»Present Continuous Past(s)«: Media Art. Strategies of by Ursula Frohne, Mona Schieren, Jean-Francois Guiton, B.

By Ursula Frohne, Mona Schieren, Jean-Francois Guiton, B. Abraham, J. Gaines, L.-A. Geese, I. Pfitzner, S. Kovats, M. Robinson, R. Watts

With a historical past of greater than 30 years, media artwork performs an more and more very important position within the foreign discourse on modern artwork. The reception of canonical video works and digital media installations is besides the fact that constrained to transitority and in the community outlined monitors in museum exhibitions or restrained to incomplete catalogue documentations. This quantity presents a different mixture of theoretical reflections at the reproducibility, renovation of authenticity and juridical implications of emulation innovations with functional methods to archiving tools and advertisement points of media paintings s accessibility. it truly is an indispensible consultant to the professional s and con s for brand spanking new varieties of de-centralized platforms of mediation and the starting to be calls for for liberal ideas and straightforward entry to online-presentations of media artwork. Uncomparable to different present guides, the publication deals a pragmatic guide with checklists for appropriate web pages and content material profiles of significant distribution businesses.

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15 12 The association of aspects of presence with corporeal- Verlag der Buchhandlung Walther König, 1996, p. ) ity dominating these works by Nauman provided some orientation within the radicalized principles derived from Minimal Art. The body information is the medium; the body information is the message for the presence of Nauman himself. There is no longer the necessity of a material (other than the artist’s body) for the mediation. « (Dan Graham quoted in Rainer Metzger, Kunst in der Postmoderne: Dan Graham, Cologne: 13 Cf.

It is obvious then that the presence of the body does not invariably find its expression in its materiality, but rather as the paradox of the withdrawn/denied and at the same time aggressively flaunted body. In this ambivalence of presence and absence the work of art may be viewed as a form of behavior. According to this concept the body is then regarded more in terms of the physical trace it leaves behind or as the constantly oscillating meaning it evokes.

The execution of each movement conveys a sense of unhurried control. The body is weighty without being completely relaxed. ] the demands made on the body’s (actual) energy resources appear to be commensurate with the task – be it getting up from the floor, raising an arm, tilting the pelvis, etc. « (p. ), Minimal Art. A Critical Anthology, London: studio Vista, 1968, pp. 263 – 273 (3. ) The body is regarded as an artifi cial means, through which statements about space relationships can be made.

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