Approaches, Strategies and Theoretical and Practice-Based Research Methods to investigate and archive video art. Some reflections from the REWIND projects

Leuzzi, Laura; Partridge, Stephen; Lockhart, Adam

doi:10.14236/ewic/resound19.41

Cited by 2 publications

(2 citation statements)

References 3 publications

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“…Notes 1 This research develops from previous research into portraiture and expands from reflections developed there Leuzzi (2019). I would like to thank all the artists and authors who have supported me and helped me in this research including Katy Deepwell, Cinzia Cremona,Elisabetta Di Sopra,Giulia Casalini,Francesca Fini,Mariateresa Sartori,and Diana Georgiou.…”

Section: Conflicts Of Interestmentioning

confidence: 90%

“…1 The development of video art as an art form in the late 1960s and early 1970s coincided with the second wave of feminist movements in many countries. This medium soon became an important tool for investigating and engaging with feminist themes in relation to identity and subjectivity (Leuzzi 2019), even though the artists were often not directly involved in feminist collectives or actively engaged politically in campaigning for legislative changes or reforms.…”

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Representation and Identity in Contemporary Women Artists’ Video

Leuzzi

2023

Arts

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This essay is an initial study that examines selected contemporary video artworks addressing identity and representation by contemporary Italian women artists. The author shows how these women artists seek to avoid the objectification and sanitisation of the traditional iconographies involving women in patriarchal Catholic systems. Selected works by Elisabetta Di Sopra, Francesca Fini, and Mariateresa Sartori are discussed by comparing elements from works by earlier generations of feminist video artists, such as Pipilotti Rist, Elaine Shemilt, and Catherine Elwes. Drawing on theories of both video and feminist art, this article examines how the development of a new aesthetic in early women’s video art practice in the 1970s and 1980s is still relevant to the task of critically examining and assessing aesthetics in video today, and how video remains a key tool used to experiment with the remediation of women’s representation and identity.

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Section: Conflicts Of Interestmentioning

confidence: 90%

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confidence: 99%

Representation and Identity in Contemporary Women Artists’ Video

Leuzzi

2023

Arts

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Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies

Fiordelmondo,

Canazza,

Pretto

2024

J. Comput. Cult. Herit.

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Interactive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservation, called “the multilevel preservation model”. Since it is no longer possible to guarantee physical integrity for interactive multimedia artworks, dynamic preservation involves recording all the changes that occur to display the artworks in the future. In other words, it makes it possible to record the dynamic authenticity of artworks. The model proposes two fundamental properties: multiple layering, which allows to handle different levels of information about the artwork; multiple belongingness , which allows to represent the dynamic authenticity of the artwork at the archival level and achieving dynamic preservation. The paper demonstrates the high-level implementation of the model by presenting a case study: the reactivation and preservation of an analog video art performance from the 1970s. This case study proposes an interesting real scenario for testing the model, as the reactivation process involved the migration of the entire analog technological apparatus of the artwork into the digital domain.

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Approaches, Strategies and Theoretical and Practice-Based Research Methods to investigate and archive video art. Some reflections from the REWIND projects

Cited by 2 publications

References 3 publications

Representation and Identity in Contemporary Women Artists’ Video

Representation and Identity in Contemporary Women Artists’ Video

Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies

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