EVA – Edition Video Art on Facebook: https://www.facebook.com/groups/256397291178548/?fref=ts
TAKE IT OR LEAVE IT
Marcel Odenbach. Anthology of Texts and Videos
Slavko Kacunko / Yvonne Spielmann (eds.)
Marcel Odenbach. An Anthology of Texts and Video Documents
EVA – Edition Video Art #2. (286 pages + DVD)
Logos, Berlin 2013 (November)
Including Video-DVD with 10 original video works by Marcel Odenbach
Price: 49.00 EUR
The second volume of EVA – Edition Video Art brings together major essays on the video art of Marcel Odenbach, written between 1986 and 2013. The anthology includes ten original contributions appearing in English for the first time and five others which have been previously published in books and journals but are not always readily accessible.
With essays from Heather Barton, Hans Belting, Raymond Bellour, Dan Cameron, Sabine Fabo, Solange Farkas, Jörg Heiser, Wulf Herzogenrath, Kathy Rae Huffman, Slavko Kacunko, Doris Krystof, Friedemann Malsch, Kobena Mercer, Yvonne Spielmann, Paul Virilio.
EVA – Edition Video Art
Editors: Slavko Kacunko, Marcel Odenbach, Yvonne Spielmann
You are welcome to send your proposal for the EVA – Edition Video Art issues #3 & #4 (2014 & 2015).
Write to: firstname.lastname@example.org
TAKE IT OR LEAVE IT. Marcel Odenbach. Anthology of Texts and Videos in short:
Marcel Odenbach (b. 1953) has influenced the development of video and media art more than any other artist of his generation. This anthology of seminal texts and a unique collection of the artist´s videos illuminate the exemplary role and importance of Marcel Odenbach´s artistic practice from the perspectives of art history, media theory, cultural studies, film science, complemented by curatorial, ethnological, semiotic, sociological, and psychoanalytic approaches, as well as those of gender- and performance studies.
Born in Cologne in 1953, Marcel Odenbach studied architecture, art history and semiotics from the mid- to late seventies, when he began working in video with tapes, installations, performances and drawings. Being one of the most internationally recognized German artists working in video today, he is credited with a pre-eminence that has influenced the development of video as a medium in art. His experiments with narrative, representation and production techniques (including repetition, fade, dissolve, slow motion, sampling from historical film footage, hypnotic sound tracks and his division and masking of the frame and screen), presentation (from single channel to multi-channel) and installation practices have established the ground for contemporary video art practice.
EVA – Edition Video Art in short:
The broad effect of historical video art and the current video cultures does not only portray an exciting perspective for art history but also for the visual culture in the broadest sense. This perspective is best suitable for critical, historical as well as current contributions. The purpose of the EVA – Edition Video Art is accordingly the sustainable promotion of research and propagation of video art. The focus of the series lies on publishing of the substantiated research results associated with experienced trials of innovative and interdisciplinary methodological approaches. At least once a year research results and audio-visual documents will be introduced in a thematic or monographic issue. eva – edition video art is not only supposed to serve the continuity of art-historical, media and art-scientific activities with the variety of video and media art, it should also help create a forum for curators and artists, who are in the position to critically accompany and reflect existing and emerging online and offline structures of mediation for the video art.
Video art is obviously neither young nor outdated art form: Since the artists first exhibited manipulated TV-sets back in 1963, video remained one of the most prodigious artistic mediums which our contemporary culture is able to offer.
Video Art - Backgrounds in short:
From a historical point of view, the video has been considered as an emancipatory medium, as a (self-) reflexive medium, as an ecological medium. It has been also considered as a medium, that was often at the beginning of what yields its effectiveness today in the ‘temporary autonomous zone‘ between art and activism and still operates between semiotics (‘video semiotics‘ by Takahiko Iimura) and real-politics (closed circuit systems, surveillance scenarios, ‘cloaking devices‘). The video is still regarded aside today's tagging technologies as the surveillance medium par excellence, suitable for the representation critique and taking up a prominent position in the discourse on performativity. Its process-related character is targeting nevertheless at the hic et nunc and his historic as well as current role in the development of video games makes the cultural range of this first analogous medium especially clear. Therefore, the video in its contemporary digital forms of appearance belongs certainly to the dominant ‘cultural techniques’: Video-camera modules have been assembled in all possible technical devices for daily use for a while. Hence, the medium video can be barely conceived as a specific medium nowadays, because, meanwhile, it always appears within a media composition, as a part of technical and cultural equipment. The well-known historical demarcation attempts between film and video as well as between video and computer can be also genetically explained with the circumstance that video art had its ‘breakthrough‘ about the same time as the postmodern theories. In this context, the video succeeded to deconstruct the old visual clichés, but to create new ones as well. Anyhow, the sub domain of the video installation that has become indispensable in art today and the related domain of videotape and video-performance illustrate the relevance of the medium video in the domain of artistic concretion.
Irrespective of its art-historical, aesthetic and media-theoretical meaning we are confronted with the task at the moment to re-define the (inter-)cultural role of the medium video. Because the video can be adequately described neither as a “console of experimental media art” nor as a “delivery service of virtual intercourse”, neither as an “archive of individual biographies” nor as a “cinematograph of the amateur” (Godard) it remains as something more than the sum of its possible attributes. As a mirror machine the video is not merely a medium that can create self-generating visual frames as a feedback. As a medium of the speculative seeing it remains a medium that continuously gives feed-forward and feedback in its discourse thus re-generating it.
Slavko Kacunko, PD Dr. Phil. Habil.
Professor, Kunsthistorie og Visuel Kultur
Institut for Kunst- og Kulturvidenskab
Karen Blixensvej 1
DK-2300 København S
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