Paikamerika
Postproduction artists wed themselves to the past while operating in a future-perfect context. That's the You-topian game spin, anyway. Whether you are Douglas Gordon merging with Alfred Hitchcock in 24 Hour Psycho or DJ Spooky expelling the demons by taking on the imagery of D. W. Griffith in Rebirth of A Nation, without the past, you "ain't got nuthin'" and that's a fact.
My new mobile phone video works are also wedding themselves to the past while staying one avant step ahead of the game (notice the word "game" keeps coming up? what does that say about the postproduction playah and their natural tendency toward spin doctoring / DJ Ph.Ding? I try to answer this question in the first two sections of META/DATA).
The mobile works are captured "phone recordings" of moving and still imagery which are then integrated into readyMade and reMixed postproduction art. It must be said that some of the images were not that easy to readyMake because of the environments in which they were shot. In the complementary text piece that will appear as part of my "Mobile Phone Video Art Classics" exhibition in London this summer, I will touch on a number of issues that inform the development of this new series of works, including how contemporary PP artists play with the idea of "appearance" as an "image coming" and investigate how images that come, can also be captured and then manipulated into a storyworld that plays with the creative unconscious.
What does it mean for the artist-medium-instrument to suddenly make a "guest appearance" in another artist's work? Making an appearance does not necessarily mean that the artist's image can literally be seen in another artist's work, although that's not out of the question either. For example, this digital pic of me in a Nam June Paik work is one of a kind. It's part of a new series I call Paikamerika:
Paikamerika
Some of the text that will be in the London exhibition this summer will playfully narrativize the Paikamerika series. This text will be partly generated from this blog entry and this one too, no doubt.
Along with "guest appearances" we might also consider "ghost appearances" or the idea of artist-mediums becoming hauntological actors who "play themselves" as is, although as Ursula Frohne suggests in a different context, since we are only able to "experience ourselves as real when we are able to make an 'appearance'," what happens when PP artists manipulate the data of their everyday life to create an apparitional blend of reality and fiction thus calling their "appearance" into question, even as they unconsciously improvise their "live" performance as the person they are playing?
This is where the role of the VJ as experiential alchemist meets the alterverse of magic realism cum Youtopian narrative.
Metadata: mobile phone, artist, video artist, theory, image, remix, video art, writing, narrative, cinema, research, Nam June Paik
My new mobile phone video works are also wedding themselves to the past while staying one avant step ahead of the game (notice the word "game" keeps coming up? what does that say about the postproduction playah and their natural tendency toward spin doctoring / DJ Ph.Ding? I try to answer this question in the first two sections of META/DATA).
The mobile works are captured "phone recordings" of moving and still imagery which are then integrated into readyMade and reMixed postproduction art. It must be said that some of the images were not that easy to readyMake because of the environments in which they were shot. In the complementary text piece that will appear as part of my "Mobile Phone Video Art Classics" exhibition in London this summer, I will touch on a number of issues that inform the development of this new series of works, including how contemporary PP artists play with the idea of "appearance" as an "image coming" and investigate how images that come, can also be captured and then manipulated into a storyworld that plays with the creative unconscious.
What does it mean for the artist-medium-instrument to suddenly make a "guest appearance" in another artist's work? Making an appearance does not necessarily mean that the artist's image can literally be seen in another artist's work, although that's not out of the question either. For example, this digital pic of me in a Nam June Paik work is one of a kind. It's part of a new series I call Paikamerika:
Paikamerika
Some of the text that will be in the London exhibition this summer will playfully narrativize the Paikamerika series. This text will be partly generated from this blog entry and this one too, no doubt.
Along with "guest appearances" we might also consider "ghost appearances" or the idea of artist-mediums becoming hauntological actors who "play themselves" as is, although as Ursula Frohne suggests in a different context, since we are only able to "experience ourselves as real when we are able to make an 'appearance'," what happens when PP artists manipulate the data of their everyday life to create an apparitional blend of reality and fiction thus calling their "appearance" into question, even as they unconsciously improvise their "live" performance as the person they are playing?
This is where the role of the VJ as experiential alchemist meets the alterverse of magic realism cum Youtopian narrative.
Metadata: mobile phone, artist, video artist, theory, image, remix, video art, writing, narrative, cinema, research, Nam June Paik
posted by Professor VJ at 10:22 AM
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