I came across these videos via WMMNA. These talks were taped during the symposium The Documentary Real which occurred on October 21, 2010 at Domzaal, Art Centre Vooruit. The event invited artists and theorists to "interrogate the ambiguous relation between documentary film and reality." I've only had a chance to review the two Gregos and Bruzzi clips posted below, which both emphasize the changing notion of the "real" within a heterogeneous media landscape, especially with the advent of the internet. All the talks are available on the site, here.
It has been a number of years that the so-called ‘documentary turn’ has become a frequent phenomenon in many artists’ films. The talk will be a comparative look into recent documentary practices that diverge from the orthodoxy of documentary as ‘factual’ film’, a notion which contemporary artists have repeatedly challenged of late. These artists working from a documentary point of departure use multiple strategies to reveal known or hidden ‘truths’, sometimes weaving fictional elements into their stories. Many of them demonstrate that ‘truth value’ does not lie in mere representation but may emerge even more forceful through artistic abstraction, translation, filtering and interpretation and that nowadays the borderline between documentary and fiction, or reality and fantasy is often becoming hard to distinguish. The talk aims to illustrate that the notion of the ‘documentary real’ is continuously evolving and cannot now be pinned down to a single definition or delineated through specific boundaries. Indeed it aims to show that some of the most interesting documentary practices are those which I call documentary ‘with a twist’, i.e. films that interweave the political with the poetic, and navigate between different filmic categories to arrive at highly individualistic hybrid documentary forms where the notion of realism is in ...
Last Friday, I popped by Spencer Brownstone Gallery for B.Y.O.B. or Bring Your Own Beamer, a one-night-only exhibition organized by artist Rafaël Rozendaal. Artists were invited to bring their own projector (or "beamer" in European parlance) and project whatever they wish - videos, animated gifs, live streams, etc. Despite some problems with electricity and short-circuiting at the space - apparently 30+ projectors and laptops all running simultaneously tested the gallery's supply - the show was a hit and very fun. My favorite work was the live lobsters in a fish tank in the back room by Hayley Silverman and Charles Broskoski. A clip lamp "projected" the tank onto the wall behind it, so it was a creative interpretation of the show's theme. I think they even named them too - Tootsie? Wootsie? I can't remember. Anyway, here are some shots from last Friday. If you live in Los Angeles, lucky you, they'll be organizing another BYOB this coming week on November 19th at USC Gayle and Ed Roski MFA Gallery, info here.
Evelien Lohbeck’s multimedia artwork noteboek (2008), has been selected as a Top Video in the Biennial of Creative Video, the showcase organized by the Guggenheim Museum and YouTube. 1 Noteboek exemplifies what I call ‘reversed remediation’. 2 This aesthetic strategy subverts Jay David Bolter and Richard Grusin’s notion of ‘remediation,’ which serves a historical desire for immediacy.3 Countering Marshall McLuhan’s fear of the narcotic state that the user of a medium can enter when becoming a closed system with the medium; reversed remediation offers a chance to wake up the viewer. 4 It creates a state of critical awareness about how media shape one’s perception of the world. (Art)works that employ reversed remediation destabilize remediation mechanisms, by making media visible instead of transparent. It makes critical awareness possible because it lays bare the workings of media instead of obfuscating them. The following discussion distinguishes between the theories of remediation and reversed remediation and applies this theoretical foundation to Lohbeck’s noteboek.