The weird and fantastic world of New York's public access television will receive the attention it deserves in a film program curated by Leah Churner and Nicolas Rapold for the Museum of the Moving Image. The program, titled TV Party: A Panorama of Public Access Television in New York City kicks off tonight, and will run until February 20th. Spanning the past four decades, screenings will include shows such as The Scott and Gary Show, Wild Record Collection, The Live! Show, Glenn O' Brien's TV Party, The Vole Show, and more! Check the trailer below.
Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.
Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.
-- FROM THE ARTIST'S STATEMENT
Nam June Paik (1932 - 2006) is an artist fabled for what he has achieved, as the instigator of video art, the pioneer of media art and through his influence on the indebted MTV generation. It's as if his career is almost made for the retrospective exhibition. His work is bound to his legacy, and his influence is hard to encompass. The importance of this legacy asks two parallel questions, how to preserve, present and document but also how to react, trace and respond. Both are targeted through a new joint exhibition of Paik's work at Tate Liverpool and FACT (Foundation for Art and Creative Technology), the first major retrospective of his work since his death in 2006 and the first exhibition of his work in the UK since 1988.
Tate presents a comprehensive chronicle of Paik's movements through the avant-garde, in performance, composition, television and sculpture. There are TV sets, robots and Buddhas, mixed with historical documentation, vitrines filled with exhibition programs, posters and photographs and timelines drawn on walls, which denote his many collaborators and read like a roll call of the most influential artists of the 20th century - John Cage, Karlheinz Stockhausen, Joseph Beuys and Merce Cunningham.
In contrast to the Tate, where you can look and listen with historical meticulousness, at FACT you are given a remote control. Here you are encouraged to relax, in an archive lounge, and browse a collection of his video works at leisure. Or lie back underneath Laser Cone (1998) and be dazzled.
Backdrops and sets used in the Televisa studios in Mexico City for use in telenovelas. From the photo series "The Factory of Dreams" which documents the production of telenovelas.
Demo video of the Paik Raster Manipulation Unit or Wobbulator, an example of Paik's "prepared television" which distorts broadcast signals or, if used as a monitor, images from a live or prerecorded source. Experimental Television Center provides a lengthy description and diagrams for building a Wobbulator, here.
I came across these videos via WMMNA. These talks were taped during the symposium The Documentary Real which occurred on October 21, 2010 at Domzaal, Art Centre Vooruit. The event invited artists and theorists to "interrogate the ambiguous relation between documentary film and reality." I've only had a chance to review the two Gregos and Bruzzi clips posted below, which both emphasize the changing notion of the "real" within a heterogeneous media landscape, especially with the advent of the internet. All the talks are available on the site, here.
It has been a number of years that the so-called ‘documentary turn’ has become a frequent phenomenon in many artists’ films. The talk will be a comparative look into recent documentary practices that diverge from the orthodoxy of documentary as ‘factual’ film’, a notion which contemporary artists have repeatedly challenged of late. These artists working from a documentary point of departure use multiple strategies to reveal known or hidden ‘truths’, sometimes weaving fictional elements into their stories. Many of them demonstrate that ‘truth value’ does not lie in mere representation but may emerge even more forceful through artistic abstraction, translation, filtering and interpretation and that nowadays the borderline between documentary and fiction, or reality and fantasy is often becoming hard to distinguish. The talk aims to illustrate that the notion of the ‘documentary real’ is continuously evolving and cannot now be pinned down to a single definition or delineated through specific boundaries. Indeed it aims to show that some of the most interesting documentary practices are those which I call documentary ‘with a twist’, i.e. films that interweave the political with the poetic, and navigate between different filmic categories to arrive at highly individualistic hybrid documentary forms where the notion of realism is in ...
Britain, under the Conservative government in 1974, slowed to a government-mandated three-day week: not an immense gift of extended vacation, but a foreshortening of the working week based on the amount of electricity available. From January to March of that year, businesses, shops and services were only open for three consecutive days, and television companies were forced to end their broadcasts at 10:30pm. The remarkable visibility of this retrenchment is perhaps an apposite introduction to the fiscal circumstances of Britain at that time, as it was counterbalanced by extreme activity in the visual arts, with a burgeoning moving image practice taking place in various underground clubs and cooperatives in London and other regional centers, and mainstream television ("mainstream" being redundant; except for some regional variations, there were only three channels at the time) airing artists’ film and video, primarily on Channel 4, which was established in 1982.
This is the period revisited by Raven Row’s current show "Polytechnic" - the late 1970s and early 80s, when artists began using the new medium of video to reflect upon and deconstruct codes of representation, politics and social mores. It’s a smart and striking choice for an exhibition, as the legacy of this time is ambivalent and is still in the process of being settled: art-historically, it’s been partially eclipsed by what preceded it (the medium-specific investigations associated with the London Film-Makers’ Co-op) and by what followed - that is, the yBas, who pretty much turned around and rejected the commitment to politics, collective production and art as labor (not commodity) that this group stood for. At the same time, many of the artists included in the show - Catherine Elwes, Susan Hiller, Ian Breakwell, Stuart Marshall - went on to teach in various art schools (many of them former polytechnics, hence, perhaps, the title) and showed their work on Channel 4 during the 1980s, meaning they have had a much more dispersed, though less visible, impact on art and the wider sphere of culture. Have had and have: Elwes, for example, has recently founded a journal devoted to the moving image (MIRAJ), so the territory contested in this earlier period continues, to a certain extent, to be contested.