In the self-explanatory show entitled Video, an Art, a History 1965 – 2010, the history and evolution of the video art genre are recounted through 50 video works and installations, drawn from the collections of both the Singapore Art Museum and Centre Pompidou. Having developed in tandem with the apparatus of television and the analogue and then digital video cameras, video art’s reconfiguration of the[…..]
Today’s video is from our friends at ArtStars*, a traveling show about the contemporary art world, out to uncover the 7 Unsolved Mysteries of the Art World — one art scene, one country at a time. In this video, host, Nadja Sayej, catches American filmmaker John Waters at the Venice Biennale 2011 to ask him about that piece of art he made called “Contemporary art[…..]
In The Body in Pain: The Making and Unmaking of the World, scholar Elaine Scarry describes the inability of language to interpret and express physical pain: “By its very nature, pain resists, even destroys the language that grapples with it.” But what of the capacity of visual art to interpret and translate this bodily experience? “For a Long Time”, on view now at Roberts &[…..]
What happens at the moment when energy becomes material, and how can we even dream of documenting it? The question has wide-ranging implications, from the memories stored in everyday objects to the effects of prayer. Ranu Mukherjee’s solo exhibition at Frey Norris Contemporary and Modern, Absorption Into the Nomadic and Luminous, takes up these issues. A former painter who now works mostly with photography and[…..]
Early video is so lovable. Hidden in the low-contrast images and lost political references are rebellious experiments to find a way to express the vibrant importance of the moment. The more than 40 videos of Record > Again! at the Goethe Institute are a time capsule that hold an insight into some of the struggles and hopes of the German artists who made them. These[…..]
What happens when language fails? Madness. In a crumbling estate in the English countryside, ‘The Object’ descends upon a peculiar liberal upper class family. No one recognises him as human. As he mechanically and menacingly eats their books and expels them, language, meaning, places and perception deteriorate into obscurity. This is the premise of British artist Nathaniel Mellors’ work ‘Ourhouse‘ – an absurdist dramatic series[…..]
Where were you when the Music Television Channel was first introduced in 1981? I was seven years old and had a babysitter who, in her early twenties, was the coolest person I had ever met. I would follow her around just in the hopes that this perceived “coolness” would somehow rub off on me. It was through her that I was exposed, for the first time,[…..]
