Friday 15 April

Detailed Program

11.00 - 12.00
“Preserving Video art - Documentation, Digitisation & Archiving”
Agathe Jarczyk (Conservator, Studio for Video Conservation, Bern)
[German]

 

Video art is a fundamental part of many collections and can be found there in many different formats and on different storage media. The conservation of this art demands the cooperation of collectors, curators and conservators, so that preventative measures can be taken at the time of purchase, thus avoiding the need for conservation measures during its storage.
For this, the identification and documentation of various formats is a precondition for further measures. In this lecture the main parameters which determine successful digitisation will be examined and the possible reformatting of digital video will be discussed. Video sequences will show various types of damage, both analogue and digital.

 

In cooperation with imai – inter media art institute www.imaionline.de

 

12.15 - 13.15 
“Video Art, Forbidden Art? Video Art Between Artistic Freedom and the Protection of
Intellectual Property”
Ama Walton (Lawyer, Munich)
[German]

 

In their work, numerous artists do more than simply refer to other films or artistic positions. In the course of analysis of these, they also actively incorporate parts of these in their own works. How far can one go with this? Where does the artistic freedom of the new work begin and where does copyright protection end as far as personal and commercial rights are concerned? Taking one of Candice Breitz’s as an example, questions of copyright and the limits of its applicability to video art which makes use of existing works of art will be investigated.

 

13.15 - 14.00
Break

 


Topic: Documentarism in Video Art

14.00 - 15.00

“The Appropriation of Reality – Documentary Strategies in Film and Video Art”
Florian Wüst, artist and film curator, Berlin
[English]

 

Throughout the history of film documentary and artistic practices have always overlapped and mutually influenced each other. This encounter of differing expectations towards subjectivity and objectivity frequently results in the critical examination of the modes of image making themselves. For this less importance is placed on the picture itself and the degree of its ficticiousness and more on the process of appropriating reality and the responsibility of the ‘author’, which goes hand in hand with it. Using selected film clips Florian Wüst explores the question how the tendency towards documentarism in video art can be described with regard to the change in filmic practices and if this relationship can be understood as per se political.

 

15.15 - 16.00
“The Documentary Subject” – The Readiness to be Uncertain”
Ascan Breuer (film maker, Cologne/Vienna; artist of Videonale 13)
[English]

 

Uncertainty is the natural enemy of everything documentary. But uncertainty is also the best
friend of truth. Either the truth is a problem, or the documentary. Or: The documentary
reconciles itself with uncertainty instead of permanently trying to suppress it with
documentary strategies. The attempt to reach a constructive compromise, first day of
negotiation.

 

16.00 - 16.30
Break
 

 

16.30 - 18.00 
Artist talk with the Videonale 13-artists
Ascan Breuer (D/A), Gonzalo Rodriguez (CL/D), Nurit Sharett (IL)
Moderation: Julia Draganovic (Curator, Bologna)
[English]

 


18.00 - 20.00
“Filmic Reflections on the Document”

A film program composed by Marc Glöde with films by
Chen Chieh-Jen (Taiwan), NUG (S), Clemens von Wedemeyer (D), Alexandra Weltz (D), Florian Zeyfang (D)
[English]

 

 

In recent years, in connection with the question of the (filmic) image in the digital era, the discussion about the concept of the document has become of renewed interest. Against the background of questions about the creation of a pictorial world and image processing, a new discussion about the documentary aspect of images has arisen. If nothing else, this reflects the corresponding question and, as Tom Levin noted, the urgent wish for an unfaked/direct image. In the process, the filmic dispositive becomes part of the discussion, and also the fundamental search for a new understanding of what a document can be nowadays. The programme “Filmic Reflections on the Document” tries to do justice to the wide ranging debate by combining several of the most noteworthy films on this subject, in order to progress towards the boundaries of a concept on the relationship between reality and fiction and to a dynamic understanding of the entity document.

Downloads

BIOGRAFIEN.doc (323.5 KB)

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