we hear it. Writing has the advantage that it may be a phonetic transcription of the voice at the same time as it is visually and no longer vocally spatialized."

Mike Kelley and Tony Oursler, by Paul Ardenne
"(...) Beyond being an expression an expression of an experience, the work is an open review by two actors of their own careers, including their regrets (the punk stars we never became). Heritage value and the rendering of the past are eroded by the assumption of creation, a sublimated poiesis giving Kelley and Oursler the chance to recreate, or even invent, themselves. It could be regarded as fraud, but it is moreover the ability to transform art. As Kelley said, by way of confirmation, If you don't create your own history, someone will."

Thierry Kuntzel, by Anne-Marie Duguet
"Through bits of personal histories, even when they refer to film history, it is the composition of the history that is involved - the way memory and recollection operate. And it falls to video to show the process of the sign and work of inscription. It is capable of quoting other reproducing techniques, and also reveals the alteration of the recording.(...) It is the process of abstraction, it is the emergence and absorption in their duration which matter..."

Chris Marker, by Raymond Bellour
"He imports onto his computer as many images as he wants from the photo-cinema-video channel, and works and re-works them, attempting to mix them with other images that he conceives more directly from programmes. (...) But it is this modesty that makes the gesture all the important, insofar as a private gesture in the domain of research and art may be so."

Bruce Nauman, by Gaby Hartel
"Art must strike the visitor like a blow to the nape of the neck, Bruce Nauman declared one day, in such a way that there is an intensity which grabs the onlooker's whole being - body and mind alike. And the fact is that even those who are forever visiting museums are nowadays perplexed when they suddenly find themselves standing in front of a simple white room which they can absolutely not go in to. What are they supposed to do with it? (...) Ideally, as he used to say in that period, he would like the endless sequence os those movements to be a continuous loop. Where content is concerned, the loop does indeed signify the freeze frame and time frozen, but this does not necessary conjure boredom: the body's monotonous and endless toing and froing in a limited range of movement also relaxes the mind and opens up the inner stage."

Nam June Paik, by Barbara London
"(...) Paik furnished viewers with magnets and encouraged them to make their own TV show. The magnets they slid along the sides of the TV console interfered with the electronic innards of the picture tube.(...)The signature image-blitz style of his videos took form on crowded city streets."

Pierrick Sorin, by Pierre Giquel
"Six monitors repeatedly show the same film whose flow of narrative is disturbed by its constant repetition, creating juxtapositions, leading to improbable interpretations, breaking the linearity in order to allow an undisciplined succession of movements to be seen and muffled words to be heard. An intentionally syncopated rhythm incites total disorder in the organization of a narrative that attempts to make itself understood. The viewer is thus invited to reinvent a story from the fragment offered, as if trying to reassemble his or her own image using broken shards of a mirror."

Janaina Tshcape, by Chantal Pontbriand
"Strange, dreamlike forms on four large screens float in space, turning the gallery into an aquarium where the onlooker joins these nymphs appearing on the screens.(...) It reverses our relation to he world which is so guided by gravity, permitting a suspension of the body which recalls the suspension of too often over-defined meaning."

Bill Viola, by Michael Rush
"Since his earliest videos in the 1970's, Bill Viola has been engaged in an identity quest that involves a spiritual and psychological journey through his own consciousness and, by extension, the universe. Religion and art have been his guides. (...) Viola, now with access to high-speed cameras, film crews, elaborate sets, actors, etc. is still investigating the most fundamental ingredients of life, including breath, water, air, movement, death. His colors may be richer, his waters may be deeper, but his passions remain the same."