This books surveys 40 years of video-art.
P10: Andy Warhol 16mm film installation called “Outer and Inner Space” (1965), starring Edie Sedgwick.
P16: Bruce Nauman, “Live/Taped Video Corridor” (1970): The visitor is filmed in the corridor, and their image is shown on a screen. The closer the viewer comes to the scree, the smaller their image appears (because the camera is located att he opposite end from the screen). “The viewers’s sense of orientation and mental security were equally challenged by this video installation” “visually [multiplying] the feeling of physical distress already caused by the confining space”.
P17: “Pipilotti Rist and Diana Thater play with mentally annexing the viewer in their video installations. With their monumental projections which, from various perspectives, overlay the real architecture and create their own, illusionistic space, they approach the strategies of feature films: that is, conventional narrative films aim at suspending cinema visitors’ belief and getting them to identify with the plot.”
Pipilotti Rist, “Homo Sapiens Sapiens”(2005), projections on the dome of the San Staë Church in Venice.
Diana Thater, “Delphine”(1999), underwater world into which visitors can walk, until they run into the video screens and are brought back to reality.
P18: “conventional narrative cinema works with a parallel film time not connected to reality. The ideal aim of this type of different time level is for the cinema audience to synchronize themselves with it, meaning that they should enter fully into the story and its temporal narrative.”
P24: Gitte Villesen: “I want the line between art and documentary, fiction and reality, to be blurred.”
P24: Eija-Liisa Ahtila «Talo (The House)» (2002) “tells the story of a woman whose connection to reality begins to dissolve. The woman hears voices that disrupt her everyday life and invalidate the “normal” structure of space and time. This work was based upon discussions with psychosis patients who had overcome their illness. Ahtila attempts to cinematically understand an altered spatial and temporal perception, and to audio-visually reproduce abnormal thought processes.” The video contains “perspectively distorted details from the house’s interior”.
Ahtila’s installation explores the mind of a young woman who undergoes episodes of psychosis, yet in the end somehow comes to term with her newly ordered world. Choosing unremarkable surroundings, objects, and activities, Ahtila depicts the everyday trials of mental illness as a rupture in the flow of images, placing on three screens alternate views.
Nuanced and subtle in her portrayal of mental illness, Ahtila avoids melodrama to present a narrative in which the brilliant light of the Finnish midsummer serves as a backdrop for a domestic drama in which, eventually, an unpredictable psyche adapts, however precariously, to the profound and sometimes marvelous distortions it is capable of producing.
P32: Doug Aitken, “Electric Earth” (1999), 8 channel video, “walking through the deserted city at night”, “desolate landscapes, deserted towns, dilapidated industrial zones”.
P52: Douglas Gordon, “Twenty four Hour Psycho” (1993)
slowed down version of Hitchcock’s psycho, “cinematic ready-made”
P60: Pierre Huyghe
“Remake”(1994), remake of Hitchcock’s “Rear window”(1954) as a home movie
“Les Incivils”(1995), remake of Pasolini’s “Hawks and sparrows”(1966)
P94: Gillian Wearing, “strange mixture of documentation, theatrical production and everyday life”.