Multi-media: Video - Installation - Performance
Multi-media charts the development of multi-media video, installation and performance in a unique dialogue between theoretical analysis and specially commissioned documentations by some of the world’s foremost artists. Nick Kaye explores the interdisciplinary history and character of experimental practices shaped in exchanges between music, installation, theatre, performance art, conceptual art, sculpture and video.
The book sets out key themes and concerns in multi-media practice, addressing time, space, the resurgence of ephemerality, liveness and ‘aura’. These chapters are interspersed with documentary artwork and essays by artists whose work continues to shape the field, including new articles from:
- Vito Acconci
- The Builders Association
- John Jesurun
- Pipilotti Rist
- Fiona Templeton.
Multi-media also reintroduces a major documentary essay by Paolo Rosa of Studio Azzurro in a new, fully illustrated form. This book combines sophisticated scholarly analysis and fascinating original work to present a refreshing and creative investigation of current multi-media arts practice.
movement, the Exposition ‘showed (violently) prepared pianos’ (Blom 1998:77) in a reflection of Paik’s proposition that ‘the piano is taboo: it must be destroyed’. Klavier Integral (1963), a piano already subject to seemingly violent interventions, thus invited visitors to the Exposition to ‘play’ keys that activated objects suspended from the piano case, electric switches, a transistor radio, a fan heater, film projectors and the lights of the exhibition room (Dreschler 1993:46). Extending
‘[t]he mind is like a mirror; it collects dust; the problem is to remove the dust’ (Cage 1993:117), over time Zen for Film effects an erosion of the mirror’s transparency that cannot be recovered. As a result, Zen for Film points to a plurality of times, playing across the present-tense contemplation invited by the white wall, the accumulating traces inscribed by its past and present projection, as well as its future erasure in the mechanics of the film medium itself. In this regard, and as a
‘complex experience’ Morris’ describes, this relation introduces ‘performance’ into the terms of ostensibly diverse practices, where *This subheading is drawn from Acconci’s essay of 1979, ‘Steps into Performance (and Out)’, published in A. A. Bronson and P. Gale (eds), Performance by Artists, Toronto: Art Metropole, 27–40. Multi-Media 74 ‘action’ provides not so much a form for a work as a means of disturbing the ground on which the text, the photograph, film, video and even ‘performance’
the little waves. This is a birth. The images, like virtual twins of real bodies, come to life following a narrative structure that harks back to the myth of Theseus and Ariadne. The bodies reemerge, perform their actions and stop, awaiting another passage. Thus the dance of steps begins, respectful, careful, and gradually becoming more and more hurried and fretful. The music envelops the space and the spectator in a wave of changing and intermingling sounds. 8° PLAYFUL ADVENTURES Play is an
specific and unique definition’ (Ermath 1992:53), Vawter’s ‘phrases’ traverse media in simultaneous conjugations of explicitly different spaces and times: the ‘live’ Act; the ‘fictional’ rehearsal; the ‘mediated’ (recorded) interview. In this rhythm, too, Vawter’s ‘Act’ reflects the crisis of the subject Ermarth identifies with the postmodern novel, where the question of ‘who’ and ‘what’ action is present comes to the fore. Writing ‘On Form’ with regard to Brace Up! (1991), which incorporated