Artist Profile: Antoine Catala

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In a statement for your 2009 exhibition "TV Show" at 179 Canal, you described television as a dying medium, suggesting that the work in the show was a kind of eulogy for TV. Television is a recurring theme in your work, but you’ve used it in various ways, both as a material and as a subject, often taking the most familiar types of programs—the news, for instance—and altering the way we see it. What is it about television that appeals to you? Are you interested in defamiliarizing something we take for granted, forcing the viewer to reconsider its place in everyday life? Is this work reflecting a sense of nostalgia for television’s past? If it’s a dying medium, what do you think has replaced it?

TV is no longer the all-powerful medium it used to be.  It’s dead in the same way radio is dead, whereby it only occupies a peripheral position in our lives. Internet is the new place, because it encompasses words, images, videos, audio, as well as the viewer’s participation.  The internet packs more information; in that sense it’s more HD than TV and that’s what people go for, the better, more fulfilling, more entertaining medium.

I was interested in TV broadcasts initially because I thought it was funny to bring live TV into the museum or the gallery.  In my TV work I encourage the use of any entertaining program.  However, screening an episode of Spongebob (a personal favorite) doesn’t work the same, in an exhibition context, than say the news or any program with live content. That’s because the viewer’s common assumption is that if a video is shown, it must be pre-recorded.  But I am not at all interested in working with ...

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Life Feed: Webcams, Art, and People

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On Friday, June 24, Rhizome is presenting new projects by Jeremy Bailey and Antoine Catala as part of the New Silent Series. This post elaborates some of the ideas around the event.

Image: Antoine Catala, Antoine according to Dean by Antoine, 2011

The future never comes looking like it used to. Science fiction's universal hallmark of technological advancement was the videophone. While you can buy a device as slick as a Gene Roddenberry prop, most people make video calls with the same thing they do a thousand other things with, using a streamlined version of the computer-camera-modem combo that Jennifer Ringley set up in her dorm room in 1996. Her site JenniCam (now archived) did not stream a live feed of her life. It updated still images— black-and-white, at first— every three minutes. Traffic leapt whenever word spread that Ringley was undressing, or having sex with her boyfriend. But JenniCam was never meant to be an illicit site. As Ringley explained, she was broadcasting everyday life, and in everyday life sex and nudity happen. Her webcam was like a piece of furniture, a mirror that blankly took in the image of the room it faced. It was connected to the line of the telephone, a device that philosopher Avital Ronnell has described as a superhumanizing prosthesis, a machine that empowers the ear and voice to operate across great distances. The webcam's mirror/telephone hybrid— as used by JenniCam and its lifecasting progeny, from Ustream.tv to Chatroulette— is a messy sort of videophone that captures a reflection at its physical location and disperses it to whatever channel that switches the packets.

Rosalind Krauss called video "the aesthetics of narcissism." Her 1976 essay of that name describes Vito Acconci's Centers (1971) as a reflection on art's indexical function: he looks in a television monitor as a mirror and points at himself. One of her other examples was Richard Serra's Boomerang (1974), which locks Nancy Holt in a prison of feedback. She speaks and listens to her own words in a "collapsed present." "[V]ideo's real medium," Krauss writes, "is a psychological situation, the very terms of which are to withdraw attention from an external object— an Other— and invest it in the Self." What do her words mean thirty years later, when video, thanks to webcams, has become part of everyday life as a telecom device? Marisa Olson's remake of Boomerang offers an easy starting point. The webpage juxtaposes a video of Olson listening to and repeating the text of Boomerang with a copy of the old video that she saved on her YouTube account. Serra's tightly constructed frame excludes everything but Holt's face and the audio apparatus. Olson (who did the tasks of both Serra and Holt: the tech set-up and the on-screen performance) lets her webcam show her studio; we can see a doorway, artworks, a bookshelf, the glare of sunlight on a framed print. For Olson, the real "frame" isn't the field of her webcam's lens but the window of the browser, which subsumes both the art-historical past and the webcam's collapsed present in the empty space of default whiteness. She's not only creating a reflection of her own image, but connecting it to an artifact of another place and time by echoing its call.

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