Paul McCarthy, Spitting on the Camera Lens, 1974 b/w, sound, 1 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

WGBH, Fred Barzyk, The New Wave, 1973, b/w and color, sound, 59 sec. © Collection Mnam/Cci, Centre Pompidou, Paris.

Vintage Video from the New Media Collection of Centre Pompidou

Ant Farm (Chip Lord, Doug Michels, Curtis Schreier), Media Burn, 1975, color, sound, 26 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Ant Farm (Chip Lord, Doug Michels, Curtis Schreier), Media Burn, 1975, color, sound, 26 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Ant Farm (Chip Lord, Doug Michels, Curtis Schreier), Media Burn, 1975, color, sound, 26 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Ant Farm (Chip Lord, Doug Michels, Curtis Schreier), Media Burn, 1975, color, sound, 26 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Nam June Paik, Global Groove, 1973, color, sound, 28 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Les Levine, Les Levine’s Greatest Hits, 1974, color, sound, 30 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Sanja Ivekovic, Instructions NO. 1, 1976, b/w, sound, 6 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

 

ZKM | Center for Art and Media
Lorenzstrasse 19
+ 49(0)721-8100-0
Karlsruhe
Vidéo Vintage 1963-1983
A Selection of the New Media Collection,
Musée national d?art
moderne,
Centre Pompidou, Paris
September 22, 2012-January 13, 2013

As a medium, the video has been influenced by the full spectrum of aesthetic currents, and has established itself both as one of the most important contemporary means of artistic expression and as critical instrument. In collaboration with the Centre Pompidou Paris,

the exhibition entitled Vidéo Vintage 1963-1983 shows the emergence of video art from the 1960s to the early 1980s by way of a selection of the most popular works in video art. Of particular interest here is the selection of three focal points, which show the development of the video and its artistic application: 'Research' and Criticism: Performance and Filmic Self-portrait, Television: Research, Experimentation, Criticism, and Attitudes, Forms, Concepts.

In the 1960s and 1970s artists in Europe and in North and South America used the first portable video cameras and thus the recordings of their performances were often driven by socio-political ambitions. One of the first to take up the medium of video as an artistic instrument was North American artist Nam June Paik. In 1965 he took up the first portable video camera, Sony?s so-called Portapak, and began taking close-ups of himself. The resulting work entitled Button Happening opens the exhibition with the first thematic emphasis under the name Performance and Filmic Self-portrait. His approach was to find countless imitators, such as Sonia Andrade, Valie Export, Paul McCarthy or Nil Yalter, who had likewise begun filming themselves in their studios with what, for that time, was a new kind of recording device.

The relationship between the medium of video and television, which encompasses the second aspect of the exhibition, developed from the claims deriving from the TV industry, which defined itself in distinction to cinema as a mass media. In the 1960s and 1970s one of the primary concerns of television producers was to extend both the program variety as well as the period of broadcasting time. For this reason, the leading French TV broadcasting company ORTF, and the television industry in the United States of America initiated so-called TV laboratories: directors were invited to come and acquire cutting-edge film and montage tools. Countless works, produced by Jean-Christophe Averty, Jean-Luc Godard and Thierry Kuntzel, for example, thus revealed new aesthetic possibilities, and may also be viewed in the show Vidéo Vintage 1963-1983, like many works prepared by Gerry Schum as part of the television exhibition (1969/70) in the Fernsehgalerie [Television Gallery] in Düsseldorf. The aim of German producers was to make works of video art designed for television by artists such as Bazon Brock and Lawrence Weiner reproducible for television and thus accessible to a broad public.

The last section Attitudes, Forms, Concepts illustrates the medium of video as an instrument which seeks to approach the various currents of art history. In addition to critical reflection and illustration of research results in this field, this last area displays documents from previous exhibitions in museums and galleries that announced the theme “video”.

Even the equipment and fittings of the show itself is “vintage” and enables visitors to undertake a journey back in time to the 1960s and 1970s: the staged “living room” in the exhibition space invites visitors to view the works of video art in their original historical dimensions, in a “homely“ atmosphere, and to forget the world around them. Without the possibility of fast-forwarding or pausing, visitors may enjoy the videos at their full length in the “retro-spaces,” and to cast themselves back to the 1960s.

The most important works of video by artists with various social backgrounds are shown from the founding collection of the Centre Pompidou Paris, which highlights the groundbreaking development of video art within the first two decades of its existence.

Curator of the exhibition is Christine van Assche in collaboration with Florence Parot and with the cooperation of Centre Pompidou, Paris.

Artistsin the exhibition include: Marina Abramovic´, Vito Acconci, Sonia Andrade, Ant Farm, Fred Barzyk, Samuel Beckett, Joseph Beuys, Dara Birnbaum, Chris Burden, Peter Campus, Theresa Hak Kyung Cha, Jean Dupuy, Valie Export, Esther Ferrer, Robert Filliou, Anna Bella Geiger, General Idea, Jean-Luc Godard, Dan Graham, Raymond Hains, Mona Hatoum, Gary Hill, Sanja Ivecovic´, Joan Jonas, Allan Kaprow, Imi Knoebel, Thierry Kuntzel, Les Levine, Toshio Matsumoto, Paul McCarthy, Anne-Marie Miéville, Bruce Naumann, Dennis Oppenheim, Nam June Paik, Gina Pane, Letícia Parente, Nadja Ringart, Martha Rosler, Carole Roussopoulos, Gerry Schum, Delphine Seyrig, Ulay, Steina Vasulka, Woody Vasulka, Bill Viola, William Wegman, Peter Weibel, Lawrence Weiner, Ioana Wieder, Bob Wilson, Nil Yalter.

Nam June Paik: Global Groove, 1973, color, sound, 28 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Carole Roussopoulos, Nadja Ringart, Delphine Seyrig, Iona Wieder, Maso et Miso vont en bateau, 1975, b/w, sound, 55 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Bill Viola: Reverse Television – Portraits of Viewers, 1983-1984, color, sound, 15 min. © Collection Mnam / Cci, Centre Pompidou, Paris.

Nam June Paik: Global Groove, 1973, color, sound, 28 min. © Collection Mnam/Cci, Centre Pompidou, Paris.

Gerry Schum, Identifications, 1970, Untitled (Störung [disturbance]) by Daniel Buren, b/w, sound, 48 sec. © Collection Mnam/Cci, Centre Pompidou, Paris.

Nam June Paik, Global Groove, 1973, color, sound, 28 min. © Collection Mnam/Cci, Centre Pompidou, Paris.